In Virgin of Quito, how is the History discussed?
Legarda had established his reputation when in 1732 he was hired by the Franciscan fathers for the commission of an image of the “Virgin of the Immaculate Conception” for one of the altarpieces in a side chapel of the Church of San Francisco. Legarda could hardly create his own iconography for such a traditional image as the Immaculate Conception — it would not include the Christ child and the colors would have to be white and blue. The completed work was given to the Franciscans on 7 December 1734, which date is visible in the stubs of the hands of the Virgin along with the artist’s signature. Owing to the impressive beauty and impact of the work, the Franciscans promptly reassigned it to the main altar. The unique positioning of the hands and the flouncing folds of the dress — both of which gave an impression of movement — soon yielded the nickname “Dancing Virgin”.  The unaccountable wings resulted in the sobriquet of "Winged Virgin".
In addition to the larger Popayán copy produced by Lagarda himself, countless small devotional images throughout Latin America replicate the famed original sculpture in the Church of San Francisco in Quito. One, produced by the famed artist Caspicara, is in the Brooklyn Museum. The largest copy is the Virgin of El Panecillo, a 45-meter tall statue by the Spanish artist Agustín de la Herrán Matorras on the hill known as El Panecillo in Quito. Made of aluminum, it has overlooked the city since 1976.
Caspicara Virgin of El Panecillo El Panecillo Quito Immaculate Conception Spanish Agustín de la Herrán Matorras Brooklyn Museum aluminum Popayán