Naturales, made up of the most skilled indigenous sculptors and painters of the city of Quito, who immediately began its construction in 1581. At the end of the 17th century it was handed over to the Franciscan Third Order and the Brotherhood of la Virgen de los Dolores. The brotherhoods of Veracruz became infatuated with turning the chapel into an authentic reliquary of unique jewels, so the art collection that it housed since its inception, including oil paintings, frescoes and sculptures, they have given it fame as one of the most exquisite on the Americas and the name of the "Sistine Chapel of America" by the Ecuadorians of the time. The Brotherhood of Veracruz de Naturales enthroned on the main altarpiece the beautiful sculpture of Saint Luke the Evangelist that Father Carlos had carved, considered one of the most beautiful in polychrome wood that the imagery of the Colonial Quito School of Art has given, and that can still be seen on its altar. However, by 1763 the indigenous had already lost all rights, and by successive decrees the space for the cult of the Our Lady of Sorrows, patron saint of a brotherhood also of painters and sculptures, had been authorized, but this whites and mestizos, which had gained greater prestige over time. According to the legend collected by the proto-historian of the Kingdom of Quito, Father Juan de Velasco, Cantuña was the son of Hualca, who would have helped Rumiñahui to hide the treasures of Quito to free them from Spanish greed. Once urged to reveal the secret of the goods he spent lavishly despite being only an indigenous person, Cantuña said he had made a pact with the devil. Perhaps to redeem himself from such a pact, Cantuña collaborated with a lot of money out of his pocket to see the chapel finished and which has borne his name ever since. From an aesthetic point of view, the Chapel of Cantuña is a small church with a single vaulted nave, with projecting ribs and lunettes. On the presbytery, which forms a single body with the nave, rests a dome with a lantern through which the light that fills the entire space is filtered. In its rear part is the sacristy and, upon entering the nave, a small choir which is reached through a staircase placed to the right of the entrance to the chapel. Faced with its