By 1875, José María Velasco had accumulated ample experience in the panoramic depiction of the Valley of México, as attested to by his paintings of views seen from the Los Morales river and the Atzacoalco hills. This painting yet again includes an everyday episode in the life of the common people, in the form of a poor woman with a baby, a child and a pair of dogs. This group is surrounded -and dwarfed by the vegetation and impressive boulders covering the summit of the Santa Isabel mountain, below which a rhythmic succession of ever lower peaks stretches out, ending in the small Tepeyac hill, at whose foot we can see the Villa de Guadalupe, with the Santa Isabel lake to the right. In the middle of the plains, two causeways link the aforesaid Villa with Mexico City. In 1902, Velasco affirmed, in a catalogue of his works, that he had painted the scene straight from nature, unlike his previous works, the definitive versions of which were painted in his studio, based on preliminary in situ studies. This dizzying view bears witness to the achievement of a distinctive style, founded on consummate technique. The transparent atmosphere makes possible the depiction of fine detail, even in the case of the most distant subjects, while a series of linked planes underscores the naturalistic effect which makes it possible to take pleasure both in the overall scene and in isolated objects. Such depictions of the valley as seen from high up in the northern hills carne to symbolize the nation, starting a new chapter in the history of Mexican painting. This work captivated the public who were able to admire it the following year at the International Philadelphia Exhibition in 1876, held to commemorate the hundredth anniversary of the Independence of the United States, having been chosen for exhibition at the said event when it was shown at the XVIITh Exhibition of the National Fine Arts School in December of 1875. It passed to the MUNAL from the Museum of Modern Art in 1982, forming part of the former institution's founding endowment.