To the left we see Our Lady of Sorrows, and on the right John the Apostle, both looking at Christ tenderly. Mary Magdalene is weeping, her face turned downwards as she kneels, hugging the wooden cross and holding onto the shroud with which they would take down Christ’s dead body. We can observe typical decorative elements from the Colonial School in the clothing, the brocade and the gilt applied in the form of leaves entwined around the cross and on Christ’s sendal loincloth, and the incorporation of flowers on the latter. Arranged harmoniously around the center, the figures from the scene are placed in a manner that contrasts with works we will be mentioning shortly, taking place in an open landscape with, to his right and under the Christ figure, what looks like a field of wheat, lambs and a little angel filling a chalice with spurts of Christ’s blood, almost as if the artist was suggesting that the holy blood of the Messiah stood for life and continuity. To his left there is woodland and, framing the whole scene, an architectural decoration from which two curtains hang, creating a theatrical effect. At the bottom of the composition we also find a cartouche with the following inscription: “V.R. de la milagrosa imagen del divino Sr q. se venera en su Santuario de Esquipulas¨ [True Portrait of the miraculous image of the divine Lord who is venerated in the Shrine of Esquipulas].