NAME: Parish Church of San Andrés

YEAR OF FOUNDATION: 1979

MAIN IMAGE OR GROUP: Recumbent Christ and Holy Christ of Patience

AUTHOR OF THE IMAGE OR GROUP: Gregorio Fernández and Anonymous from the 17th century respectively

YEAR OF REALIZATION : From 1614

COLORS OF THE BROTHERHOOD: Matte black tunic, of simple workmanship. It is attached to the waist by means of a white cotton cord or cincture. The first year it was girded by a matte white band, passing in the posterior ones to the girdle. The hood goes unarmed. The reason for this was to give greater austerity, if possible, to the Holy Image of Christ and for the primitive idea of transporting it on a litter, so as not to hinder its visibility. It is the same material as the tunic. It is hand-embroidered in white thread with the parochial coat of arms or emblem, that is, a crowned cross on the front at the height of the chest. The hooded suit is completed with the traditional white gloves. All the costumes that accompany the Holy Christ are the same, without any distinction. To highlight something of him, the simplicity and austerity.

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PRESIDENT: Wenceslao Huertas Barios

DAYS OF PROCESSION: Wednesday (Via Crucis and procession with the Holy Christ of Pacencia through the historic center) and Good Friday (Procession of the Steps).

NUMBER OF BROTHERS: 200

ACCOMPANIMENT : CCyTT Band “El Cirineo”.

OTHER DATA:

Image.- “Recumbent Christ”
The recumbent Christ that forms the passage "Camino del Sepulcro" is a baroque work by the Castilian image maker Gregorio Fernández. It belongs to the second period of the author, from 1614, immediately after the Christ of El Pardo. For the Marquis of Lozoya, it is the best recumbent of those made by the master. It is venerated in the SI Cathedral. The parish of San Andrés accompanies and guards the image since 1979, being exposed on Holy Thursday and Good Friday in the SI Cathedral

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Image.- “Christ of Patience”

There are few documentary data that have appeared in the parish archives referring to this carving, although it is not ruled out that more may be found in the future. The only thing we know for sure is that during the 17th century it was placed in the Chapel of San Gregorio (curiously, the one on the opposite side of the place it occupies today in the church) and that it enjoyed great devotion among the parishioners. Therefore, we are faced with an image of great value, a work that probably came from the hands of a disciple of one of the workshops influenced by the leading sculptors who brought the tastes of the Italian Renaissance to Spain. A work that shines with great prominence and splendor on Holy Thursday when it is carried on the shoulders of sixteen penitents through the most emblematic corners of our neighborhood and our city.