Saturday, April 4, 2015

218. Santo Stories: STA. MARIA MAGDALENA OF APALIT, PAMPANGA

STA. MARIA MAGDALENA OF THE GONZALEZ FAMILY. Taken 25 November 1973. 

The original image of Apalit's Sta. Maria Magdalena had ivory head and hands, owned by Dr. Joaquin Gonzales (+1900) and Florencia Rodriguez Sioco (+1925). This 120 cm. Magdalena had her owned giltwood carroza. Bot image and carroza were inherited by their son, Augusto Sioco Gonzalez, who married Rosario "Charing" Arnedo, daughter of Pampanga's provincial governor, Macario Arnedo.

According to the recollections of the late father of descendant Mr. Toto Gonzalez, this original Magdalena was capeless; it was dressed entirely in embroidered burgundy velvet. It had a tiara of silver as well as a perfume bottle. Her accessories included real gold and diamond jewelry --- earrings, necklace, ring, and bracelets. It was always dressed by the female retainers of the family (never by the family members themselves) and was kept assembled the whole year through inside its glass case in a guest room filled with ivory santos in virinas.

This  Gonzalez-owned Sta. Maria Magdalena was unfortunately destroyed when the Americans dropped a bomb on the Gonzalez house in barrio Sulipan where Japanese army trucks were parked
(the bomb was actually intended for the Apalit bridge) on New Year's Day, 01 January 1942.


After the war, in late 1945, Dna. Charing commissioned "Talleres de Maximo Vicente"  to make a new Magdalena image and carroza, for Apalit, to replaced the lost ivory image. Maximo Vicente asked Charing Gonzalez for a photo of the original Magdalena but she had none; she simply gave him carte blanche to produce one. The result is a beautifully carved wooden image with an expressive face and hands, with an "encarna" that made her look Jewish. She stood at 5'6" tall without the 4" base.

The famed santero arrayed her with long hair of "jusi", a burgundy vestida and golden yellow cape with brass flowers dipped in silver then gold, and a double-plated (silver and gold) tiara. She holds her attribute, a  glass perfume bottle,  Vicente also provided a classical wooden carroza with silver-plated brass decorations and 1940s milk glass virinas. Mr. Toto Gonzalez remains the current caretaker of this exquisite Sta. Maria Magdalena, and she continues to lend her regal presence in the annual Holy Week processions of Apalit.

(Many thanks to Mr. Toto Gonzalez for providing the background information on Apalit's Sta. Maria Magdalena, and to Dr. Jojo Valencia for the 1973 photo.)

Friday, March 27, 2015

217. SACRED LEGACY: Santo Collection of the Zaragozas of Guagua and Quiapo


The Zaragozas are an old family whose lineage can be traced back to the Cepeda family of Sta. Teresa de Avila. A relative of the mystic saint, Gen. Agustin de Cepeda arrived with Legaspi in Manila and became its mayor in 1657. Another relative, Agustina Zaragoza fought against the French at the age of 18 in 1808, to become the toast of the Spanish Army.


The family’s Philippine bloodline was begun by Rafael Zaragoza, who was assigned to Nueva Ecija to protect the Spanish interest on the burgeoning tobacco industry in the Philippines. He fathered two children, Jose and Miguel Zaragoza. Jose married Rosa Roxas of Quiapo, with whom he had a son, Elias--the first Filipino to graduate from Yale University in 1906.


I first heard of the Pampanga connection of the Zaragozas of Quiapo from stories in Guagua about the spectacular Santo Sepulcro of the Velez-Infante that has been processioned annually every Good Friday, for over two centuries. A member of the family, Rosario Velez R. Infante would go on to meet and marry Elias Zaragoza, thus establishing the Guagua-Quiapo ties.


The family history is recounted in one journal, written by a descendant, Arch. Ramon Ma. Zaragoza, entitled “From Guagua to Quiapo”. Ramon’s father, incidentally , is the 2014 National Artist for Architecture, Jose Ma. Zaragoza, renowned for designing sacred structures including his masterpiece, the Sto. Domingo Church. In his family chronicle,


Zaragoza called to mind those bygone days when his forebears participated in Quiapo fiesta processions, fielding the twin carrozas of Sta. Teresa de Avila and San Juan de la Cruz.


He also wrote about the religious artworks that filled their ancestral houses, which survived numerous catastrophes and saved by current family members—including the prized La Dormicion dela Virgen Maria—a most exquisite antique ivory treasure that is now under the care of Arch. Ramon.

 On this page are a few more of the ivory santos from the Velez-Zaragoza collection, all reproduced from “”From Guagua to Quiapo”: Budhi, A Journal of Ideas and Culture, Vol. , No. 2, 2006. Ateneo de Manila Press.

With Arch. Ramon Ma. Zaragoza.

Thursday, March 12, 2015

216. THE 1ST PHILIPPINE EXPOSITION OF CHRISTIAN ART

In March 1937, the1st Philippine Exposition of Christian Art was held in the Philippines, a first-time exhibit of antique religious and ecclesiastical art culled from private and church collections. The pre-war exhibit was organized in time for the holding of the 33rd International Eucharistic Congress in Manila, and was held at the Victoria Gardens, Manila.

 Some of the precious heirloom santos on display include the Buencamino family’s “Last Supper”, a tableaux of 12 seated santo figures representing Christ’s disciples, plus the carved likeness of Christ himself. This grouping still exists today. Just as awe-inspiring was a set of crucifixes that , as one magazine recorded, “won praises from lay visitors and foreigners as well as church dignitaries who were in the city to witness the 33rd International Eucharistic Congress.” Here are the pictures of the exhibited crucifixes and the original captions that described them.

CHRIST UPON THE CROSS 
The image of Christ sculptured about 160 years ago, and at present the property of Doña Consuelo David de Jesus of Sta. Cruz, Manila.

THE IVORY CHRIST 
The Ivory Christ the first and only one of its kind in the Philippines and probably in the whole world today. It is made of pure ivory supported on a cross on a block of wood of Philippine ebony. This image stands about 2 feet tall (mountings excluded) and is a cherished possession of a family in Naga, Camarines Sur.

THE NUEVA ECIJA CRUCIFIX 
The Nueva Ecija crucifix which is said to have been made in 1732, is not, as one would expect, a church property. On the contrary, it belongs to the municipality of Gapan, Nueva Ecija and is at present, in the custody of its lay officials. Many a Gapan townsman, 200 years ago, knelt and prayed before this crucifix not in devotion, but in atonement for theft, slander and slight offences.

Friday, February 20, 2015

215, Santo Stories: STO. CRISTO OF PAKIL

 SANTO CRISTO DE PAKIL. The ancient image of the Crucified Christ in the church of Pakil, as it appeared in the 1950s.

 In the Franciscan-founded town of Pakil, Laguna, one can find an ancient, life-size crucifix venerated at the altar near the church’s entrance. The present church itself, dedicated to San Pedro de Alcantara, dates to 1732, a masterpiece in stone marked with florid ornamentation.


 The Santo Cristo de Pakil is an object of deep veneration among residents, but is also popular among the devotees of the Virgen de Turumba. The legs and feet of the Santo Cristo have all but darkened with age, and the habit of kissing the feet and the anointing of the santo’s extremities with perfume has persisted.


 The origins of the crucified Christ in Pakil is shrouded in mystery. It was said that an old man sought refuge in the town, begging the cura to find sanctuary in the church. The kind priest allowed him in, and the old man requested that he be given some carpentry tools so he could do some work for the church, in return for the hospitality.


 When the old man did not emerge from the room after some time, the door was forced open—and the priest found him gone. But inside the room was a splendidly carved image of Christ crucified, wonderfully wrought in wood and capturing the agony of the Lord in his passion.


 The image – known as Santo Cristo de Pakil—was enshrined in a retablo menor and is used every Holy Week for the Good Friday rites. As the arms are articulated, the figure of the Christ can be brought down from His Cross to be transformed into a Santo Entierro.


 In this form, the image is processioned on the streets of Pakil, followed by a band of violinists, musicians, singers and hundreds of devotees.

Sunday, February 1, 2015

214. Found on ebay: A SPANISH COLONIAL NIÑO PERDIDO

SANTO NIÑO PERDIDO. The lost Holy Child refers to an episode in Luke 2:41-52 when, at the age of twelve, he accompanies his parents to Jerusalem on pilgrimage. On the day of their return, Jesus strayed away from Mary and Joseph. The distraught parents returned to Jerusalem to find  Jesus three days later. The losing of Jesus is one of the 7 Sorrows of Mary.

When I discovered the world of ebay in the mid-1990s, I was amazed at its wide inventory of items for sale or for bidding. I was surprised to find a smattering of old colonial santos for sale, a few from the Philippines, but mostly—at least back then--from the Spanish colonial period of the Americas.

 I could only drool and dream about these wooden antique santos as they were different stylistically from the local santos that I know. They were more doll-like, classically carved, and their coloration mimicked the healthy, pinkish skin tones of Caucasians.


 I still remember the early dealers whose ebay stores visited, like Historia Antiques which offered museum quality santos and a seller who went by with a rather sassy name—dkr-alliegirl. She always had santos in pristine condition for sale, vividly described and beautifully photographed for a willing buyer. But of course, the price tags kept me away from acquiring such treasures—until I saw this little 9.5 inch Christ Child on dkr-alliegirl’s site.


 Advertised by the seller as a “Niño Perdido” (Lost Christ Child), it was delicately carved from softwood, with arms fixed,complete with finely carved fingers. The miniature santo stood on a simple rectangular base, and had painted hair and glass eyes. Noteworthy was santo’s original coloration which it has retained all these years—from his painted white body to the pinkish blush on his cheeks. 


I am not familiar with the iconography of a “Niño Perdido”; for awhile I thought it was a companion piece to a San Jose, who was sometimes represented as walking hand in hand with the Child Jesus. 

The ebay auction ended with the Niño attracting zero bids, and when next I looked, it was up for grabs at $175. This was when I made my move and contacted the seller, despite the price which I felt was still steep. It turned out that the seller was Deborah Richter, a formidable collector of Hispanic colonial art, and whose antiques have been loaned to exhibits and museums.


I tried coaxing her into selling the Niño to me for a lower price, but she was rather firm with her price. Eventually, with a sigh, I gave in and paid for the piece at the price she wanted, but satisfied with the thought that the provenance of this piece is impeccable, coming from American collectors of note. Years later, I would find Kurt and Debbie Richter’s pieces included in the book “Saints & Sinners: Mexican Devotional Art”, by Schiffer Publishing, which featured an antique ivory Virgin Mary in a virina, among others.


It took awhile for the santo to reach the Philippines from the U.S. But upon seeing it, I knew it was worth the wait, and the price! My first ebay santo purchase also turned out to be one of the first vestment projects of Dr.Raffy Lopez for me. He put together a satin ensemble heavily embroidered with floral patterns on the front and on the sleeves. Lacey cuffs and a collar, plus a one-piece brass tress potencias completed the Nino’s outfit.


 I found a suitable sized wooden gothic urna for my Niño Perdido, just 18 inches high. On a special altar in my living room, the Christ Child stands, ready to give his blessing to those who come in. It’s been a long journey from the U.S. to the Philippines, but the little boy lost has, at long last, found a new home, and I will be forever grateful for honoring us with His holy presence.

Tuesday, January 13, 2015

213. Retro-Santo: THE FRIENDLY LADY OF ORANI

OUR LADY OF ORANI, The Miraculous Lady of the Holy Rosary. ca.1950s photo

 Source: The National Catholic Almanac
ALMANAC OF THE MOST HOLY ROSARY 1948
Publicado Por Las P.P. Dominicos
 pp.93-94.

 Thrice, she returned.

 It was during the early years of the Spanish regime in the Philippines. Spome villagers had gone hunting one morning and as they, later, discovered thay had come upon the neighbourhood of what is now known as Orani town, they made haste to depart, for, somehow, the story had gone the rounds to the effect that the inhabitants of this place were none too friendly with strangers. But, as they turned back, they found an image of the Virgin of the Most Holy Rosary under some shady “camatsile”trees.

Won over by its friendly countenance, they took it with them to Samal, where she was ensconced in the main altar of the town church, there to be their Patroness. Early the next day, the villagers went to church to hear the morning Mass. It was the acolyte that first noticed it as he approached the altar to light the candles. The image was missing . A diligent search was immediately started upon direction of the parish priest. Nowhere in Samal was the image to be found.


Sometime after, they found her in the place where she had originally been discovered—under the shady “camatsile”trees. She was brought back to Samal. Twice did she disappear again, being once more found in the same place. The thought then, struck the people of Samal that, perhaps, the Virgin wanted herself revered in that site.

In no time, they erected a church in that place, which became the foundation-center of the town of Orani, for the Samal villagers soon found that the inhabitants of that hitherto unfrequented place were not unfriendly at all with strangers. Hence, the name “Orani”, which comes from “Kauri”, or “Kaurani”, meaning friendly. The Virgin had befriended the two towns.

 Through the centuries, this image has been most beloved by the faithful, who ceaselessly recount the many favors She has bestowed upon them, which include saving them from savage tribes’incursions, a locust pest, and massacres during the Japanese occupation. The image is richly dressed and has, as usual, the Child in one arm, although in the other, instead of the Rosary, which the image has a round the neck, She has a cane.

 According to information released by Acting Chief Nieves Baens del Rosario, of the Workmen’s Compensation Division, through a request from Rev. Fr. Calimbas, Parish Priest of Orani , “a deluxe crown worthy of her honor is being finished to crown her glory. The people, by popular contribution, will have a new dress prepared for her”.

 Rumours have it that this contribution was started “by a woman who was asked by the Virgin for a new dress.” The same information narrates that, “When the Japanese occupied Bataan, the image of Our Lady of the Most Holy Rosary was in the Church of Orani. About March of 1942, the people of Orani were able to visit the town. They brought the image to Sapang Lucas, Lubao, Pampanga.


 In September of the same year, the image was brought back to Orani. The whole town was jubilant and gave its patron saint a warm welcome. Because of threats that Orani would be burned by the Japanese, the image was brought on January 7, 1945 to Tamblan, a fishpond near Hermosa, Bataan. In the early part of the same year, the image was brought back. She is one of the few original saints which survived the ravages of war.”

 We end with some of the stories going about on the intercession of this image during the battle of Bataan: Ä big group of retreating Fil-American soldiers was almost annihilated by the Japanese had it not been for thick clouds emanating from two merciful hands. When the clouds cleared and the enemies were dispersed, the image of Our Lady of the Most Holy Rosary was seen as the Saviour. “”Evacuees from Zambales and Bataan hiding in the mountains narrated that Our Lady of the Most Holy Rosary used to visit them.


” We give no credence to these tales save that worth a human story. We abide by what the church will officially declare thereon. Biut, they are only given here to show our people still conserve that age-old love for the Divine Mother, Queen of the Holy Rosary.

Saturday, December 20, 2014

212. ANGELS OF LIGHT

ANGELS OF LIGHT, MY GUARDIANS DEAR. Two midcentury angels holding pole lamps, now restored. ca. mid-50s, early 60s.

 Another great find from the antique strip near the Sta. Rita NLEX exit is this pair of small wooden angels, offered by a Japan-surplus shop owner. On occasions, vintage and antique religious pieces would surface in his store, and these—along with several santos acquired from a Manila family---and these light-bearing angels were part of his loot, now up for sale.


 The early bird catches the worm—so they say—and I proved that when I arrived first at his shop when he called to tell me of his just-arrived inventory of santos; I had the first and best picks of the day, and I went home with a hoard of stuff—including these circa 1950s angels.


 Though not really old, and scruffy, the 16" carved angels show a lot of potential. For one, it’s hard to find a pair—most are sold separately. The angels are naked, saved for a draping of cloth to cover them, and painted with regular house paint.


 The wings, saved for one, has broken off, and the squarish bases have lost some of their moldings. The necks and hands are threatening to fall off. All other parts remained intact, including the glass eyes.


 This pair may have been used in home altars, perhaps a chapel—the pole lamps that they hold are electrified, and there are no holes to indicate they were ever put on carrozas.


 The pole lamps were customized from regular metal tubes and small thistle-shaped, frosted virinas. Unfortunately, one glass virina has broken, the broken parts badly glued back together
.

 In this state of disrepair, the angels went straight to my santero, who recommended a full restoration—which included reglueing and securing broken wooden parts, repainting, outfitting of new wings and replacing missing pieces.


 It took less than a month to finish the project. When the angels were returned to me, they sported a new, rosy pink complexion, and looked fresh as the day they were made.


 The only minor kink was that, I could not put back the lamp poles through their grasping hands, as in the process of stabilizing and restoring them, they have been slightly repositioned and no longer aligned. A thinner pole would be needed—and that would be a future project for these angels…my new Angels of Light!