structural simplicity, in Cantuña the ambivalence between spatial organization and decoration is evident, which, as in the main church, has undergone profound transformations during the 18th century. The altarpiece of the main altar together with the pulpit constitute the most interesting decorative element of the space. Attributed to Bernardo de Legarda, its factory would be related to the enormous prestige achieved by the Brotherhood of la Virgen de los Dolores in the second half of the 18th century. In this characteristically Baroque altarpiece, there is a clear predominance of decorative elements over images; It is complemented by the magnificent Calvary group (of which the Our Lady of Sorrows is a part) placed in its central niche, also attributed to the master. Legarda carved the columns, panels, frieze, cornice, arch, finial and dozens of exquisite elements ornamental. The niches and shelves are full of beautiful sculptures that are also his own; he finally completed the ensemble by giving the central niche a frame of mirrors and silver. The Chapel of Cantuña also houses works by Caspicara, including one of his masterpieces: the Impression of the Wounds of Saint Francis, a harmonious group full of devout sentiment, whose culmination is the admirable expression of the Saint, lost in pain and illumination. No less impressive is the effigy of Saint Peter of Alcántara, which for a long time was wrongly attributed to Father Carlos. Works of art Being the very cradle of the famous Colonial Quito School of Art, which saw the birth and development within its walls, the San Francisco Complex is, without a doubt, the largest gallery of this artistic movement. It has over 3,500 objects that cover a period between the 16th and 18th centuries. Sculpture In the main altar of San Francisco, dominated by a large baroque altarpiece and covered in gold leaf, the sculptures of the "Virgin of Quito" by Bernardo de Legarda and the "Jesus del Gran Poder" by Father Carlos stand out; both prominent members of the Colonial Quito School of Art. Among the most recognized sculptures that the San Francisco complex houses, we have: The mobility of the sculpture of the Virgin of Quito, whose model would have been a restless girl niece of the sculptor, generates such visual appeal that its replicas have become an emblematic gift from the Quito council to its foreign guests. The Jesús del Gran Poder is the main icon