Madrid's latest museum presents an unparalleled haven for aficionados of classical art
Next month, an eagerly anticipated project worth £146 million will unveil five centuries of royal collections in the Spanish capital. Among the captivating exhibits, an unmistakably feminine Archangel Michael vigorously wields a fiery sword, relentlessly subduing a desolate devil for over three centuries. In close proximity, Diego Velázquez's colossal painting from the 1630s captures a riderless white horse rearing, while Caravaggio's Salome, draped in a blood-red cloak, presents passersby with the freshly severed head of John the Baptist.
On the 28th of June, these masterpieces, alongside over 640 other treasures sourced from Spain's extensive state-owned royal collections, will finally be displayed, marking the most ambitious museum project in Madrid in decades.
Although the concept of a gallery to showcase the resplendent carriages and tapestries of the royal collections originated during the Second Republic in the early 1930s, plans for the Museum of Royal Collections were hindered by the Spanish Civil War and the subsequent Franco dictatorship. Despite receiving government approval in 1998, the €162 million (£143 million) endeavor faced a quarter-century delay due to the discovery of a significant section of Madrid's 9th-century Arab wall, followed by the 2008 financial crisis and, more recently, the Covid pandemic.
Under the auspices of Spain's national heritage institution, Patrimonio Nacional, the gallery's purpose is to exhibit hundreds of artifacts sourced from the 19 royal palaces and 10 monasteries entrusted to Patrimonio Nacional's care. Ana de la Cueva, the president of Patrimonio Nacional, expressed during a preview tour with The Guardian, "Unlike other museums in Madrid, this is not merely a museum of painting or sculpture but a museum displaying various collections."
"This museum unveils the opulent items accumulated by our monarchs: fans, clocks, glassware, reliquaries, tapestries, rugs, furniture, gilt ware, and musical instruments."
Divided into different sections encompassing the Habsburg monarchs, the Bourbon dynasty, and 20th-century Spain, the gallery aspires to present five centuries of history, delineating both the evolving nation and the changing tastes of its rulers. De la Cueva remarked, "The history of Spain can be witnessed through the prism of these collections, and they perfectly complement the royal palace. Many of these pieces have never been displayed before, and they are truly spectacular in terms of the artists who crafted them."
The martial prowess of Charles V finds representation in his resplendent suits of silver and gold armor and a monumental tapestry depicting his inspection of troops in Barcelona. The pious and austere Catholicism of his son, Philip II, is evident in Titian's crucifixion painting, once housed in the sacristy of Madrid's majestic El Escorial monastery, and El Greco's Adoration of the Holy Name of Jesus, the first artwork commissioned by the Greek artist for the king.
In addition to Caravaggio's vibrant masterpiece, which appears as vivid as the day it was painted, the museum showcases works by the renowned Spanish painter Francisco Goya, reliquaries, bread molds, pianos, mirrors, sumptuous carriages, and four magnificent Spanish baroque pillars, entwined with vines, salvaged from a 17th-century hospital fire.
However, the most captivating piece is the lovingly restored wooden sculpture of Saint Michael's Archangel Vanquishing the Devil. Created in 1692 by Spain's Luisa Roldán, known as La Roldana, the first female court sculptor, this masterpiece stands at an impressive height of 2.6 meters and weighs 157.5 kilograms (24 stone 8 pounds). A team of over 20 individuals utilized a telescopic crane to carefully transfer the statue, which had resided on the fourth floor of the royal palace, to its rightful place in the new museum.
During the restoration process, the devil's imposing horns, added at a later time, were removed, restoring its original appearance with a complexion and features less infernal. The sculpture exhibits remarkable attention to anatomical details, from the devil's veined arms to his slightly unkempt toenails. It also bears personal touches, as Roldán is believed to have modeled the face of the archangel after her own and the devil's after that of her husband.
This sculpture holds a special place among De la Cueva's favorite pieces, although she admits that her list evolves almost weekly. Equally significant to her is the preserved section of the Arab wall, now visible through a vast window, offering a glimpse into Madrid's past spanning over a millennium.
While the museum's resolutely modern 40,000 square meter structure may have initially surprised observers, De la Cueva believes it harmonizes seamlessly with its surroundings. She remarks, "It blends in so well. It shares the same granite and its dimensions perfectly align with the palace's structure."
In addition to its captivating views of western Madrid, the museum surprises visitors with its abundance of natural light. De la Cueva shares, "From the outside, you perceive this verticality and the understated lines, so you don't anticipate the flood of light inside. The interior defies your expectations. When I joined Patrimonio Nacional a year and a half ago, the building stood empty. Initially, I felt it would be a shame to place anything within these walls because it is such a magnificent structure."
Having quickly overcome such reservations, De la Cueva hopes that the 1.5 million people who annually visit the royal palace will now venture across the plaza to indulge in the gallery's offerings. To showcase as much of the collection as possible, over one-third of the 600-plus exhibits will undergo regular rotation, accompanied by temporary exhibitions.
Nevertheless, the project's success will not be solely measured by visitor numbers. The aspiration is for the new museum to act as an appetizer, stimulating people's curiosity to explore Spain's history and treasures beyond the capital. De la Cueva states, "The gallery will serve as a showcase for everything we possess at Patrimonio Nacional. Alongside its remarkable architecture, the gallery will provide a quick, accessible, and aesthetically pleasing overview of Spain's heritage and the diversity of collections throughout the country. It will function as a tourist office, inspiring individuals to consider visiting other royal sites."
