major exponent of this tendency. Five pieces of apostles by him can be seen in the church of San Pedro, two in the altarpiece and another in a side reredos. The monastery of Santa Catalina of Arequipa keeps La Piedad, and that of St. Francis, some of the canvases that illustrate the life of the founder of the Order, belonging to various authors. The increasing activity of Amerindian-Quechua and Mestizo painters towards the end of the 17th century, makes the term Cusco School conform more strictly to this artistic movement. This painting is "Cuzqueña", not only because it comes from the hands of local artists, but mainly because it moves away from the influence of the predominant trends in European art and follows its own path. This new Cuzqueño art is characterized thematically by the interest in Costumbrista subjects such as the procession of Corpus Christi, and by the presence for the first time of Andean flora and fauna. A series of portraits of Amerindian caciques and genealogical and heraldic paintings also appear. As for the technical treatment, there is a misunderstanding of the perspective added to a fragmentation of the space in several concurrent spaces or compartmentalized scenes. New chromatic solutions, with a predilection for intense colors, are another typical feature of the nascent pictorial style. An event which occurred at the end of the 17th century, was decisive for the direction taken by Cuzqueña painting. In 1688, after continuous conflicts, there was a rupture in the corporation of painters that ended with the removal of the Amerindian-Quechua and Mestizo painters due, according to them, to the exploitation they were subjected by their Spanish colleagues. From this moment, free of the impositions of the corporation, the Amerindian and Mestizo artists were guided by their own sensibility and transfer to the canvas their mentality and their way of conceiving the world. The most famous series of the Cuzco School is undoubtedly that of the sixteen paintings of the Corpus Christi series, which originally were in the church of Santa Ana and are now in the Museum of Religious Art of the Archbishopric of Cusco, except for three that are in Chile. From an anonymous painter of the late-17th century (some researchers attribute them to the workshops of Diego Quispe Tito and Pumacallao), these canvases are considered true masterpieces because of the richness of their color, the quality of the drawing