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The purpose of this essay is to present the Project for the Engraved Sources of Spanish Colonial Art (PESSCA), outline the contributions this project makes to the catalogation, hermeneutics, ontology, conservation, reconstruction, and recuperation of colonial art, and to illustrate, in greater detail, the contributions this project makes to 176 ALMERINDO OJEDA DI NINNO NORBA. Revista de Arte, Vol. XL (2020) 175-184, ISSN: 0213-2214 the virtual or historical reconstruction of colonial artworks which are too damaged to restore. Here we shall present the historical reconstruction of canvases from the Cathedral and of San Francisco de Quito (Ecuador) and Santa Catalina de Arequipa (Perú), of a hide painting of the Museum of International Folk Art of New Mexico (USA), and of several mural paintings of the States of Hidalgo and Oaxaca (México).

La reconstrucción histórica del arte colonial a través de sus fuentes grabadas: El caso de PESSCA