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 To this end, it describes the unpublished results of two archaeological campaigns (1987-1989 and 2001-2002) in the Great Prayer Room (14th century), which was transformed into a church and cemetery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.

Sometimes the titles of styles lend themselves to confusion and lead to errors that are difficult to eradicate. This is the case of the treasure of San Isidoro de León, which, although it has come down to us in a much diminished state, originally represented a collection of artistic works of great quality and beauty. It was donated by King Ferdinand I and Doña Sancha to San Isidoro in 1063, that is, when the Hispanic liturgy, linked to tradition, was in full force.
The art should not be ascribed to the Romanesque style, which in the Hispanic kingdoms is fundamentally related to works after 1080, the year of the Council of Burgos, which imposed the use of the Roman liturgy. The Oviedo treasure, like the Asturian monarchy itself, refers back to the ancient Visigothic monarchy. The Visigothic kingdom of Toledo was a constant point of reference in the artistic and political projects emanating from the court of Oviedo. The survival of iconographic types, such as the Greek cross with pawed arms, in the most varied arts, as well as the continuity of certain offerings, is nothing more than a manifestation of respect for tradition rather than an interest in introducing new fashions. The custom of donating votive wreaths of the type found in the Guarrazar treasure survives during the reign of Fernando I.
The commissioning of a Beatus by the same monarch, which is the most genuine manifestation of Hispanic monastic liturgy, must also be considered to have survived. Romanesque art is reflected in some later, particularly important works, such as the Holy Ark in Oviedo Cathedral.