Our Lady of Light

Our Lady of Light invocation came up in Palermo, Italy, at the beginning of the 18^th century. As it is told, the Jesuit Juan Antonio Genovesi asked a woman, who was known for her mystical visions, to reveal him an image of the Virgin to capture it in a painting. The representation that arose from the priest’s request served as a model for this iconography, which was very popular in the Viceroyalty of Peru and in Quito.

The power to save souls from Purgatory was attributed to this Marian invocation. As it is seen in the center of the image, Mary holds with her right hand one of the saved souls, while in her left arm she carries the Child Jesus. Kneeling before the little one, we see an angel, who offers him a basket with the hearts of the faithful.

The religious of the Order of Carmel strongly opposed this image since, for them, the patron saint of purgative souls was the Virgin of Carmel.

The Trinity appears in the upper segment of the composition surrounded by clouds and some cherubs. Saint Michael the Archangel —dressed in an armor— and an angel prepare to crown Mary.

The Society of Jesus sponsored the devotion to this Virgin. For this reason, its most recognized members are represented at the bottom of the image. Saint Ignatius of Loyola and Saint Francis Xavier appear under the feet of the Virgin. In front of them there is a book with the Society’s motto: Ad maiorem Dei gloriam, which translates ‘For the greater glory of God’.

To the left of the image, we see the figures of Paul Miki, John Soan de Goto and James Kisai, known as the Martyrs of Japan, since in the middle of their evangelization mission they were executed by the authorities of that country. They are accompanied by Saint Francis Borgia, who holds a crowned skull, a sign of his contempt for earthly life and the nobiliary titles he held.

To the right of the painting, we can see the renowned missionary Saint John Francis Regis and Saints Stanislaus Kostka and Aloysius de Gonzaga, who are identified by their youthful features, as they died at an early age.

Although this image did not circulate widely in New Granada, it is known that in 1761 Viceroy Solís donated a painting of this invocation to the Capilla de indios of the Casa de las Aulas —nowadays Museo Colonial—, where a brotherhood was founded in its honor.