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Home Guadalentin Valley Lorca Museo de Bordados del Paso Blanco

Museo de Bordados del Paso Blanco

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Museo de Bordados del Paso Blanco

The origins of the Paso Blanco go back to the 15th century, and the first documentary references that highlight this brotherhood dates from 1600, under the patronage of the Rosario.
A century later, in 1750, the guild would receive the ‘Illustrious’ nickname. During the reign of Fernando VII, in the 19th century, would be called Real. Since then the primitive brotherhood be called the Muy Real e Ilustre Orden Archicofradía de Nuestra Señora del Rosario (Very Royal and Illustrious Order Confraternity of Our Lady of the Rosary).
Throughout the 18th and 19th centuries a number of groups were gradually incorporated to enhance the name of Paso Blanco:
•    Paso de Oficiales, 1753.
•    Sección de Nazarenos, 1852.
•    Primer Grupo Bíblico del Paso Blanco, 1855.
In the Civil War the old image of Salzillo was lost. A Lorca family donated a picture in the early 1940's, but the Paso Blanco finally decided on a work of Sánchez Lozano.
In 1942 the Paso Blanco began to recover from the disasters from the Civil War in the equity of the brotherhood. It was decided to rebuild and restore gradually the heritage of the Paso.
The statutes were renewed on two occasions, once in 1967 and another in 1997. The title was to stay forever to the Santísima Virgen de la Amargura.

The Museo de Bordados del Paso Blanco is based in the Iglesia de Santo Domingo. In 1989 the religious space was purchased, restored and rebuilt by the Paso Blanco.
The Museum was founded in 1995 with the aim of raising awareness of the rich artistic heritage.

The Museum is divided into a series of spaces located in the small side chapels of the church.
In these chapels are various biblical groups presented that would be on horseback or carried by the men of Lorca during the Easter passion parades.
Group I, Queen Esther
This group consists of two rooms, and tells the story of Queen Esther, wife of Ahasuerus. King Ahasuerus had ordered to annihilate all the Jews of his kingdom, but the Queen Esther, Jewish, rebelled against her husband to protect the people.
In these showcases you can see the mantles of ‘The Queen Esther before Ahasuerus’, ‘The Queen Esther in the Bath’, ‘Esther Fainting’, ‘Esther giving alms’ or ‘Two eunuchs’, among others.
In the transition between the first two spaces and the entrance to the Capilla del Rosario, is the bust of the former artistic director of the Paso Blanco and one of the main architects of some of the largest embroideries - Emilio Felices.
Group II, Apocalyptic vision of St. John
There are four sheets with the Four Horsemen of the Apocalypse (Famine, War, Death, and Pestilence) and a figure wearing the symbols representing the Archangel Michael, who bears a shield of bronze, gold and chromium. This figure represents the struggle of good against the hosts of evil.
The mantle which is the largest made by the Paso Blanco is of the Antichrist, which completes the Apocalyptic Vision of St. John. This is a black cloth embroidered in the centre represents the temple taken by flames.
Group III, Rome against Christianity
In this group you can see the robes of the Roman emperors who fought against Christianity. Among them Juliano, Maximino Daza and Galerio.
The group is presided over by the Manto de Galerio, popularly known as The Wolf. It depicts a wolf, suckling Romulus and Remus at the foot of the fig tree, on the banks of the Tiber. The god Mars sends the birds to feed their children with three cherries.
Group IV, King David
This group consists of the Great Mantle of King David, and the mantles of their wives. King David is represented twice in his large cloak: a young man with the sword of Goliath, and one as an old man.
In this mantle is shown God's covenant with His people through sacred objects such as the Ark of the Covenant and the Tablets of the Law.
Embroidery is one of the Ethiopian slaves that the Queen of Sheba gave to King Solomon. Against a background of black velvet highlights the face of an African slave of extraordinary realism. The Group of the Queen of Sheba is no longer present in the Museum.
Group V, Maxentius and Roman cavalry
In the final group the Museum presents the Mantle of Maxentius, Roman emperor who fought Constantine to defeat Christianity. Maxentius is represented by the Roman imperial eagle. This emperor drowned in the river Tiber when faced with Constantine, the emperor who fought for the Christian religion.

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