Restoration of the gate of the Chapel of the Annunciation or Hernán López de Segovia
The grille of the Annunciation chapel, by an unknown author, is an important work of the early Renaissance
Grid of the Chapel of the Annunciation or Hernán López de Segovia
Although there is no consensus on the date of construction of this magnificent piece, the restoration has allowed to observe adjustments in its placement that suggest that it is not in its original place, being plausible that it was made at a date before the completion of the chapel in 1594. The restoration process has also allowed to eliminate dirt, repaints and oxidation, recovering the grating its splendor and original colors.
The gate that closes the chapel of the Annunciation is a rich work of iron forge with plates cut, relieved, gilded and polychrome. It is organized in two bodies separated by embossed strips of great relief. These are decorated with volutes and fantastic figures that support tondos that contain busts that represent masculine figures, characteristic elements of the first Renaissance made "to the Roman".
The Chapel of the Annunciation was founded by Fernán Lope de Segovia as a funerary chapel and its construction was completed at 1594. While some authors believe that the work of this chapel was done by the royal tracist Juan de Valencia, others attribute their authorship to Pedro de Nantes.
Regarding the fence itself, the specialists have not managed to reach a consensus on its dating, nor on the identity of the Madrid master responsible for its construction. The type of balusters and the embossing of the fascia and frieze serve as an argument for Olaguer to propose that the execution of the grid would be subsequent to the chapel, taking place between 1550 and 1570. Estella in turn points out differences between this and the other bars of the side chapels to indicate that the person responsible for its manufacture was different from the rest of the group present in the church and is based on the similarities with Toledo specimens to propose for the piece that we Compete in 1583.
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After intervention, the fence was in a mediocre state of conservation. In the upper part of the frieze several pieces were loose. The oxidation was widespread, as well as the dirt, generated by the degradation of the surrounding stone and the accumulation of wax. In the cresting, different products had been applied that had caused its oxidation and blackening. The oxidation of iron had caused concretions and deterioration in the golden zones. The set had been repainted on several occasions and part of the applied paint had blackened.
Therefore, in the first place, an exhaustive cleaning of the whole was carried out, started with mechanical means and subsequently applying chemicals. Then the oxidations were eliminated and the iron was rocked. The loose parts of the upper part of the frieze were also replaced. Once the grille of dirt, rust and repaints was cleaned, several layers of protection were applied.
The restoration process has also allowed to know details of the structure of the grid, proving how the three bodies that form it are not framed together, but are supported only by the anchorage to the side walls, supported by stones and wood to save the little mismatches.
On the other hand, it has been possible to observe the lack of space between the crucified Christ and the framing arch, as well as that the bar that makes up the cross had been cut at the height of the helmet of the shield to fit it. All this has led to the hypothesis that the gate was not designed to cover this space but for another enclosure and placed in its current location in a second moment.
In this same line it is feasible to support the hypothesis that its manufacture was prior to the construction of the chapel.
It has also been possible to document that the bars were painted in cerulean blue and the clusters and rings were golden.