The image was considered a post-war work by the sculptor Juan Asenjo García. However, after the intervention, it was discovered that it was a later image modified by the aforementioned artist.
Structurally, the sculpture was in a very poor state of preservation. The candlestick was unstable and the joints of the image itself were all open. The paint layer showed traces of oily resins, such as lip balm, all over the flesh of the face, as well as makeup. Finally, the image had later plaster additions to the hair, cheeks, and nose.
The intervention consisted of replacing the Virgin’s body with one with a more graceful shape for dressing, made of pine wood, with a candlestick to provide structural stability. All rusty internal nails were removed and all joints secured. The plaster additions were also removed and replaced with wood pulp, a more stable material and compatible with the sculpture’s support. The painted layer has been cleaned, and remnants of the original polychrome have been brought to light. From these, a new polychrome coating has been applied, restoring the image to its former appearance. Finally, the remaining glass tears have been cleaned, and new tears have been made to replace those lost. To complete the image, handmade natural hair eyelashes have been added.
