This article presents the collection of late medieval and Renaissance amulets with magic squares from the National Archaeological Museum of Madrid, virtually unpublished to date. The planetary amulets depict various Greco-Roman deities syncretised with Hebrew angels (e.g. Venus-Anael or Jupiter Satchiel). The backs are occupied by magic squares, each symbolising the corresponding planet through a numerical combination. The pentagon amulets show on the obverse the face of Christ inserted in this geometrical figure. Their reverses are again occupied by magic squares, although the numerical values have been replaced by variations of the Name of God in Hebrew letters. This set offers an interesting insight into little-studied beliefs and practices that combine Renaissance symbolism, Hebrew tradition and classical heritage.

The purpose of this work is to approach the religious mentality, beliefs and devotions through the study of the iconography applied to the sepulchres of the clergy, which as a whole constitute one of the fundamental sources of knowledge of late medieval spirituality. The choice of the Burgos area is due to the consideration that the most interesting collection in Castile is preserved there, both in terms of quantity and quality, and for this reason, knowledge of it can be useful, and also suggestive for establishing comparisons with other centres of activity in the Peninsula.

In recent years, new lines of research have been developed that allow us to broaden our knowledge of the Jewish quarter of Toledo. In this sense, this work focuses on a subject that has been little dealt with in the literature, namely the funerary use of the space of the Tránsito Synagogue. To this end, it describes the unpublished results of two archaeological campaigns (1987-1989 and 2001-2002) in the Great Prayer Room (14th century), which was transformed into a church and cemetery (15th to 19th centuries) and is now the site of the Sephardic Museum. The publication of this work also brings to light the osteological results of a group of individuals who were buried in this place in modern and contemporary times.

On the occasion of the museographic renovation of the National Archaeological Museum, an important codex from the Department of Medieval Antiquities, known as the Huesca Bible, was restored. This article describes the work, both in terms of its intellectual and material values, and the determination and justification of the treatments carried out. The actions have followed the criterion of maximum respect for the integrity of the work, guaranteeing the minimum intervention and respecting and maintaining all the original elements.