Sacred Mounts illustrations, made with different techniques–painting or
made by famous printworks- became precious artistic elements, as the ones in Orta and Oropa. In their planning aims, these pictures also have
some holy and doctrinal referrements which bring to mind these two complexes’ origin and dedication.
In particular Oropa’s view is part of that
precious publishing celebrating work called Theatrum Sabaudiae, printed in Amsterdam in 1682, to show European Courts the borning Piedmont’s Dukedom State.
Finally some illustrations or views of Sacred Mounts’ iconography of Crea, Orta and Domodossola manage to describe an objective and specific
situation as it were a snapshot of that particular time. In the first case, it shows in a woodland the Marian cult preceding the Sacred Mount,
built then on a hill that was once occupied by the ruins of a castle; in the following beginning-of-XX-century planning, the local building-
road-and agricultural- installations of Sacred Mounts are clearly set and settled.
Orta’s view, as all others views included in the general
books concerning Piedmont‘s Sanctuaries and Sacred Mounts, tells about the XIX century stopping phase each devotional complexe of this kind
suffered for a certain lack of the orginal founding spirit. Furthermore it’s interesting to talk about Domodossola’s view: papers set near
the illustration together with building’s dedication also tell – and this is an enough rare thing- about the advancing state of works.
Some crosses along the path, drawn on views, are common signs in the building routine procedure of almost all Sacred Mounts and they witness
that the community that took in charge a given chapel’s bulding, hadn’t yet collected the needed money to built the first walls of the
In many cases in fact intentions didn’t turn into realities and, in order to face people poverty, communities often had
to ask the Fabbriceria to get back what they deposited.