The procession of the Holy Burial

March 2025

In Alquézar, at 9 p.m. on Good Friday, the sound of the drums and the parade of the Romans open the procession of the Holy Burial. A comitive of different characters recreated by the residents of Alquézar accompanies the Holy Sepulchre from the Parish Church of San Miguel Arcángel to the Collegiate Church of Santa María la Mayor to descend again through the narrow streets of the historic center of the medieval town.

The origins of the Procession of the Holy Burial of Alquézar date back to the sixteenth century, a time when representations of the Passion acquired great importance in Counter-Reformation Spain, although some historians suggest that its roots could be even earlier.

The first documented references appear in ecclesiastical texts of the seventeenth century, where the existence of fraternities dedicated to organizing these processional parades is mentioned.

The Brotherhood of the Blood of Christ, documented since 1623, has been the guardian and maintainer of this ancient tradition for almost four centuries. It was founded with the specific purpose of organizing and preserving the rites of Holy Week in Alquézar, especially the Procession of the Holy Burial and, for centuries, belonging to this association was an honor for the families of Alquézar, passing from father to son the responsibility of keeping this manifestation of faith and popular culture alive.

Over the centuries, the procession has undergone various transformations. During the eighteenth century it reached its maximum splendour, with the incorporation of valuable floats carved by local artisans. The confiscation of the Church assets in the nineteenth century and the subsequent wars dealt a severe blow to this heritage, losing some carvings of great value.

In the twentieth century, after a period of some decline, the event experienced a notable resurgence.

In the 1980s, coinciding with the tourist impulse of Alquézar and the declaration of the historic center as a Historic-Artistic Site in 1982, old floats were restored and traditional elements that had fallen into disuse were recovered. Evidently, Don José María Cabrero has been one of the great promoters of its revitalization and organization over the last decades.

In 2011, the Cultural Association of Alquézar was founded, in order not to lose the old customs and traditions, and to make new technologies accessible to all the inhabitants (children and adults) of the town. Taking up the baton from the brotherhood of the Blood of Christ, the Association, later renamed the San Nicostrato Cultural Association in 2016, has been and continues to be, year after year, a fundamental pillar for the continuity and improvement of the procession

Most of the Alquezrans, whether they are residents all year round or not, participate in the procession and, in many cases, the characters that parade pass from father to son.

The procession is opened by the Roman squadron that is concentrated in the Rafael Ayerbe square and goes down in formation setting the pace with the sound of the drums to escort the floats and participants from the church of San Miguel.

Key pieces in the procession, all of them carried on shoulders, are:

The Urn of the Holy Sepulchre, the main and most solemn float, which contains the recumbent image of Christ.

The crucified Christ, a wooden carving from 1152, in Romanesque style from transition to Gothic, which is usually venerated in the chapel of Lecina in the Collegiate Church of Alquèzar. A peculiarity is the fact that at the time it was retouched, making the arms articulated, so that it would pass better through the doors of the churches. In 1988, it was restored by the Government of Aragon, returning it to its original state.

La Dolorosa: The procession closes with the image of the Virgin Mary in her sorrow, highly venerated by the people of Alquezar.

Special mention should be made of the Christs of Radiquero, Colungo and Almazorre, who usually also participate in the procession adding magnificence to the cortege.

The Alquezrans are carefully dressed representing various characters not only from the Passion but also from the Bible, we can cite, among others, Isaac, Moses, Ruth, Judith, the Samaritans dressed in white, the Sibyls, the Hebrews, the Slaves, Faith, Hope and Charity, the 12 Apostles, a role once reserved for respected members of the community, the Veronicas with the canvas representing the face of Christ, the three Marys, Mary Magdalene, Mary Salome and Mary of Cleopas who accompanied the Virgin on Calvary with black dresses and mantillas, and the Cyrenean carrying the cross along the entire route.

Part of the showiness and theatricality is provided by the Roman squadron or "the soldiers" dressed in short red tunics, metal breastplates, helmets and capes. The centurion in front of them carries the pennant. They all go together marking the pace and escort the main images, representing the soldiers who guarded the body of Christ.

A part of the squadron carries drums, bass drums and bugles, marking the solemn rhythm throughout the procession. Among them there are quite a few children who ensure the continuity of the band. They rehearse during all the winter so that the youngest can learn and to guarantee harmony throughout the route.

Participation in the Roman squadron has traditionally been highly valued in Alquézar, passing in many families the positions from father to son. Their presence brings solemnity and visual spectacularity to the procession, recreating the historical context of the Passion and symbolizing the imperial authority that condemned Christ.

It was an important claim of the young women of Alquezar to be part of the Roman squadron. At first they were allowed to be among the drums, being trained by older relatives and justifying it as a replacement for them, but it was not until 1919, that five girls could participate as soldiers.

Quite an achievement.

The rest of the people and visitors follow as companions, praying the Holy Rosary, some carrying large axes that escort the main images.

The procession is emotional and impressive, it is a great and moving event to participate in it, sometimes carrying the axes, listening to the sound of the drums, crossing the narrow medieval streets, climbing the steep slopes of the Collegiate Church, the entrance and the events that are held in it and then the descent until returning again to the church of San Miguel where the Christ is venerated under the impressive monument of Holy Week of the eighteenth century that well deserves to be the subject of another post.

Although it is not the same feeling of participation, it is also a great spectacle to contemplate from the top of the Arrabal the march in the darkness following the meandering evolution of the lights of the axes as they pass through the streets and the ascent and descent to the Collegiate Church.

In short, the dedication of an entire town makes it possible to celebrate year after year a great event that is not carried out as a tourist attraction for visitors, but as a celebration for the people of the place themselves, as the confirmation of the devotion of the Alquezrans and their determination to keep alive a tradition with more than 400 years of antiquity