The Royal Monastery of Sijena , established in 1188 by Queen Sancha de Castilla , holds an esteemed place in the history of the Crown of Aragon , embodying one of the most significant artistic heritages of the Middle Ages . Renowned for its magnificent chapter room and main altarpiece, the monastery became the subject of fascination, often referred to as Sijena’s treasure . However, the rich treasures of Sijena were not immune to the ravages of time; wars, looting, and 19th-century confiscations led to the dispersal of its cherished artworks. This article explores the intricate history of the paintings and their various fates.
From Madrid to Dallas
The assets of Sijena are currently housed in multiple museums across Spain . Notably, the Prado Museum features the majestic painting known as Nativity, which, measuring nearly two meters, is owned by the State and was ceded in 2003. Furthermore, the Zaragoza Museum , the Museum of Huesca (which has housed four significant tables from the main altarpiece since 1894 ), the Museum of Santa Cruz in Toledo, and the Museu Nacional d’Art de Catalunya (MNAC) also hold pieces of this artistic legacy. Some artworks even crossed the Atlantic, reaching galleries such as the Casa Museo Enrique Larreta in Buenos Aires and The Meadows Museum in Dallas , which acquired the painting The Worship of the Magi for half a million dollars in a 2018 auction held in Madrid.
The Catalan Question
The dispute surrounding the ownership of Sijena’s artworks primarily involves claims by Aragon and Catalonia . Aragon insists on reclaiming these pieces because they were sold post- 1923 , after Sijena was declared a national monument, making any subsequent sales illegal. The complexities of prior acquisitions also complicate the situation; many of the artworks now rooted in different regions came through third or fourth purchases, rendering legitimate claims highly challenging.
Save or Plunder
The conflict intensifies at the crux of the issue—did Aragon suffer a plunder , or was this a legitimate preservation effort? Josep Gudiol , a historian and architect, arrived at Sijena in October 1936 , after the monastery faced destruction due to anarchist militia fires. Gudiol discovered, in his own words, “a lot of burned debris” that compelled him to act. He salvaged many works from imminent destruction amidst a chaotic war. His actions were sanctioned at that time by both the Generalitat and the Museum Board, aiming to preserve what was left of an architectural marvel.
Extreme Fragility
The artworks recovered exhibited significant fragility, having endured temperatures exceeding 800 degrees Celsius , which altered their chemical properties. The paintings in the Capitular Chamber , arranged in an oval format around the arcades, suffered damage through a method known as Strappo , leading to loss percentages, where almost one third has vanished due to fire damage. Gudiol restored these pieces superficially using plaster to stabilize them.
Conservation in the Museum
Today, the works are preserved in the 17th and 18th rooms of the MNAC , which is dedicated to Romanesque art. These rooms maintain stringent climate controls concerning air pollutants, humidity, and temperature. Any fluctuations trigger alarms designed to protect these delicate pieces from irreparable damage, underscoring the extreme care required to ensure their survival in a museum setting.
Latest Analysis
Recent examinations reveal the fragility of these paintings. A micromust extracted in June exhibited decomposition shortly after exposure to varying environmental conditions. Additionally, a study based on samples collected in 2021 indicates potential chemical reactivity, forming salts and crystals that threaten the pigment’s integrity.
Artifacts
Restorers are careful to label these pieces not merely as wall paintings but as artifacts due to their delicate nature. The pigment layers are strikingly thin—often just thousandths of a millimeter. Unlike other mural paintings from Romanesque churches, these pigments rely heavily on an organic adhesive called casein and are fastened to nearly century-old fabric attached to a wooden support by flour paste, requiring meticulous care and attention in all restoration efforts.