The Art and Technical Mastery Behind “El Caballito”

In the heart of Mexico City stands an equestrian masterpiece, an emblem of history and artistic prowess – “El Caballito,” the equestrian sculpture of Charles IV. Crafted by the skilled hands of Manuel Tolsá, this iconic statue has weathered the tides of time, bearing witness to the dynamic history of Mexico City. In this exploration, we delve into the intricate tale of “El Caballito,” from its creation to its modern preservation, unraveling the technical ingenuity and historical context that define this enduring work of art.

Commissioned as a symbol of loyalty to the Spanish monarchy, “El Caballito” was unveiled in the Plaza Mayor at the end of New Spain. However, the winds of change blew fiercely after Mexico gained independence in 1824, leading to animosity towards symbols tied to the old regime. Legend has it that Lucas Alamán safeguarded the sculpture, ensuring its preservation in the face of potential destruction, marking the beginning of its transformation from a political statement to a cherished work of art.

Following its rehabilitation in 1852, “El Caballito” found a new home at the crossroads of Reforma and Bucareli, witnessing the burgeoning modernization of Mexico City. The sculpture became an integral part of the urban landscape, symbolizing the aspirations and progress of the 19th century. Its journey continued in 1972, when it was relocated to the front of the Mining Palace, solidifying its status as a national monument.

In 2013, “El Caballito” faced a new challenge – significant damage to 45 percent of its bronze surface. The National Institute of Anthropology and History spearheaded a scientific analysis and restoration effort, led by specialists Liliana Giorguli and Arturo Balandrano. This collaborative endeavor, monitored by the UNAM's Institute of Aesthetic Research, showcased the importance of employing a meticulous scientific approach to preserve the statue for future generations.

Technical Mastery of Manuel Tolsá

The research conducted by UNAM experts Omar Olivares Sandoval and Nora Pérez Castellanos sheds light on Manuel Tolsá's technical brilliance. The duo discovered that, at the end of the 18th century, there were no formal schools teaching the casting of equestrian statues in Spain or America. Tolsá, therefore, relied on banned treatises and possibly consulted figures like Fausto Delhuyar and Salvador De la Vega, defying the limitations imposed by the Inquisition.

The study further unveiled Tolsá's mastery in manipulating materials. Contrary to contemporary treaties, he used a smaller proportion of brass, opting to cover the statue with an olive pigment to simulate the patina of aged bronze. Additionally, a system of pulleys and carts was designed, showcasing a transatlantic exchange of technical innovations between New Spain and Spain.

The monarchical structure in New Spain played a pivotal role in the creation of “El Caballito.” The brass used in the statue originated from the mines of Riópar, highlighting the monarch's influence in transporting materials across the Atlantic. This historical context underscores the intricate web of factors that contributed to the realization of Tolsá's artistic vision.

“El Caballito” stands not only as a testament to Manuel Tolsá's artistic brilliance but also as a symbol of resilience, adapting to the changing tides of history. As we marvel at its majestic form, let us appreciate the ongoing efforts to preserve this cultural treasure, guided by scientific methods rooted in the rich tapestry of historical knowledge and technical innovation. “El Caballito” remains not just a sculpture but a living chronicle of Mexico's journey through time.

Characteristics of The Sculpture and Its Pedestal

Materials

Sculpture: Alloy of copper, lead, zinc and tin mainly; internal steel structure.

Pedestal: Ashlars and sheets of stone material adhered and united with mortar. Three plates, two stone and one copper alloy.

Dimensions

Sculpture: 4.88 meters high, 1.73 meters wide and 5.04 meters long.

Pedestal: 3.36 meters high, 2.9 meters wide, 4.24 meters long.

Technique

Sculpture: Lost wax casting.

It is a technique for manufacturing metal objects that consists of obtaining a metal work by pouring molten metal into cavities created in a mold through the loss, by burning, of a positive wax form. There are two possibilities: Direct lost wax and indirect lost wax. Observations indicate that “El Caballito” was made with the direct technique, which is when the wax that will be lost in the mold is the same that constitutes the modeling.

Surface layer

Since the damage suffered in “El Caballito” in 2013, the variety of meanings of the term “patina” has made discussion of the topic difficult. Therefore, considering that a single surface material worthy of preservation cannot be determined in advance, and that the materials present have diverse origins, intentions and characteristics, for this project we prefer the term “surface layer” to facilitate the discussion of the importance and the need to preserve each material based on its particularities: its contribution to the appreciation of the work, the protection, and the information it provides.

Pedestal: Reinforced concrete core covered with stone plates.

Authors

Sculpture: Manuel Tolsá y Sarrión.

Pedestal: Lorenzo de la Hidalga. Tangassi (plates).

Epoch

Sculpture: Designed in 1795, inaugurated on December 9, 1803.

Current pedestal: Designed in 1852, rebuilt in 1979.

Location

Plaza Tolsá, Tacuba, between Marconi and Xicotencátl, Historic Center of Mexico City.

The west plaque details who ordered the sculpture to be made and the date of its placement in the Plaza Mayor of Mexico. The eastern plaque mentions the date of the sculpture's casting and the years corresponding to its different locations until its placement on Paseo de la Reforma. On the south face, the metal plaque, placed in 1979, refers to the movement of the sculpture to Plaza Manuel Tolsá.