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The Chapter of Seville Cathedral has begun the assembly work on the Silver Altar in the Gospel transept, with progress advancing as planned. This technical process represents the definitive recovery of this crossing space following conservation work that began at the start of last year.
The intervention has not been limited to the silver ensemble, but has encompassed a comprehensive renovation of the liturgical and monumental surroundings. In recent months, the restoration of vertical surfaces, vaults and mural paintings has been coordinated, as well as that of the altarpieces of the Virgin of Bethlehem and the Assumption by Durango. Added to this work is the recovery of the oculus of “The Ascension”, a work by Arnao de Flandes, and the consolidation of the wooden architecture that supports the altar.
The Recovery of the Canopy Valances
As part of this process, the valances of the former canopy have already been installed in their original location. This piece of Baroque embroidery, designed by the silversmith Tomás Sánchez Reciente and executed in 1732 in the workshop of Diego de San Román y Codina, has regained its appearance following meticulous cleaning and consolidation.
The textile intervention was carried out by a team of specialists led by M.ª Gema Pérez Morales, with the collaboration of Ana M.ª Herrera Escobar, Mario Sánchez Prieto and Javier Asencio Cisneros. Given the delicacy of the piece, priority was given to curative conservation through a process that included:
- Technical cleaning: Complete vacuuming to remove surface deposits.
- Remediation: Removal of patches, old adhesives and darning that created tension in the fabric.
- Consolidation: Reinforcement of the textile base, chromatic reintegration and fixing of the threads of the raised gold embroidery.
The result allows the crimson velvet and its ornamentation to once again frame this monumental space in all its splendour.
Commitment to Heritage and Worship
The Silver Altar is one of the most outstanding Eucharistic monuments in Christendom. Its design, the work of Domingo Martínez, and its execution by masters such as Manuel Guerrero de Alcántara, Tomás Sánchez Reciente and Juan Laureano de Pina, make it an emblem of Spanish Baroque.
With this restoration, the Chapter reaffirms its commitment to preserving the artistic heritage of the Temple. The progress of this work will allow major celebrations to gradually return to this location, following a period in which worship has been conducted alternatively in the Retrochoir of the Cathedral.