In the center of the canvas, the traditional icon of the Virgin of Guadalupe is represented: inside a mandorla, formed by golden rays, the figure of the Virgin appears dressed in a pink tunic decorated with golden floral motifs and covered in a greenish blue cloak decorated with stars. The four corners represent three apparitions of the Virgin to the Aztec Indian Juan Diego and the miracle of the roses before archbishop Zumárraga; a fifth scene in the lower part recreates the surroundings of the hill of Tepeyac. Four angels surround Mary on the sides holding bouquets of flowers.

The painting does not present any novelty in its iconography regarding the works of that time, early 18th century. Scenes of the visions are represented accompanying Guadalupe's image framed in geometric shapes. Later, by the middle of the century, pebbles and floral elements to frame them would be introduced. The canvas is decorated with some angels in memory of those accompanying the Virgin in her apparitions.

What is most innovative in this canvas is the fifth frame, located in the lower part, which reproduces the landscape of the Tepeyac. Other works had also represented the town of Guadalupe, but in this case, the artist represented a developing construction, showing the inside of the building which, due to its structure, seems to be the second shrine put up between 1695 and 1709: finished apse, three 5-aisle naves, one tower in each corner, polygonal arch on the entrance, and a fence surrounding the church.