The characteristic themes of the era represented by Correa were those of the communion and the Eucharist, as well as those linked to the triumph of the church. These included representations of male and female saints, the iconography of Christ, the Virgin, archangels and other biblical themes. Among the painter's varied output, two interesting folding screens that were traditional in the Orient, which Correa created for historical and humanistic purposes, should be taken into account. They catch the eye with their pictorial production, which leaves a singular imprint on the work, the images of angels, cherubs and children of 'broken colour' (one adjective among many others used to describe mulattos in the colonial period). The depiction of these dynamic and almost exclusively blond celestial beings, exhibiting typical Baroque characteristics, had already been used  
by other New Hispanic painters, but in Correa's work these figures acquired a new physiognomy. In light of investigations carried out by Elisa Vargas Lugo on his work, Baby Jesus with Musician Angels, it was the painter's intention to reflect artistically and spiritually the diverse ethnicity of his time, and probably also the presence of African descendants in New Spain, by endowing two of the angels who accompany the scene with a darker tint than the rest who make up the piece. Correa seemingly based his work on the work of the Czech artist, Wenceslaus Hollar, entitled, Concert of Cherubs on Earth, and he gave two of the musician angels, in particular one of them, positioned immediately behind the Baby Jesus, a noticeably darker skin tone, which contrasts with the light skin colour of the scene's protagonist; the other, positioned on the far left, curiously playing two tambourines, also differs from the other angels by having a skin colour more akin to that of mulattos (Rodríguez, 2011).