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The inner garment will be orange; the outer garment- draped over the head is blue, but the outer garment is not really there. It is made of the sky, only visible because the edge is delineated by the aura. In the finished piece there is no line where the aura starts as there is here.

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WHERE.

Where the murals are is a complicated question because two fates befell them:

They were painted over and later the covered panels were stolen.

The murals are missing, having been stolen out of the church, after a fire in another area.

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- don notes- it is an intriguing fact that the murals were painted over ( probably in anger * ), but were stolen later when the fire occurred.

- it leads one to believe that the thieves knew what they had, and lived in hope that the images could be restored. No one would have gone to the risk and trouble to steal panels with nothing but a solid color on them.

- the problem is that it was very unlikely that the covering paint was chosen with any care. It was likely a paint that would be difficult or impossible to remove.

If someone had knowledge of paint and hoped to get the images back at a later date, they could have painted them over with a type of paint that would work with that plan.

- for example, a craftsman would cover the images with a different family of paint than the polymer clear coat that was used to protect the images.

- then, the covering paint- say oil paint- could be removed with turp, causing no damage to the mural. It would be good as new.

- it makes me wonder if the people that covered the mural were the same people who stole it.

Another question arises.;

The murals were not painted directly on the wall. They were painted on panels in the studio and the panel was mounted on the wall on two 1 by 3 inch boards. As a result, the panels were raised off the wall by about an inch.

But getting the panel off the wall would have been very difficult because you could not reach the boards from the edge and just bust them loose with a chisel. They were several inches in from the edge, in the center of the panels. Also each panel was cut to fit the alcove that each one was in, so it would be difficult to get at them from the side. If there was an inch or so free around the edge you might just reach in and try to pry the panels away from the wall, but that would risk breaking them.

It would have been a long and noisy process to get them down. what a puzzle.

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* - the murals were covered with a muted blue cover and the area had framed traditional prints of the Guadalupe and the Perpetual Help, mounted against the blue that was covering the murals had been. This was due to poor comunication between the architects who commissioned the paintings and the members of the Church.:

I was not asked to paint the traditional images. In the case of the Guadalupe, i would have gone to Mexico and made a copy from the original. What i painted was a depiction of the event.

As for the Perpetual Help image, there was less involved.: it was just a matter of making a direct and faithful copy of the original with the exception that the image had to be adapted to a full figure in order to match the full figure Guadalupe. ( The original of the Perpetual Help image is only a half figure. )

If the parishioners had wanted a faithful copy of the Guadalupe and covered the depiction in protest, they had no reason to cover the faithful copy of the Perpetual Help image. But there may have been no cool heads to point that out. The Perpetual Help was covered as well.

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The location of the Church is _________. It was known as “Army Street Church”, for some reason. Army Street is now Cesar Chavez.

Oh, the church was Saint Anthony’s and it burned ( again, and all of it ) in the 1970s. Read down a ways, here.:

www.foundsf.org/index.php?title=A_Brief_History_of_Cesar_...

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output-0050 by Simon Geilfus

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21 Feb 2007 (backlog) by wonderferret