The Christ of Grace (El Esparraguero)

History

Only a 12-page document, found in a file containing various ecclesiastical writings, provides insight into the origins of the Brotherhood of the Christ of Grace. The rest of the documents must have been lost due to the continuous historical upheavals suffered by the Trinitarian convent during the 19th century, particularly during the expulsion of the friars by French troops and the subsequent secularization. From these 12 pages, referred to as the Protocol, we can gather information such as the Mexican origin of the brotherhood’s titular image, donated by Francisca de la Cruz, as well as the three supplication processions held with this image: on May 1, 1653, April 19, 1732—both to pray for rain—and December 22, 1809, in this case to plead for the release of King Ferdinand VII while he was held in France by Napoleon’s troops.

Church

Parish of Santa María de Gracia. The Church of Santa María de Gracia was founded in 1608 as a convent for Discalced Trinitarians, built elevated on the land, and thus accessed by two ramps. Its interior consists of a longitudinal nave lavishly decorated in Baroque style, as well as a carved altarpiece in the same artistic style.

The Titular Images

Most Holy Christ of Grace

Around the year 1607, Francisca de la Cruz donated the image of the Most Holy Christ of Grace to the convent of the Trinitarian order. Of anonymous authorship, it is considered a work from the late 16th or early 17th century.

It is a hollow piece, made from a mixture of corn stalk marrow, various vegetable fibers, and glued fabrics. The use of such materials was very common in Mexico since pre-Columbian times. Many examples have been preserved in Spain, and they were known as Tarascan Christs.

The sacred image depicts a crucified Christ who has died on the Cross, notable for its elongated proportions, especially the length of the arms. There are numerous bruises all over the body, including the face. The face has elongated features, a straight and narrow nose, and half-open eyes. Both the beard, which is bifid, and the mustache and hair are carved, but the head is covered by a long mane of natural hair that hides the carving.

The Lord originally wore a small loincloth made of glued fabric, but this is now covered by a white silk shroud embroidered in gold. The Cross, of arboreal type, is decorated with corner pieces and features the titulum.

Holy Mary of Sorrows and Mercy

She was donated to the convent at the end of the 19th century. Currently, it is believed that the date of its creation is around that time, but there is no documentation regarding the artist.

It is a full-body sculpture, with only the hands and face finely finished. The face is rounded, with marked cheekbones and chin. With an upward gaze toward the cross, and slightly parted lips, this sorrowful Virgin expresses a restrained pain of great beauty.

Saint John the Evangelist and Saint Mary Magdalene

The Calvary scene is completed with the figures of Saint John the Evangelist and Saint Mary Magdalene. It is believed that, along with the image of Holy Mary of Sorrows and Mercy, they were made in the same workshop, specifically from the Valencia region.

Nazarene Habit

White tunic and scapular with red and blue cross, black cape and face cover with black belt (Trinitarian habit).

Notable Insignias

• Set of Gothic-style insignias with silver metalwork.
• The Guide Cross and lanterns by Villarreal (1993), the banner and flag with gold, silver, and silk embroidery from the early 20th century, restored in 1986 and 1988 respectively by Antonio Muñoz and fitted with staffs by Villarreal (1993), who also crafted the processional candlesticks, and the silver rule book and silver censers (1987) by Alfonso Luque, among other insignias of great artistic value.