The Holy Week Museum will not be able to have some of the fundamental carvings of the brotherhoods of León “because they are for worship”, a circumstance that was already known from the first moment in which it contacted the penitential and sacramentals of the capital. The project was created “with wrong criteria,” according to the co-director of the entity, Alejandro Grande, who made these statements at the Museum's presentation to the media.
Luis García Gutiérrez, president of the board, was accompanied at the unveiling of the facilities by Máximo Gómez Rascón, César García Álvarez, Iván González Sánchez, Ariadna González Del Valle and Alejandro Grande Martinez, in the explanation prior to the official opening ceremony, that will take place at the institutional level today.
Those responsible for the Museum confirmed that it will definitely not be possible to use the elevators that were going to take the carvings to the second floor because this function will not be enabled. They also ruled out the introduction of thrones because the meaning of the exhibition does not go in that direction and rejected the possibility of products from the brotherhoods being put up for sale “because this is not a market.”
Nor could they hide their disappointment at the difference between the initial approach and the final result: “We have encountered this and we have to face what there is,” they explained in a very graphic way. They referred, among other issues, to the fact that the glass dome that adorns the central space of the roof prevents the main room of the museum from being enabled as an exhibition area due to the harmful effect that the sun's rays could have on the sizes.
The management has made the determination that in subsequent events neither lunches nor dinners can be held inside the museum facilities, as had happened in recent times, although they did not reject the possibility of enabling their use for purposes alien to Holy Week and diocesan themes. “We will have to rethink it, because it is clear that this is a living entity,” explained Luis García, as the person in charge.
The central idea that structures the tour through the different rooms is the chronological journey of the Passion of Christ, from the events prior to Palm Sunday, to the Resurrection.
This itinerary is articulated in different spaces, which host the different moments of the Passion in a differentiated, but unitary way. Rooms “AI” and “A-II” include the days before the Passion, Palm Sunday, and the first passionate episodes, until Jesus' journey to Calvary with the cross on his back. The next room, “B”, houses the Crucifixion. Room “C” houses images of the companions of Jesus in his Passion, the Virgin and Saint John. Room “DI” concentrates the transfer of his body to the tomb, and room “D-II” on the night of Holy Saturday and the Resurrection. Next, a special room exhibits a repertoire of Marian trousseau, which proves the continued cult of the Virgin in the form of jewelry, textiles and other belongings.
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