Quito school

[2] Characterized by a mastery of the realistic and by the degree to which indigenous beliefs and artistic traditions are evident, these productions were among of the most important activities in the economy of the Royal Audience of Quito.

[3] Such was the prestige of the movement even in Europe that it was said that King Carlos III of Spain (1716–1788), referring to one of its sculptors in particular, opined: "I am not concerned that Italy has Michelangelo; in my colonies of America I have the master Caspicara".

[5] As a product of cultural syncretism and miscegenation, the works of the Quito School are characterized by the combination and adaptation of European and Indigenous features.

One of the common characteristics of the school is the technique of encarnado ("flesh-colored") — the simulation of the color of the flesh of the (European) human body — that makes the skin of sculptures appear more natural.

and finally highlight colors were added (orange and red to cheeks, knees, and elbows of children; and dark blue, green, and violet for wounds and bruises of Christ or for stubble on a beardless figure).