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[...]a "reading" of The Sacred Heart of Jesus as the Good Shepherd is suggested in light of the history of the Sacred Heart devotion and Good Shepherd tradition. The surviving number of Spanish Colonial paintings of this subject suggest that it was popular in the Viceregal Americas, as indeed was that of The Sacred Heart as the Good Shepherd, of which some excellent examples exist (see, for example, Alarcón Cedillo and García de Toxqui 71-73; Mujica Pinilla 275-76; Schenone 159-60). Because of its complex and dense iconography, The Sacred Heart as the Good Shepherd is thought to have been more apt as an object of devotion in a convent rather than in a cathedral, chapel, or parish church since this image was more in keeping with "the heightened spirituality typical of female religious culture of the day" (Ruiz Gomar 383). [...]the Song was the dramatic story, in the form of a pastoral poem, or eclogue as Fray Luis calls it (1:72), of the chaste love of Christ, the divine shepherd, and his bride, the shepherdess-the '"soul made in His image, or ... the Church'" (Astell and Cavadini 27). [...]of this sacrifice on the part of Jesus, the world is given the water of grace which is the Spirit" (377).