In 1737, Gaspar Miguel de Berrio painted El Patrocinio de San José. Now housed in La Casa Nacional de Moneda de Bolivia, the canvas is one of reverent exuberance. In an aura of golden sand, Saint Joseph’s cloak gently shelters earthbound saints, separating them from the ethereal realm above. The holy figures appear attentive to Christ’s foster father, raptly gazing at the golden glinting figure. Like other Andean Baroque painters, de Berrio juxtaposed European and Pre-Columbian details, though his paintings in particular are exceptional in their subtle yet innovative reappropriations and combinations of motifs. In this presentation, I explore de Berrio’s choice to enclose the saints surrounding Joseph in relationship to Medieval images of the Virgin Mary. Though this connection has been marginally noted in the literature, a proper study of such a striking feature remains necessary to understand the adoption and modification of European iconography by Andean Baroque artists. Studying de Berrio’s oeuvre in relationship to European references, I argue that Gaspar Miguel de Berrio not only intentionally depicted Saint Joseph in a manner similar those medieval virgins in his El Patrocinio de San José , but that this artistic choice reveals the power of the Cult of Saint Joseph in the Viceroyalty of Peru.