the living to the dead. Each character represents a different stage of life, but they are all following the same end destination and respecting their course. When Herran died, his widowed wife requested The Offering yet it was taken to the National Fine Arts Institute. Herrán's works gave credence to the "spiritual beauty of the native people of Mexico in exquisite drawings of Indians whose languid silhouettes stand out against freely interpreted backgrounds of Pre-Columbian sculpture." See: The Shawl (1916) and Criolla with Mantilla (1917–1918). Later career: muralist By this time in his career, Saturnino finally became a muralist. "Mural art would be, by definition, revolutionary and Marxist, nationalist and indigenous. In this art, in rather Manichean fashion, the forces of good (those mentioned) confront the forces of evil, represented by Spain, Catholicism, and the Conquistadores and, in modern times, capitalism" These ideologies were painted by fellow artists Orozco and Rivera, making them illustrious in the art world. As mentioned above, he went on to create commissioned murals for the School of Arts and Crafts. His works were used as model for future muralists throughout the 1920s and 1930s. In Herrán's famous triptych Our Gods (1914-1918), he displayed legendary Aztec goddess Coatlicue, who, according to legend, gave birth to the sun, moon, stars. It was commissioned for the Palace of Fine Arts in Mexico City. The mural is sixteen feet tall with multiple panels. Latin and Caucasian races are showcased on both sides, yet it draws the eyes of the viewer in to engage with the center panel, Coatlicue Transformed. Jesus Christ, God of the early Christians is in the center of the goddess. Hands, hearts, skulls and crosses are displayed along with lilies, which are representative of Christian spirituality. The piece is a fusion of both cultures as all races on both sides are turned worshiping one god-like figure with one Aztec and one European reference to a higher power. Christ and Coatlicue coalesce in "a vivid expression of his theme concerning the mixture of the two races" Our Gods is arguably Herrán's greatest, most infamous work due to its deep calling to the viewer to accept others, think spiritually, and unify two cultures. It was never fully completed as he worked on it until the day he died. Due to his clear skill with draughtsmanship, some of Herrán's contemporaries criticized his style, calling his paintings "painted drawings" or