Attributed to Bernardo Rodríguez (active in Quito, Ecuador, circa 1770) 'The Inmaculate Conception and The Holy Trinity' Oil on panel. 51 x 35 cm.   This small panel reflects one of the painter's continuing and significant interests in Marian subjects, a theme that brought him a great reputation for the quality of his work. His work is related to the technique and stylistic treatment usually found in artists such as Manuel Samaniego. This would have been one of the many commissions Rodriguez received from various religious institutions. And it was that ecclesiastical protection which meant that he was privileged enough to have the advantage of being able to paint canvases that we can currently admire in the Cathedral of Quito and in the Museum of Colonial Art an the Casa de la Cultura Ecuatoriana. In this Immaculate Conception, the artist has staged a perfect two in one by conjoining two devotions in a single painting. Two of the most typical pictorial representations in the viceroyal Hispanic American iconography are concentrated in a single painting: the Immaculate Conception, on the one hand, and the Holy Trinity, on the other. And, together, they form this painting of a Trinitarian Immaculate Conception. Mary is richly attired with the characteristics of viceregal painting, holdng an image her Son, made Eucharist and symbolised by a monstrance, with which she offers to bless those who approach to contemplate her. The scene is watched from heaven by the Holy Trinity: the Son, carrying the Cross (salvation of the world); in the center, the Holy Spirit, who carries his identity, (what he is, Love or the flame of Living Love); and the Father, on the right, as Pantocrator who blesses all. The painting we present, when compared with other works attributed to the artist, such as the “Coronation of the Virgin with heraldry of a Spanish family” found in the Franciscan Museum of Quito, shares similarities in the treatment of colors and decorative details. When analyzing the painting together with the comparative images, a stylistic continuity can be observed in the use of blue and gold, as well as in the idealized and delicate depiction of the faces, showing serene spirituality in the Virgin and solemn hieratism in the figures of the Trinity. Bernardo Rodríguez demonstrates remarkable control of light and color, using a palette that emphasizes deep blues in the cloaks and bright golds in the decorative details. The use of gold in the garments, particularly in the brocades, highlights the artist's technical virtuosity and his ability to integrate European and local influences. Although the panel format limits the scale and detail of the composition, it maintains the symbolic and devotional richness characteristic of the Quito school. The difference in media and dimensions reveals Rodríguez's adaptability to different formats and commissions. By employing an accessible and emotional visual language, Rodríguez reinforces the role of art as a tool for evangelization and devotion, consolidating the religious and cultural identity of the time. This painting comes from a period of intense artistic production in Quito, driven by the religious orders that promoted Marian iconography within the framework of the Counter-Reformation. The Virgin Mary, as a symbol of purity and divine mediation, acquired great relevance in viceregal art, especially in territories where the indigenous population could identify with her maternal figure.   Reference bibliography: - Kennedy Troya, Alexandra. (2007). 'Arte de la Real Audiencia de Quito, siglos XVII-XIX'. Nerea. - Handelsman, Michael. (2000). 'Culture and Customs of Ecuador'. Greenwood Press. - Escudero Albornoz, Ximena y Vargas Arévalo, José María. (2000). 'Historia y crítica del Arte Hispanoamericano, Real Audiencia de Quito: (siglos XVI, XVII y XVIII)'. Editorial Abya Yala.