The Madrid City Council has begun a comprehensive five-month project to conserve one of the city’s most iconic landmarks.
Designed in 1777 by Ventura Rodríguez, the fountain has changed location throughout its history and is part of the Landscape of Light, a UNESCO World Heritage Site.
Cleaning the stone, treating the joints and metal parts, and reinforcing its stability are some of the tasks being carried out to protect one of Madrid’s symbols.
Since its inauguration in 1781, the Cibeles Fountain has witnessed many important moments in Madrid’s history. In early June, it was one of the settings for Pope Leo XIV’s visit, and just a few days ago, it was packed with fans welcoming the Spanish national team players after their World Cup victory.
All these events, along with the passage of time, have left their mark on the monument, which has already been restored several times over the years. Now, the Madrid City Council is undertaking another restoration process with a contract value of approximately €260,000 and a five-month timeframe, fully funded by L’Oréal Groupe Spain, which also collaborated on the restoration of Notre-Dame Cathedral in Paris and the Neptune Fountain.
The restoration has also been opened to the public through the ‘Open for Restoration’ program, offering 176 guided tours and 2,640 free places to see the conservation work firsthand. The tickets, which could be reserved from July 23, sold out shortly after opening.
A monument with more than two centuries of history
The Cibeles Fountain was designed in 1777 by the architect Ventura Rodríguez, as part of a larger project to beautify the Paseo del Prado with three fountains dedicated to the elements of nature. Cibeles, goddess of the Earth in mythology, was chosen to represent that element, while Neptune, at the other end of the promenade, represents Water.
The sculpture was carved from Montesclaros marble (Toledo) and involved several artists: Francisco Gutiérrez sculpted the figure of the goddess, with her tower-like crown, her scepter, and the keys to the city, as well as the wheels of the chariot; Roberto Michel was responsible for the two lions, named Hippomenes and Atalanta; and Miguel Ximénez carved the decoration of the chariot. The work was completed and installed at the end of 1781, although it was then located in its original spot, near the beginning of the Paseo de Recoletos.
It wasn’t until 1895 that the fountain was moved to its current location, at the intersection of the Paseo del Prado and Calle de Alcalá, also changing its orientation. During this relocation, the two children that decorate the back of the chariot were added, and the entire structure was raised on a platform surrounded by an ornate railing.
Since then, it has been restored several times, including in 1980 and 2016. Today, integrated into the Landscape of Light, declared a World Heritage Site by UNESCO in 2021, the Cibeles Fountain remains one of Madrid’s most recognizable symbols.
Why is it being restored now?
The project is based on a preliminary study carried out last year by the Directorate General of Cultural Heritage and Urban Landscape, with the aim of assessing the fountain’s state of preservation. The study concluded that the sculptural ensemble is in acceptable condition, although it shows normal wear and tear due to its outdoor exposure to pollution and environmental factors such as sudden temperature changes, wind, rain, and frost.
Specifically, the study detected dirt accumulation, cracks and fissures, rust on the metal pieces, damaged areas of stone, and old repairs and mortar in poor condition in some areas of the ensemble. All of this indicated the need for a comprehensive intervention, addressing all these problems simultaneously.
What will the restoration entail?
The conservation work will include several processes, beginning with a preliminary cleaning to remove bird droppings and other organic debris from the surface of the sculpture.
Cleaning the Stone Surface
The goal is to remove dirt to better preserve the monument and allow it to appear as it is. Different methods will be used, depending on the characteristics of each area, the type of marble, and how deeply the dirt is adhered.
When the dirt is superficial, it is easily removed with gentle brushing. In areas with more stubborn dirt, however, micro-projection, among other techniques, will be used. This involves applying compressed air at low pressure to avoid damaging the stone. This technique can be combined with tools such as a spatula or scalpel.
One of the culprits behind the most difficult-to-remove dirt is Saharan dust, which over time leaves a brownish-orange layer on the stone.
Microorganism Removal
After studying and identifying the types of moss, lichen, or other microorganisms that have colonized the stone in each case, the most effective and sustainable treatment will be applied to eliminate them.
Joint Treatment
To protect the sculpture from water ingress, meticulous work is required to treat the joints (the connections between the stone blocks) and seal all the small cracks.
In general, the joints of the monument have a first layer of brown mortar and, underneath, a second layer of epoxy resin, a very resistant and durable material capable of maintaining stable joints for a long time.
In this case, it was decided to preserve the epoxy resin layer since, although it has cracks in some places, it is still functioning well. Removing this resin, which has hardened over time, could jeopardize the integrity of the stone. Even so, lime mortar (the material traditionally used to seal the joints between stone blocks) will be applied over it to close the cracks.
On the other hand, in the areas where the preliminary study detected the use of an unsuitable mortar, it will be removed using precision mechanical processes, such as fine chisels or vibro-incisors (tools that operate with compressed air), which allow the removal of these mortars without damaging the original material.
Restoration of Metal Components
The Cibeles Fountain features iron plates that serve an important technical function: they ensure the structure remains stable and level. These plates exhibit a high degree of wear and oxidation due to prolonged exposure to humidity and atmospheric pollution. Therefore, the rust will first be removed, and then a treatment will be applied to slow the corrosion process.
Improvement and Monitoring of Stability
To improve stability, the gaps beneath the stone will be filled, creating support points that help correct the existing instability. In addition, a system will be installed to monitor the evolution of this process: an electronic sensor connected to two crack sensors will be placed in the fountain’s lower gallery. The data obtained will allow for monitoring the stability of the structure and, if necessary, the application of additional solutions.
Color Touch-ups and Final Protection
A light color touch-up will be applied to surfaces where the contrast with the original is very high. This retouching will be done with silicate paint (mineral paint that chemically adheres to the stone), applied using stenciling or stippling techniques, that is, with small touches of color. Finally, water-repellent products will be applied, which repel water and thus prevent the deterioration caused by humidity, air pollutants, and rain.
