The work had a layer of oxidized varnish that gave it a duller, more yellowish appearance, as well as losses in the paint layer in the area of the bonnet and small deformations in the canvas caused by movement resulting from its lack of tension. The restoration process consisted of protecting and consolidating the polychromy, cleaning the stretcher frame and the reverse of the work, and subsequently taking advantage of the minimal moisture from cleaning the reverse to carry out an initial ironing of the paint layer, thereby correcting the small undulations caused by the lack of tension. Next, the front surface was cleaned to remove the oxidized varnish, and the small losses of stucco were restored before reintegrating the gaps in the polychromy. Finally, a thin layer of varnish was applied to protect the pictorial film. The restoration ultimately revealed the colours used by Sorolla, giving the painting a more luminous appearance. The stabilization of the canvas, together with the reintegration of the small losses and the correction of the deformations, allows the viewer to fully enjoy the wonderful skill of the Valencian master of light.