"The arrival of the Romanesque at the Prado in 1948: the Romanesque paintings of Maderuelo", was the degree scroll of the third session of the lecture series "The Prado Museum: historical milestones of its collections", given by the professor of Art History of the University of Santiago de Compostela, Rocío Sánchez Ameijeiras.

During his exhibition, Sánchez Ameijeiras made the exercise of trying to recover the original perception of the murals of the Shrine of Our Lady of Fair Love de la Vera Cruz de Maderuelo (Segovia), "a frontier village" populated by villain knights seeking to redeem themselves for the faults committed previously, with a regional law of a markedly military character. Keeping in mind the closest historical reality, Sánchez Ameijeireas analyzed their iconography, explained who their potential viewers were, and what part of the paintings was exclusively reserved for the eyes of the officiating member of the clergy and why. "We will try to see Maderuelo's paintings as laymen and, later, as clerics, since only the latter could access the complete vision of what was represented. The sin," he added, "could only be seen by the clerics, and the laymen only had access to the part in which the ways of salvation were represented: either through the fulfillment of the commandments or through penance". It was the clerics who saw the images and then indoctrinated the laity: "these paintings are a catechism for their time, a time when few people knew how to read," said Sánchez Ameijeiras, "they had a clear didactic intention".

The set of these mural paintings, Romanesque frescoes of unknown author, date from the first half of the twelfth century. Its original location was in the Shrine of Our Lady of Fair Love de la Vera Cruz de Maderuelo (Segovia), it was transferred to canvas in 1947 and reconstructed in the Prado Museum as faithfully as possible to its original layout, even reproducing the chapel of the village. The walls of the chapel are decorated with figures of angels, Apostles and Gospel scenes, and the headwalls have biblical themes.