Novo-Hispanic School. 18th Century. Attributable to José de Páez or Miguel de Cabrera. 'The Holy Trinity' Oil on copper Presented in its marvellous period frame: which has a wooden core covered in tortoiseshell with inlaid silver. 16 × 23.5 cm Dimensions with frame: 33.5 × 33 cm   This spectacular painting is enhanced by its exquisite handcrafted frame, making it a true collector´s piece. The subject of the Holy Trinity is further enriched by this magnificent setting: a wooden structure sheathed in tortoiseshell, adorned with carved silver motifs—foliage, volutes, shells, petals, buds, leaves, and stems—forming an abundant baroque garden. This ornate decoration visually reinforces the theological significance of the painted truth and the complexity of the dogma. The painting is anonymous, yet it evokes the features and gentle expressions seen in the art of Miguel Cabrera or the tenderness of José de Páez—as if inspired by them—while unmistakably showing the signs of having been painted by a Mexican artist. The composition aligns with many others from the period, displaying subtle variations in movement and colour that reveal the artist’s personal taste. In 1715, Pope Benedict XIV prohibited depictions of the Holy Trinity that denied the immaterial nature of the Holy Spirit. Nevertheless, this artist, like others of the time, resolved the challenge of representing this theological complexity by using identical facial features for each figure, while distinguishing them through colour and symbolic attributes. At the centre sits God the Father, clad in a white-grey tunic—symbol of revelation—with a radiant sun on His chest representing divine light, and a golden sceptre resting upon the orb on His knee, a sign of sovereign power. To His left is Christ, robed in blue—denoting His divine nature—with stigmata on His hands and feet, and the Mystic Lamb on His chest, alluding to His salvific sacrifice. To the right, the Holy Spirit is depicted in red and pink garments, evoking Pentecost and the living flame of love, with a dove upon His chest. The three divine Persons are set upon a sea of clouds and cherubic supports, radiating divine light that signals their shared divinity. The luminosity of the colours, the movement of the drapery, and the sweetness of the expressions are particularly striking in this copper painting. The frame itself is worthy of special note. A wooden base veneered in tortoiseshell, with delicately engraved and carved silver floral inlays reminiscent of Indo-Portuguese flowers and Mughal ivory carvings from India and Gujarat. This horizontally oriented frame is crowned with an upper crest and three rosettes—evoking the Trinity—which give the piece a unique flourish, enhancing its elegance, dynamism, and significance. An exceptional piece that reflects the artistic richness and craftsmanship of the colonial period. Its intricate workmanship and combination of precious materials such as silver and tortoiseshell highlight its aesthetic and historical value, making it a highly desirable object for collectors of colonial art and culturally significant antiques. Without a doubt, this is a piece of great historical and artistic importance.