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Ars combinatoria and cosmological models: interactions and survival in a Cuzco school painting of the XVIII century

"The Lord made me a very great favor in an imaginary vision" wrote Maria de Agreda in the seventeenth century, "His Majesty put me at the foot of a beautiful Ladder, and showed me I had to climb it." These words refer to the spiritual ascent, present in the Judeo-Christian tradition, and crystallized in the visions of prophets and Catholic saints. Genesis (18: 10-22) narrates that Jacob, going to Haran, slept on some stones and saw a ladder between heaven and earth along which angels were ascending and descending. From this dream, the symbolic union between heaven and earth has been figured with stairs, ascribing to it different meanings over the centuries. On the steps of the ladder people saw a metaphor for the graduality of ascent; Benedict used a ladder of twelve steps of humility in his Regula, and in the seventh century AD John Climacus, Bishop of Sinai, established a thirty-step Scala Paradisi of meditation leading to God. In this work we discuss the historical echoes of the Benedictine rule, together with Climacus' voice in the desert and the visualization of celestial mysteries, in the case of the Cuzco school painting Allegory of the firmament, with the representation of the planets' seven heavens (XVIII century). In this way we try and analyze the intersection between science and mysticism in the representation of the heavenly stairs, in order to show the cultural anchorage of the symbology employed in these cases [abridged].