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註釋Important critical inventory by art historian Guzmán of the most representative baroque and neoclassic altarpieces kept in different religious buildings in Chile. Thousands of altarpieces were carved and assembled during the 18th and 19th centuries. Their function was to contain a repertory of sculptures and paintings and to serve as backstage to the solemn ritual of mass. Rancagua, Valdivia, Santiago, and other cities hold extraordinary examples of adorned wood structures. Their exuberant fantasy of Hispano-American origin, the rococo sumptuousness of the assemblages of Germanic Jesuit influence and the formal correction of the structures built by neoclassic architect Joaquín Toesca and his disciples represent a patrimonial legacy that express trough diverse means the concept of eternal happiness. "In the altarpiece, what you see is as important as what you cannot see. This grand piece of furniture; so repetitive but in constant evolution has in its formal level a certain "soul", an intent, banned from the church goers eyes and the object of the highest grade of skill in the technical material and construction levels; the "retablistas" where at the same time artists and skilled craftsmen" defines Benedictine priest Gabriel Guarda in the prologue of the book.