Since the owners of the houses are indicated (who had also paid for the execution of the works) and not the streets (nor - much less - the house numbers, then non-existent), it is not easy to understand exactly where they were, even considering the demolitions and new buildings that have taken place in the center of the village.
Due to the extraordinary display of some of the « Trasparenti » in the Art Museum in the spring of 2012, it was possible to display the oldest preserved map (from the late nineteenth century), with an indication of the probable locations.
Much more important is the identification of the iconographic theme, which shows how it was never a Way of the Cross, for the presence of some other subjects, especially dedicated to Mary, and the absence of other fundamentals. Even the order in which they were placed did not respect the chronology of the evangelical episodes.
From the first centenary of 1898, this logical order was no longer respected, justifying the recombinations of the great arches, the erroneous substitutions and the intrusions of new subjects with the need to expand the series, or to replace the "doors" that had disappeared.
This lightness in dealing with the originality of the lenses and their cultured nature, continued until the second centenary, when an attempt was made to remedy in part the damage done, without however eliminating the "new" but inconsistent "doors", now part of the tradition.