State of conservation
- 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 group’s state of conservation prior to restoration was not ideal, due to both the inherently fragile nature of the material of which it was made and the inappropriate conditions in which it had been kept and displayed.
The support had dried out considerably and revealed cracks and fractures, particularly on the base. In addition to these small losses in the ground area, the fingers, edges of the folds and the most prominent areas, the work had been vandalised and showed the marks of numerous cuts and graffiti.
Previous restoration had resulted in losses being made up with very hard areas of stucco covering the original surface, protective layers applied in a partial manner that had penetrated the material in an irreversible manner, and some poor quality, volumetric reconstructions. All this meant that the quality and state of preservation of the work was notably uneven and depended on the area in question.