Project
PORTADA DE LA MAJESTAD, COLEGIATA DE TORO
- WMF Program:Field Project
- Keywords:church, medieval polychromy, monastery, paint conservation, sculpture, Toro
- Period of Significance:13th century
- Site Types:Sacred
The Portada de la Majestad became an integral part of the 12th-century Colegiata de Toro in the 1230s when its construction began during the reign of King Fernando III. While the initial decorative plan for the portal was primarily Romanesque, its iconographic program evolved over time and also includes Gothic features. The theme of the Virgin Mary dominates much of the portal’s imagery and the depiction of her coronation is located just above in the tympanum. The other polychrome sculptural reliefs of the portal are related to both the triumph of the Virgin, and the Last Judgment, the portal’s second major theme. The Portada is a magnificent artistic treasure completed during the reign of King Sancho IV (1284-1295).
Initiated in 1988 and completed about a decade later, WMF’s project focused on conserving the Portada de la Majestad to its original splendor. Subjected to a host of destructive elements including fire, centuries of exposure to wind and sun, and the accumulation of several layers of repainting, the portal required a variety of topical interventions, including cleaning and the consolidation of its stone support. The conservation team focused extensively on addressing the accumulation of paint layers. Much of the original 13th-century paint layer had been largely preserved and was rediscovered through the careful removal of the later polychromy strata. In areas where the original paint was undetected, the surface paint was only partially stripped to reveal a more modern layer of polychromy. These measures improved the appearance of the sculpture and allowed the beauty of the original carving to be enjoyed. The restoration project culminated in the application of a protective layer to the polychromy surface.
Examples of polychromed sculpture from this era still in their original location are rare. The quality of the carving and the delicate colored surfaces are an artistic triumph that had been lost and protected at the same time. It was obscured from view because over the centuries subsequent paint layers, dirt, and exposure had accumulated on the surface. WMF’s conservation project returned a masterpiece to public view and allowed art historians and conservators to learn a great deal about artistic practices, and past interventions at the site.










