There were two reasons for restoring this item.
First, its aesthetic appeal: this creation was very well preserved,
having been on display in an exhibition hall, but its presentation was marred by dirt and varnishes
that prevented us from appreciating its truly delicate nature.
The second reason for restoring this work was the need to undertake a new study.
The piece was very well preserved, very stable.
It consisted of four panels of Baltic wood, a support of magnificent Flemish quality.
The circumference of this work was originally unpainted, being made of exposed wood,
because, like almost all Flemish paintings of this time, it would have had a joined frame.
This work arrived from the Monastery of "El Parral" in around 1838,
and it was in 1847 that it underwent its first and, I believe, its most important restoration
through the auspices of Manuel Brun.
He carried out a complete pictorial restoration
and took the decision to paint over the entire circumference of the painting.
In 1872 the painting came to form part of the collection of what was known as the Real Museo
or "Royal Museum," our Museo Nacional del Prado.
Martínez Cubells undertook a second restoration
in which he did not remove the repainting around the circumference.
He cleaned and touched up the painting.
Subsequently, a further restoration process undertaken by Fonseca made other adjustments.
I began my restoration process with an initial clean using organic dissolvents
in order to remove the varnish.
Many peculiar features emerged under this layer of varnish.
For example, we might mention the enormous quality of the colours.
The reds had been repainted many times,
and my fear was that we would be unable to find their complete glazes underneath, but they were there.
There were simply a number of small patches lost, especially on the character wearing the hat
with earmuffs, dressed in red, whose entire costume had been repainted.
The character by his side wearing the mauve habit had also been completely repainted.
The greens did have that brownish glaze on top, especially the green on St. John's cloak,
but this was a glaze, almost made up of dirt and varnishes that had been respected too much
by previous restorers in the fear that a chemical alteration had taken place.
I was able to remove them and reach the true green colouring, which was perfectly preserved.
One lovely example is provided by the vestments of the character who is kneeling,
being covered with a complete glaze.
This is only interrupted at the tail-end of the cloak,
where a very slight restoration of the glaze completes the habit in a perfect state of preservation.
There were practically no pictorial losses; there were no blank patches, no losses in the finish,
simply a loss in terms of one of the pictorial layers.
And this enables me to understand the painter's pictorial technique from the very beginning,
which was based on a fluid preparation, a highly complex and elaborate design featuring many changes,
many instances of wishing to study the work's perspective.
In each of the small arches of the architectural design, in particular,
we can see how the painter changed the design
of all the elements, especially the landscape, taking great care to cover his steps
so that it would not show through later in the painting.
He applied very rapid and very watery brushstrokes,
creating a first layer in which the design showed through;
subsequently, he painted by adding further layers.
At some point came the last pictorial layer, revealing the design underneath,
the very first pictorial layer,
something which was ratified at all times by the analyses of our technical team,
but which I could see with the naked eye.
This was only covered by the parts retouched by previous restorers.
The point was reached in which the dissolvent eliminated
everything relating to varnishes and retouching work,
but I was unable to remove certain dark stains, for which I needed a watery dissolvent.
At this point I began a second cleaning phase in order to recover the true painting.
This was the moment in which to recover the true identity of this work, returning it to its original format,
replete with all the information provided by the rough edges of the paint and the stucco-work,
which were applied with the frame attached, and which are raised at the edges,
revealing the painter's real intentions.
There are many unique features that have enabled us to discover the creative process for this work
and one of them, for example, is the fact that the hand of the character on the right-hand edge
is painted under the frame.
It is broken by the rough line of the preparation area
and is even broken by an incision that indicates where the frame was fixed,
although the hand still appears underneath.
These frames were made for the moment of painting, not being definitive; they moved and curved
and enabled the painter to paint under them.
This hand was not painted to be seen, since it is outside the frame.
The frame would cover it when displayed, but it shows us we are dealing with a living painter
who constantly interacted with the work.
With the work now completely uncovered, I begin to reconstruct it.
This piece really had very few pictorial losses, and only in a few patches
where the last pictorial layer had been lost did I need to add a coat;
I filled in the rest with the restoration of the watercolour itself.
The restoration seems insignificant, but it was laborious and extremely delicate,
since I felt it was essential to ensure that the work recovered its integrity.
The work was impeccable, and it had to continue to be so.
As is always the case with restorations at the Museo del Prado,
the restoration process began with a watercolour base and ended with a series of varnish pigments
that sought to recover the original glazes as far as possible.
For example, there are details, such as the Virgin's hair, whose ends had been lost
because the oily blue cloak had covered the last lines of hair.
In my restoration I sought to recover them, because it is not right that a work that has been
so meticulously and delicately created should be spoiled in this manner.
The most special restoration process was applied to the fountain area.
There were numerous pictorial losses, because this section was extremely elaborate
and numerous layers had been applied, many of which had fallen.
A great deal of restoration was required here. With regard to the face of the character on the right,
a large part of whose features and right eye were lost, we carried out a minimal degree
of reconstruction in order to restore his restrained expression and his character.
The restoration was completed with a very light varnish so that the original textures
that the painter sought to convey to us would shine through at all times,
replete with the original brushstrokes and delicate movements of the artist's brush.
The cleaning process revealed the entry of light between the columns
and the shadows projected by each of the sculptures; for example, those of the shrine to God the Father,
the evangelists at his foot …, shadow and light that create an entirely structured space,
a search for perspective and many changes in composition regarding the columns
in order to accommodate the light that must flow between them.
In this respect, we have rediscovered space in this work;
the restoration process has brought an enormous number of aspects to light.
We have discovered a much more intense sense of greatness,
by means of the plants, instruments, the bishops' mitres, the small details
that have enabled us to undertake a more in-depth study of this work.
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