Viceregal School. Peru. 17th - 18th century. Lord of Earthquakes'. Oil on canvas. Relined. 114 x 82 cm. As we read in the Colonial Museum of Bogota's record 'El Señor de los temblores (Lord of Earthquakes) of Cuzco Cathedral, the statue, according to various legends, was donated by Charles V or Philip II to the city of Cuzco, viceroyalty of Peru, to support the processes of evangelisation of the Inca population. The sculpture, dating from the mid-16th century, replaced another Christ known as the Good Death around 1560. Initially, the sculpture kept the name of its predecessor until 1650, when it began to be known as the Lord of the Tremors. The change was due to the fact that in that year there was an earthquake of great intensity in the city of Cuzco. In order to calm it down, the citizens processed with the statue, which, according to the story, calmed the effects of the quake. After the miracle, the image of the Lord of the Earthquakes spread widely throughout Latin America. The image, thus inspired by the carving from Cuzco, has several peculiarities, the most visible of which is that it portrays a 'black' Christ, a characteristic made possible by the scarce and simple polychromy, especially in the skin tones. The choice of materials is based on the flora of the Andean region, as it is made from agave and other plant fibres typical of the area. Such compositional characteristics allow us to think that it is possible that the image is of indigenous origin, which highlights its value as a testimony to the cultural crossbreeding brought about by the historical colonial processes, while at the same time leading us to question the legend surrounding this carving. This image of Christ has had a strong process of local appropriation by the indigenous communities of Cuzco, so much so that it is known as Taitacha Temblores, Taitacha being a Quechua word for saints or divinities. This linguistic particularity would point to the relationship that exists between an indigenous community, community devotional practices and cultural appropriation. The Monastery of Santa Catalina in Arequipa, Peru, also has a Señor de los Temblores with a donor, very similar to this one.