Viceregal School. Cuzco. Peru. 18th century. “The Divine and Angelic Doctor Thomas Aquinas” Oil on canvas. Relined. 72 x 51 cm   A depiction of the Dominican saint and Doctor of the Church, Thomas Aquinas, painted with exquisite and delicate Cusco brushwork, showcasing the 'verae iconographia'—the true and faithful iconography—of the Italian friar at its finest. Saint Thomas Aquinas was a medieval Italian theologian, philosopher, and Dominican friar (1225–1274), dedicated to study, preaching, and teaching. He integrated Aristotelian philosophy with Christian theology, producing masterpieces such as the 'Summa Theologia', and firmly upheld that faith and reason are complementary. Despite his noble birth, he joined the Dominicans. Though his family initially kidnapped him in opposition, he pursued his studies in Cologne under Saint Albert the Great and later taught at the University of Paris, where his quiet and contemplative nature earned him the nickname “the Dumb Ox”. His legacy profoundly shaped Western philosophy and theology.   This is a remarkably complete portrait, featuring the majority of the iconographic attributes traditionally associated with him: - The Sun, suspended on a gold chain upon his chest, represents the universal light of his doctrine and the divine illumination he received. - The book and quill symbolise his vast written output and his role in conveying the Church’s doctrine. Within the book are phrases he himself used to describe God: 'Bone Pastor, Panis Vere' (Good Shepherd, True Bread) and 'Tu Rex, nostri miserere' (You are King, have mercy on us). - The Dove, descending upon him, symbolises the guidance of the Holy Spirit in his writings. - The Rosary, traditionally associated with the Dominicans, recalls both his devotion and his role in promoting the cult of the Rosary. - The Mitre held by an angel, symbolising the episcopal office he refused when offered by Pope Urban IV.   At the lower edge of the painting, we find an inscription identifying him. He is known as the “Angelic Doctor”, a title given in recognition of his heavenly wisdom and intelligence. In other depictions, he is even shown with two wings on his back. Seated in his monastic chair—as if already in heaven—the saint is portrayed in a sacralised space that conveys a sense of holiness. The Divine Doctor gazes in rapture and love upon the Divinity: the crucified Christ, surrounded by angels. Above him are two *putti*—one with blue wings, the other red. In Christian iconography, blue symbolises the divine, the heavenly, peace, and faith; red represents vital energy, Christ’s shed blood, sacrifice, and love. Their combination alludes to Christ’s dual nature: divine and human.   As a skilled Cusco painter, the artist makes masterful use of gold leaf—in the mitre, the monastic chair, and the sun medallion on the saint’s chest—highlighting the sanctity of the setting and the subject. The gold imitates the splendour of the divine Sun and echoes European religious iconography, evoking the spiritual and sacred realm.