- Restoration, of The Agony in the Garden with the Donor, Louis d’Orléans (1405-1408)
- Restoration, of The Wine of Saint Martin’s Day by Pieter Bruegel the Elder
- The Restoration of the two Equestrian Portraits by Velázquez
- Restoration of Ariadna
- The Restoration of Nero and Seneca by Eduardo Barrón
- The Restoration of Adam and Eve, by Dürer
- The Restoration of Philip II on Horseback by Rubens
- The Restoration of The Adoration of the Shepherds by Pietro da Cortona
- The Restoration of The Soult Immaculate Conception by Bartolomé Esteban Murillo
- The Restoration of The Purification of the Virgin in the Temple by Pedro de Campaña
- The Restoration of the 2nd and 3rd of May
The entire surface of the work was cleaned in order to remove deposits of solid particles and surface coatings.
The joins were filled in with a reversible material in order to lie flat.
The chromatic reintegration of the joins was entirely limited to the gaps, following the criteria of reversibility and of making them visually discernible. All reintegration must be distinguishable from the original in order to avoid possible falsifications and must be easily removable without harm to the work should this be necessary.
The chromatic reintegration was carried out with watercolour using the dot method as a differentiating technique.
The aim of chromatic reintegration is to achieve the complete visual integration of the joins in order to see the Ariadne as a visual whole and in a formally unified manner. It should be remembered that this is a work from a sculpture collection rather than an archaeological collection. As a consequence, its visual interpretation must be unified so that no element or line of fragmentation can break the visual unity of the whole by having too much visual impact. When looking at the Ariadne, the viewer must perceive the whole before the parts, seeing a complete work rather than an accumulation of fragments.
Following the criteria of minimal intervention the Museum's restorers did not aim to reconstruct the missing pieces of the fingers and toes. However, the gaps in the back were covered up by filling them in using the same technique that was employed for the joins.
As a preventative conservation measure the sculpture has been set on a stainless steel base that will enable it to be moved around and installed. The base and the sculpture have thus become a single unit to ensure its safe movement, handling, packing, installation and storage. This system will be easily adaptable to different display concepts by the addition of a cover of the required material and colour in each case.
Given that the work is now in a museum environment no protective layer was applied, thus respecting the surface of the stone by not applying any additional substance to it.