The Adoration of the Magi is one of the most frequently depicted subjects in Christian art. It is derived from the biblical narrative (Matthew 2:1-12) and was popular in Roman Catholic iconography because it celebrated the theological concept of the Epiphany (the revelation of Christ's divinity). Images of the Magi (wise men), who after 1000 came to be depicted as "oriental" kings, were also understood in terms of the subjection of the temporal powers to the authority of the Church. They were often represented as men from the three Old World cultures: Africa, Asia, and Europe. Echave was the son and grandson of painters. He may have initially trained with his father, but it is believed at some point that he became the pupil of José Juárez. Although he never traveled to Europe, Echave was able to see contemporary Baroque art via prints. Echave's canvas is largely based on an Adoration of the Magi by José Juárez. Both artists use compositional devices derived from Spanish and Flemish sources. Counter Reformation policy, which charged artists to revise or update their depictions of saints, is followed in this painting. Echave has portrayed Joseph as a mature but vigorous man, as opposed to the elderly and incidental figure in medieval and Renaissance art. As patron of the Roman Catholic Church, and model for Christian parents, he was an important element in Counter Reformation piety. Zurbarán's influence is evident in Echave's portrayal of the Christ Child with Spanish "skirts" and blond widow's peak.

The ministry of John the Baptist is told in the synoptic gospels of the Bible. In the gospel of John (1:29) John the Baptist indicates Jesus by saying, "Behold the Lamb of God, who takes away the sins of the world!" The first part of this phrase in Latin, Ecce Agnus Dei, was used in Christian liturgy in celebrations of the Mass. Painted sculpted images of John the Baptist are therefore frequently found in Catholic altar ensembles with the image placed in such a way that John's gesture to the lamb and painted Latin phrase would also serve to direct the pious to the celebration of the Mass on the altar. This painting may have originally been part of an altar ensemble, choir screen, or other ecclesiastical decorative scheme. Eighteenth-century Mexican artists, including painters, often served as general contractors for altars and church decorations, bringing together teams of architects, carpenters, guilders, sculptors, and painters. Scholars believe that Enríquez, who was active in both Mexico City and Guadaljara, received such commissions and assembled a workshop to handle them. Other works ascribed to Enríquez lead scholars to believe that this painting, also, is from his workshop.