Jose Avitavilli (Peru, late 16th century - early 17th century)

Jose Avitavilli (Peru, late 16th century - early 17th century)
“Salus Populi Romani”, also  known as ‘Our Lady of the Snows’.
Tempera on linen canvas.
127 x 95 cm.

This *Our Lady of the Snows* is a significant testament to the development of religious art in the Viceroyalty of Peru during the late 16th and early 17th centuries. Its Marian iconography, technique, and composition place it in a transitional phase between the Mannerism introduced by the Society of Jesus and the consolidation of Andean Baroque, influenced by European artistic traditions and local aesthetic particularities.

A stylistic and technical analysis of the painting allows us to associate it with the production of the circle of Bernardo Bitti (1548–1610), an Italian Mannerist master whose work had a decisive impact on the development of Peruvian viceregal painting. More specifically, we attribute this piece to José Avitavilli, his disciple and one of the principal exponents of Cuzco Mannerism, based on stylistic and documentary comparisons.

José Avitavilli, one of Bernardo Bitti’s closest disciples in the Viceroyalty of Peru, is mentioned in colonial documents as an active collaborator in the restoration and production of Mannerist works in Cuzco and Upper Peru. His work has been documented in the decoration of Jesuit churches and convents, and his style reflects clear influences from Bitti but with a distinctive refinement in the execution of faces and the treatment of color. Historical sources indicate that Avitavilli worked on Marian themes, particularly in Cuzco and Potosí, where he is known to have painted pictures of the Virgin Mary that combine Mannerist elements with a polished technique.

The painting we present coincides with his other work in several key aspects, such as the delicate modeling of faces with Italian influences, the use of tempera instead of oil—a distinctive feature in some of his works—and the balance between gilded ornaments and a sober composition, typical of late Mannerism.

One of the most significant aspects of this painting is its close iconographic relationship with the "Our Lady of Antigua", preserved in Lima Cathedral and considered to be one of the first Marian images introduced to Latin America. Both paintings share fundamental characteristics, such as the frontal arrangement of the Madonna and Child, the use of the rose as a symbol of purity, the treatment of the face with delicate oval features, and the presence of an ornamental background with geometric and gilded elements.

However, "Our Lady of the Snows" introduces Mannerist variations characteristic of the late 16th century, such as the stylization of the figures and a greater softness in contrasts between light and dark. The influence of Bernardo Bitti is evident in the delicate modeling of the faces, with a subtle use of light and shadow to create volume—a technique he learned in Rome before moving to the Americas.

The fact that the "Virgin of the Antigua" was one of the first Marian images in the viceroyalty reinforces the idea that *Our Lady of the Snows* represents a more advanced reinterpretation of this model, with technical refinement and an aesthetic more influenced by Mannerism. Perhaps the version by Bitti at the Museo Convento de los Descalzos in Peru is the earliest example of this evolution.

All this evidence allows us to propose José Avitavilli as the artist who painted this artwork, consolidating him as a key figure in the transition between Italian Mannerism and early Andean Baroque.

One of the most unusual aspects of this painting is the use of tempera on linen canvas, rather than the traditional oil on canvas. The tempera technique, more common in mural painting and European altarpieces, involves mixing pigments with binders such as egg or animal glue, allowing for a more delicate application and a matte finish, less glossy than oil. This method was widely used in European Renaissance art, but its application on canvas is much less frequent.

Linen as a support is also a particular choice, as most viceregal production was painted on cotton fabric or wood. This material provides a finer texture and allows for more precise details in drawing, which is reflected in the exquisite execution of the faces of the Madonna and Child. The state of preservation suggests that the tempera technique has contributed to the stability of the painting, avoiding the typical cracking seen in older oil paintings.

An elegant and stylized version of the famous *Salus Populi Romani* (Protector of the Roman People), better known as Our Lady of the Snows, a name given in the 19th century to the Byzantine icon of the Virgin with the Child in her arms, traditionally attributed to early Christians.

This iconographic composition designates this type of painting as "Theotokos", meaning etymologically “Mother of God,” or more literally, “the one who gave birth to God.” The Virgin Mary is depicted with a light blue mantle edged in gold. In her right hand, she holds a circular flower, the mystical rose with which she seals her covenant with the Roman people. Though she does not wear a crown, the halo of sanctity speaks of her distinction and benevolence, a holy woman full of light, shown as the "Regina Caeli". With her left hand, she tenderly embraces her son, offering him to the world, while the Christ Child rests, appearing as the Pantocrator. With his right arm slightly raised, the Child makes a gesture of blessing and holds in his left hand the orb or globe of the world, which he blesses and supports, unlike the original icon where he carries the Book of Life, the Word.

Both Mother and Child appear against a curtained background that emphasizes the importance of the image.  They look directly at the viewer, making us participants in their presence, gaze, and transformation. The red curtain in the background reinforces the sacredness of the moment and creates a theatrical frame that recalls the liturgical theater of the Counter-Reformation. This type of composition follows European models of Italian and Flemish influence, adapted to the viceregal context. The use of gilding in the embroidery and trim of the Virgin’s mantle, though restrained compared to 18th-century paintings, anticipates the taste for brilliance and ornamentation that would characterize later Cuzco painting.

Bibliographic References:

-Mesa, José de, y Gisbert, Teresa. Holguín y la pintura altoperuana del Virreinato. La Paz: Librería Editorial Juventud, 1977.  
-Gisbert, Teresa, y Mesa, José de. La tradición bíblica en el arte virreinal. La Paz: Librería Editorial Juventud, 1982.  
-Querejazu, Pedro. “La ‘Madona del pajarito’ de Bernardo Bitti: tratamiento de conservación y restauración”. Conserva, n.º 5, 2001, pp. 85-94.  
-Coello de la Rosa, Alexandre, y Abejez, Luis J. “Bernardo Bitti y Diego Martínez: dos protagonistas de la pastoral de la imagen en el Virreinato del Perú”. Archivum Historicum Societatis Iesu, vol. 92, n.º 183, 2023, pp. 5-30.  
- Stratton-Pruitt, Suzanne L. *The Virgin, Saints, and Angels: South American Paintings 1600-1825 from the Thoma Collection*. New Haven: Yale University Press, 2006.
- Museo Convento de los Descalzos, Lima, Perú.