Here is an interesting document, where as Charles mentioned, it may be important to refer to the idea of "protection" and the use of the cloak/mantle. This link, in several places, makes mention of the broader heading of a "sheltering cloak type.
https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794...

This chapter has several goals. First, it traces the visual origins of the type to its formal iconographic ancestors which first appeared on imperial coins. Second, it explains how the Virgin of Mercy can be considered under the broader heading of a “sheltering cloak type,” the identity of its
protective figure changing throughout its history. Third, it explains how this sheltering cloak type was passed down through the centuries of the early medieval period in Europe to be copied by Cistercian monks on instruments with which their Order sealed letters and documents, substituting, of course, the Virgin for the pagan virtues. Fourth, the chapter examines the wealth of Marian literature produced by twelfth and thirteenth century writers, among them, Bernard of Clairvaux and Caesarius of Heisterbach, and concentrates on the examples that most clearly demonstrate their contributions to the
Virgin of Mercy type in particular. The chapter then explores the major iconographic meaning central to the type by explaining the importance of both the Virgin in this specific role and of her use of the cloak, a relic considered to have miraculous healing powers that had inspired a cult following at Chartres Cathedral.

Susan Solway has convincingly traced what is now known as the Virgin of Mercy to ancient Roman imperial coins. As such, in terms of its basic design, it should be considered part of a “sheltering cloak type,” since the act of protection with a cloak by a hierarchically larger figure has been applied historically to pagan deities, personified virtues, Christ, the Virgin, and about twenty Christian saints.

***Also unusual within Mexican paintings of the sheltering cloak type are those in which Saint Francis replaces the Virgin as the saint protecting those with his mantle; in some examples, he even hoists images of the Virgin
of Guadalupe over his head. It is clear that the Virgin of Mercy type and the various subtypes of it available in the later Middle Ages provided a rich and multi-faceted iconographical tradition upon which each generation of artists drew for inspiration, extending from the late Middle Ages through the Renaissance and beyond in both European and colonial European cultures.