TRANSPARENTS    

The first 'vele'
Bagutti
The 1800s
Contemporary artists
Conservation
The technique
The restoration process
Iconography
The purchasers
The routes

 

Showgallery

 

The first series of "doors

The very few documents on the transparents that have been preserved included, until a few years ago (it has now been lost), a sheet indicating the order in which the first ten “transparent doors” had to be placed. They were rightly called “luminous arches” at the time.

Since the owners of the houses (who had also paid the execution of the works) on which they were placed and not the streets (nor the inhabitants of the related street numbers, which did not exist at the time) are mentioned, it is not easy to understand precisely where they were placed, even considering demolition works and new buildings that were constructed in the town.

The oldest map to be preserved (late 1800s) with the indication of the probable locations (the 3 ascertained ones are in white) was displayed at the extraordinary exhibition of some transparents at the Art Museum in spring 2012.

The identification of the iconographic theme is far more important. It provides evidence that it was never a Way of the Cross, due to the presence of certain other subjects, especially dedicated to Mary, and the absence of other essential themes. Even the order in which they were placed was inconsistent with the chronological order of the evangelical episodes.

This logical order has not been respected starting from the first centenary of 1898, thus justifying the combinations of the large arches, the wrong replacements and the addition of new subjects with the need to extend the series, or to replace “doors” that have disappeared. This superficial approach to the originality of the transparents and their cultured nature continued until the second centenary, when an attempt was made to partly remedy to the damages wrought, without eliminating the “new” “doors” that, despite being inconsistent, had become part of the tradition.

Ancient order of the “doors

Door
No.
Subject of forward phase  
No.
Subject of return phase
1
Placard  
11
The deposition from the cross
II°
2
Washing of the feet  
12
Jesus is stripped of his garments for the crucifixio
III°
3
Christ takes leave of Mary  
13
Jesus falls and is helped bz Simon of Czrene
IV°
4
Jesus prays in Gethsemane  
 
5
The scourging at the pillar  
14
Jesus meets his Mother
VI°
6
The crowning with thorns  
15
Ecce Homo
VII°
7
Jesus is sentenced to death  
16
Peteràs denial
VIII°
8
Jesus consoles the weeping women  
17
John informs Marz
IX°
9
The crucifixion  
18
The betrazal and arrest of Christ
10
Jesus is placed in the tomb  
19
Jesus awakens the apostles in Gethsemane

Works that have disappeared are in italics . The 4th door had only one side, since it was placed transversally to the procession.

 

Modern order of the “doors

Door
No.
Subject of forward phase  
No.
Subject of return phase

1

The Last Supper (copy by Gilardi da Anastasio)

 

12

The three Marys (Gilardi da Anastasio)

II°

2

Washing of the feet

 

 

 

III°

3

Pilate and Ecce Homo

 

 

 

IV°

4

(Peter's denial) in the Praetorium

 

13

The betrayal and arrest of Christ

5

(Jesus is sentenced to death) Jesus before Herod

 

14

The crucifixion

VI°

6

The scourging at the pillar

 

15

Jesus meets his Mother

VII°

7

The crowning with thorns

 

16

Jesus is stripped of his garments and offered a drink mixed with gall

VIII°

8

Jesus prays in Gethsemane

 

17

Veronica (Jesus consoles the women)?

IX°

9

Mary at the Sepulchre (Cassinari 1979)

 

18

Division of the clothes (Cassinari 1979)

10

The entrance to Jerusalem (Realini 1969)

 

19

The resurrection (Realini 1969)

XI°

11

Christ in the Sepulchre (Anastasius 1898)

 

20

The deposition of Christ (Anastasius 1898)

Works added after 1989 are in italics . The above-mentioned door no. 9 produced by Anastasius in 1898 is irrecoverable.

While waiting for the presentation of the “transparents” to be completed, the following is provided as an example of a historical and artistic analysis of some of the most significant ones.