The celebration of Holy Week in Badajoz is presented as an amalgamation of spirituality, history, art, color and sobriety, fused in a splendor that earned it recognition as a “Festival of National Tourist Interest” in 2011.
The deep-rooted tradition of the Semana Mayor of Badajoz dates back to the 16th century, with more than forty brotherhoods that have paraded through its streets over the years. Currently, eleven brotherhoods, each with its own history, display monuments and works of art in the most picturesque corners of the old town, thanks to the silent work of the costaleros, in charge of carrying the steps.
The beginning of the festivity takes place on Friday of Sorrows and culminates on Easter Sunday, marking each day with unique and emotional processions, especially highlighting Holy Thursday with the departure of the Patroness, the Virgin of Soledad.
Holy Week in Badajoz is not only limited to being a religious event, but also represents a living testimony of the rich history, exceptional art, palpable devotion and tradition deeply rooted in the city.
The Pontifical and Royal Brotherhood and Brotherhood of Our Lady of Solitude guards an outstanding artistic treasure, its imagery being one of its main assets. Despite the fame and devotion that surrounds the Virgin of Soledad, the hermitage of Soledad houses other jewels, such as the Christ of Humility and Patience, known as “El Amarrao”, recently attributed to the workshop of Pedro Roldán, of the 17th century.
The hermitage reveals additional mysteries, such as the 17th-century Risen Christ, called Christ of Victory, triumphant over skull and snake on the stairs leading to the upper chapel. Standing out on the side wall of this chapel, a crucified man dying, with tormented but serene features, adds intrigue to the whole.
The surprise intensifies when discovering an astonishing resemblance to the Christ of Expiration, known as “El Silencio”, of Granada. Investigating, it is revealed that the Granada image, the work of the image maker José de Mora, shares striking similarities with the crucified one of La Soledad. Both present a tragic realism, highlighting the influence of Mora’s latest works.
Although some may suggest that the crucified figure of Soledad could be a later copy of José de Mora, the hypothesis is subject to future research. However, the lack of reasons for carrying out replications in this context makes this possibility unlikely.
