Bernardo Legarda (Quito, circa 1770 - 1773) "Saint John of the Cross" Carved and polychromed wooden sculpture. 80 x 31 x 28 cm. This sculpture is related to another carving which depicts Saint John of God, by Bernardo de Legarda, which is kept at the Convento de Santo Domingo de Guzmán, in Quito. The model representing the saint is very similar, and the similarity of the profuse and delicately brushed polychroming of flowers on both is outstanding, as well as the use of ornaments decorated in gold. Bernardo Legarda, a sculptor and painter of enormous talent, stood out as one of the most important artists of Viceroyalty Ecuador. Like other creators of images by indigenous artists, he dedicated himself entirely to sacred art. A highlight among his most important work is the main reredos at the Church of la Merced in Quito as is the reredos at the Templo de los Jesuitas. This is a marvellous example of baroque sculpture from Quito. Legarda presents us with a humanised saint with a sweet expression, full of spirituality. Marvellous treatment of the carnations, with the characteristic polychroming of the faces that looks like porcelain. With beautiful and delicate features, lips half open, slanting eyes and a slim nose. The saint is wearing a tunic which the sculptor, in a masterful gesture, gathers up as if it is moving in the wind, so that the gilded tunic he wears underneath sticks out, which is decorated with stars and small suns. The decoration of the habit is a delicious brushwork composition of polychromed flowers and fine meshwork in gold. Some important works by Legarda include, for example, the Calvary which can be found in the Convento de Santo Domingo in Quito, Our Lady of Quito which can be found on the high altar in the church of San Francisco (Quito) and the only piece which is signed by the artist, Our Lady of the Assumption of Popayán, kept in Popayán Cathedral, Colombia, a John of God in the Convento de Santo Domingo in Quito, and The Calvary in the Cantuña Chapel, in Quito. He is also the creator of the main altarpieces at the church of the Monasterio del Carmen Bajo and the Church of Merced both in Quito, as well as the reredos at the Presbytery of the Church of the Society of Jesus. Reference bibliography: Escuela quiteña: principales exponentes y su legado en el arte ecuatoriano. Plan de difusión cultural”. Estupiñán Ordóñez Doris Amelia. Page 187, nº 48