There exists a consensus in academic literature regarding the centrality of engraved prototypes for the production of colonial paintings in the Spanish Americas. In Peru, these artistic models were written into legal contracts between painters and clients. An examination of the notarial contracts produced in Cusco from 1650 to 1700 suggests that prototypes in a variety of formats were not only central to artistic professional practice, but that adherence to their images may have provided one motive for entering into such agreements. This study leans upon the centrality of Flemish print sources to confirm the attribution of a partial canvas at the Pinacoteca Universidad de Concepción, Chile as an episode of the series on the life of Diego de Alcalá (c. 1710) in Santiago, Chile. Commissioned from Cusco by the Franciscans of Santiago, the status of the hagiographic cycle as the most extensive ever produced on the subject of this missionary saint dictates that a multiplicity of sources was necessary for its creation. By identifying two engravings that served as its models, this study recovers the subject of this painting as a miracle that sustained Diego during an arduous journey.

中文翻译：

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装在盘子上：圣地亚哥·德·阿尔卡拉为智利圣地亚哥的方济各会雕刻的“奇迹般的膳食”的来源（约1710年）

在学术文献中，关于雕刻原型在西班牙美洲生产殖民画作的中心地位已达成共识。在秘鲁，这些艺术模型被写入画家和客户之间的法律合同中。对库斯科1650年至1700年签订的公证合同的考察表明，各种格式的原型不仅是艺术专业实践的中心，而且遵守其图像可能为达成此类协议提供了动力。这项研究基于佛兰德印刷品来源的中心性，以证实智利松果艺术大学部分画布的归属，作为智利圣地亚哥迭戈·德·阿尔卡拉的生平系列（约1710年）的一集。由圣地亚哥的方济各会人从库斯科（Cusco）委托，根据这位传教士的圣物，有史以来最广泛的全息术周期的现状表明，其产生必须有多种来源。通过确定两个作为其模型的版画，本研究将这幅画的主题恢复为在艰辛的旅途中维系着迭戈的奇迹。