A portrait of Elizabeth II dated 1855 and a landscape of Normandy painted in 1884 were deposited permanently by the Prado Museum to the Provincial Council. Within the most recent year, 1931, the piece Dressing the Bride joined them after a purchase, and all three works show signs of damage and water exposure. The visible effects suggest an attack on property, and the marks on the footprints indicate that the damage occurred during a sustained, forceful intervention. Interpretations from sources in the region point to an intentional act by one or more individuals who treated the canvases with cruelty. The observation comes from a member of the Prensa Ibérica group, reporting for Vision-Correo de Zamora.
Some defects are not visible to the naked eye, except under direct sunlight in the wall area to the left of the stairs leading to the upper floor. In the ground floor corridor, on the left beside the entrance to the monastery, these flaws do not diminish the solemn presence of the works. The Prado is expected to decide which restoration team to hire, according to the referenced sources. The planned rehabilitation would be covered by County Council insurance, though the exact cost has not yet been determined.
Damages
The work titled Dressing the Bride, attributed to Richard the Second, is the first damaged painting encountered on the ground floor of the property. The painting shows signs of a merciless handling, as if someone had acted with a sharp instrument. The responsible party remains under investigation.
Further along the corridor to the left, an unnamed portrait of Elizabeth II reveals deep perforations. The lower right edge shows marks that resemble a sharp tool, and experts will assess how such small cracks formed and what they imply for conservation.
The Normandy landscape, created by Jaime Morera and Galicia, was torn at the fabric in one of the most striking scenes to grace the walls of the Palacio de la Encarnación.
National Police authorities are examining the artworks to determine how the incidents occurred. This investigation is expected to identify signatures or patterns that could reveal whether similar acts were aimed at other pieces within the collection. The police unit that handles crimes against heritage will conduct a detailed review of each oil painting.
Closed circuit cameras and palace access in the afternoon
The provincial institution intends to implement a few immediate security measures. Access to the building from La Encarnación church will be restricted to improve control over the audience in the exhibition hall, particularly during the afternoon shift and near the public restrooms on the ground floor of the palace.
A second step involves installing closed circuit cameras to monitor the entire property, given its complex layout. At present, there is only a single surveillance camera that provides interior access.
A watchman’s keen observation
A night watchman from the security company guarding the building proved instrumental in detecting the problem. By focusing on paintings along La Encarnación’s corridors, he noticed the sun’s reflection on the canvases creating unusual glare. Moving closer revealed damage to one of the oil paintings left in the Prado Museum. The incident was first reported on a Saturday, September 30, when the security team delivered the news.
According to provincial council leadership, new checks have been put in place to determine whether vandals target additional works of art.