187. STA. INES: From A Virgin Most Pure to a Virgin-Martyr

STA. INES, VIRGEN y MARTIR. Blessedness in Ivory.

There are only a handful of wooden Sta. Ines images in the Philippines, so what more of ivory? In my years of going to antique shops, ancestral houses and heritage sites, I have seen many “santas” rendered in ivory, even those considered minor or not as well-known.

In one shop, I once saw a beautiful ivory Sta. Lucia in a virina, complete with a pair of silver eyes on a dish. I also remember seeing an unusual Sta. Rita holding a crucifix and a skull, flanked by her young sons, all in ivory. Most recently, a large Sta. Filomena, with gold accessories and regally-embroidered vestment surfaced in the market.

With the exception of the processional ivory Sta. Ines in Bulacan, I still have yet to see one for sale, be it from a shop or from a private collector. I’ve always taken a keen personal interest in the virgin-martyr saint, as I come from Barrio Sta. Ines in Mabalacat, known today as the Pampanga exit of the North Luzon Expressway (NLEX).

I like to believe that it’s also more than a coincidence that I was born on the feast of Sta. Ines—January 21—thus further underlining her significance to me. For years, in our small barrio, veneration revolved around a small Sta. Ines image owned by the Dela Cruzes, an old Mabalacat family whose ancestors founded the barangay in the 19th century. I’ve always been fixated on the ancient figure of the young santa, dressed in green with a palm leaf in one hand, and a primitive-looking lamb at her feet.

 When I developed an interest in santo collecting, I told myself that one day, I will have my own antique Sta. Ines in ivory. But after years of waiting in vain, I was ready to give up—until a friend gave me sage advice – “ïf you can’t find one, make one”.

THE ORIGINAL LA PURISIMA. Found in a Fairview antique warehouse, this santa has ivory head and hands. It stood on a globe base and had a dispropotionately stunted body, which made it ideal for conversion into the child-saint, Agnes.

That opportunity presented itself when I found this small La Purisima Concepcion in a dealer’s warehouse, and which I acquired for a reasonable price. One look, and I knew the ivory headed-image with ivory hands was a perfect candidate for transformation into a Sta. Ines.

 It had a young-looking, soulful face on a body that was a bit short—more teenage than adult, just the right size of I were to make a young santa representing a 14 years old. The Virgin had a manikin body, so it was easy for me to pose her in the attitude of Sta. Ines—one arm pressed to her chest to hold the palm of martyrdom, the other, holding a lamb.

There were a few things that needed to be changed—the globe base with the snake had to go. That was the easy part. But the vestments needed to be overhauled totally.

 STATUE OF ST. AGNES, at St. Joseph's Shrine, St. Louis, Missouri USA. From the flickr page of Mr. Mark Scott.

I took the Purisima to my restorer, bringing with me pictures and estampitas (holy cards) of the saint, for wardrobe color reference.

ESTAMPITAS OF STA. INES, show a consistency in the color depiction of her dress, which guided the restorer in the creations of the santa's vestments.

Most of our visual references assigned her the colors pink and blue green, so my restorer and I decided to work on those shades. Her vestments will only have minimal gold embroidery on the hems, with much draping to be done to simulate the rich folds of St. Agnes statues done in the round.

 Months before, I had the good sense to buy tiny lambs and sheep of white clay, which originally formed part of an antique Nativity crèche. So, that solved what I thought was my biggest problem—tto find the saint’s animal attribute that also bears her name phonetically—Agnus, or lamb.

STA. INES AND HER EMBLEMS. The silver palm is actually a vintage silver brooch picked from a Mabini shop. The lamb is an antique creche animal figure.

The most difficult challenge turned out to be the search for a silver palm leaf—a symbol of the young saint’s martyrdom. I scoured ebay for a silver palm brooch, but came away empty-handed—either they were way too expensive or were not of the right shape and size.

But a week after the start of the transformation project, I dropped by at a Mabini antique shop and found an old but damaged silver brooch, that could pass off as a palm frond, as it had individual leaves. The size was also perfect!

After a month of waiting, my Sta. Ines was done. When delivered, she was wearing a new jusi wig, crowned with an antique silver gothic halo that I found separately, standing on an oval gilded base, specially commissioned for her.

With the addition of the silver “palm” leaf and the tiny lamb on one palm, the santa-formerly-known-as-La Purisima looked every inch a Sta. Ines.

STA. INES, in its glass virina. Personal Collection.

186. CRISTO MENINO: Steward of All Creation

CHRIST ON A HILL. A Portuguese-made Cristo Menino, made from wood and white clay, mounted on a hill with niches containing small animals, like a rabbit, birds, sheep. Glass eyes, original clothes. 10 in., including the base.19th c., Personal Collection.

When I was new to ebay some 10 years ago, I would occasionally find small antique figures of the Christ Child standing on top of a mound, representing a hill, on which small earthen animals like lambs would rest. I thought the figure represented the Christ Child as a Good Shepherd, but then I wold find examples with other animal forms. “Cristo Menino”, as the South American ebay sellers called them, were soon my objects of desire, and I was determined to get myself an example.

 The cost of shipping from South America (I was dealing with a Uruguayan seller) doubled the cost of the Cristo Menino I was eyeing, so sadly, I had to momentarily give up my quest for this unusual representation of the Christ Child—until another one surfaced for sale in the U.S. I quickly bidded on it, won the santo, and was sent to a N.J. address, and finally to me, thank God for my sister’s regular balikbayan box shipments.

This 8 inch Cristo Menino, which originated from Portugal, had much more detail for its size. It was made from a combination of white terracotta and wood, common materials used in Europe.

The figures was sculpted in the round and the features were painted,with tiny glass inserts for eyes. The clenched left hand once held a staff, now missing, while the other arm, which had broken, was raised in the act of benediction.

Though it had missing pieces and broken parts, it had retained its original vestment—from its lacey undergarment, his pantaloons. to the dress, which was finely embroidered with colourful floral motifs on the bodice and on the flouncy skirt.

A cincture of gold thread with metallic tassels completed the Nino’s outfit.

Also remarkable was the little mound where the Nino’s feet were pegged—it had little niches placed around it, each with a small, sculpted clay animals inside.

There were obviously some missing figures, but the rabbit, a pair of sheep, a pigeon and a duck, were intact.

 It was fairly easy for me to restore this wonderful Cristo Menino—the broken arm was repaired using epoxy clay. The missing fingers will have to be restored at a later time.

Parts of the undergarment were crumbling and beyond repair—like the tunic of tulle, so I just kept what was salvageable—in this case, the pantaloons.

Years after I acquired my Cristo Menino, on January 2014 to be exact, it was lent for a San Beda exhibit of Santo Niños, entitled, Fides: The Sto. Nino and the Value of Faith,  curated by Dino Carlo Santos. There, in his little urna, my Cristo Menino stood on his little mound, presiding over a menagerie of God’s creatures, the Steward of All Creation.

185. MARIAN IMAGES OF PAMPANGA

MARIAN IMAGES, from Marian Festival of Pampanga, 29 November 2003, on the occasion of Guagua Town Fiesta, with the theme Virgen Maria: Modelo Ning Lugud (Virgin Mary: Model of Goodness). Marian Festival Chairman: Mrs. Estella G. Navarro/ Co-Chair: Mrs. Alma S. Twano.

VIRGEN DEL CARMEN

Owned by the late Dr. Angelo Roque, c/o Mrs. Lourdes Orense and Family.

VIRGEN DE LOS DESAMPARADOS

Owned by Dra. D. Ancheta del Rosario and Family

VIRGEN DOLOROSA

Owned by Mrs. Consolacio Bacani / Mrs. Rosario Guanzon

VIRGEN DE LA EXPECTACION

VIRGEN DE LAS FLORES

Owned by Mr. Emmanuel Canlas and Family

MARY, HELP OF CHRISTIANS

Owned by Mrs. Nenita Singian and Family

STA. MARIA MADRE DE DIOS

Owned by Mr. Jayvi D. Lusung and Family

VIRGEN DE MANAOAG

MARY, MEDIATRIX OF ALL GRACES

Owned by Apo Lina and Company

NTRA. SRA. DE LA VICTORIA

Owned by Mr. Eustaquio Pinlac and Family

VIRGEN DE SOTERANA

Owned by the Barangay Pastoral Council of Bancal

VIRGEN DEL ROSARIO

VIRGEN DE LOS REMEDIOS

Owned by the late Mr. Serve Capati

VIRGEN DE LA NAVIDAD

Owned by the Jingco Family/ Mr. Richard J. Calaguas and Family

ROSA MISTICA 

Owned by Mr. Aldrin S. Bernardo and Family

VIRGEN DELA CANDELARIA

Owned by Engr. and Mrs. Angelito Twano and Family

VIRGEN DE LA MERCED 

Owned by Mr. and Mrs. Pablo L. Narciso and Family 

VIRGEN DE LAS ESTRELLAS

Owned by Mr. and Mrs. Cesar  L. Diyco and Family

184. Santo Sighting: STA. CATALINA DE ALEJANDRIA

STA. CATALINA DE ALEJANDRIA OF ARAYAT, PAMPANGA

One rarely seen santo in the Philippines is the figure of St. Catherine of Alexandria (Sta. Catalina de Alejandria), who is regarded as the patroness of such Philippine towns as Arayat (Pampanga), Leon (Iloilo), Carcar (Cebu) and Dumaguete City. Church figures and processional statues depict this great virgin-martyr holding a sword, with the head of Emperor Maxentius at her feet. Sometimes,  a spiked wheel, symbol of her martyrdom, is set on her side. The above image of Arayat's Sta. Catalina adheres to her prescribed iconography. The santo is of wood with silver accoutrements, and lavishly dressed in embroidered garments

Santa Catalina, as a santo figure, is seldom seen in commercial antique shops, possibly because the saint is largely unknown outside of the places of veneration. So it was a surprise that a fellow collector sent me photos of a carved santa for sale--immensely popular in Europe, by the way--which, according to his runner, was obtained from Ilocos.

Indeed, this Sta. Catalina sports a distinctive Ilocos commercial carving style--with a fairly generic cafe and a typical octagonal base. Usually, such santos were outfitted with a manikin body and with wire armature arms--but this example has a body that is carved in the round.

The santa is incredibly complete--with a wooden crown on top of her head which still has remnants of a human hair wig. Her emblems and iconographic elements--the sword, the head of Maxentius at her feet-- are also present. She has also kept her original paint and coloration-light blue cape, white vestment with a pink peplum--with painted floral patterns. An incredible find indeed--but too bad, it did not go to me. But happy to note that another collector will take care of this rare Sta. Catalina, most certainly--by taking it to a church museum!

183. NTRA. SRA. DE LA SOLEDAD DE PORTA VAGA

NTRA. SRA. DE LA SOLEDAD DE PORTA VAGA. Ca. 1690s. Formerly in the Ermita of Cavite Puerto, now in San Roque, Cavite City. La Virgen Maria. 1904. 

By Antonio E. Sta. Elena The Sunday Times Magazine

November is a memorable month for the people of Cavite City. Every year, on the second and third Sundays of this month, the feast of the Nuestra Señora de la Soledad de Porta Vaga, their patroness and protector, is celebrated.

 The kapistahan, however, is on the second Sunday, when thousands of devotees from the uplands and the neighboring towns come to Cavite City to pay homage to the Venerable Old Lady, as she is called. The third Sunday is set for the town people of Cavite City.

 The feast of the Nuestra Señora de la Soledad de Porta Vaga is a tradition with the Caviteños and a way of life attesting to their attachment and their devotion to the Blessed Virgin.

 Many miracles have been attributed to the Caviteños’patroness, whose image is encased in glass, measuring approximately 24 by 38 inches, showing a demure, sad face that is inclined to the right and with hands folded in prayer. The Virgin is wearing a deep lavender dress, the hem of which is inlaid with precious stones.

 The face is said to be an exact replica of the framed image of the Blessed Virgin which a fisherman allegedly found drifting on the waters across the Spanish fort of Cavite. That was more than 300nyears ago, and the image has been given the title of Nuestra Señora de la Soledad de Porta Vaga.

 Soldier’s Vision

 At Angelus, so the legend runs, the Blessed Virgin would leave her place in the shrine and take a stroll atop the forbidden walls of Porta Vaga. One time, a young guardia civil on his beat was taken aback by the presence of a tall lady in white who walked past him. The soldier thought she was the wife of one of the Spanish officers, so he didn’t mind. But when he suddenly realized, that nobody, not even the wife of the officer of the garrison was allowed on the walls, much less this late hour of the afternoon, he called out: “Who goes there?”.

 Getting no reply, he called out even louder: ”Stop, or I’ll shoot!”, he said, aiming his rifle. The strange visitor stopped, turned and faced the Guardia Civil.

 “Sentinel, sentinel”, she spoke in a soft, clear voice. “Don’t you know who I am? I am Maria—light of the day.”

 The soldier dropped to his knees, and with bowed head said, “Forgive me, Mother, I am only a soldier and I have my duties to perform”.

 When he raised his head, the mysterious lady had vanished.

 Another story tells of a raging storm and a flood that threatened to engulf Cavite City many, many years ago. Torrential rains and the waters surrounding the isthmus of Rosario and the town of San Roque, rose knee-high on the streets, stalling all vehicles and making transportation impossible. The town people became alarmed. Fathers gathered their families and began to pray to the Blessed Virgin.

 Flood

But it kept raining for hours and the waters continued to rise. The loud voices and wailing of the children and mothers, mingling with the sound of the wind and the rain gave added cause for increasing alarm and fear.

 Meanwhile, more families knelt together and prayed harder, calling the name of the Blessed Virgin loudly.

 Suddenly, the wind ceased and the rain stopped. When the people opened their windows, they were surprised to see a tall lady clad in white walking atop the water. They couldn’t believe their eyes.

 As the strange lady continued walking, the people noticed the water under her sandaled feet fast subsiding. In no time, land had reappeared. The people jumped in delight. But just as soon, the lady in white vanished like vapor. Whereupon, the people dropped to their knees again and made the sign of the cross. They knew it was the Nuestra Señora de la Soledad de Porta Vaga who had saved their lives.

 The old historic walls of Porta Vaga and the ermita or church, were demolished during the war, but the image and shirne of the Blessed Virgin were spared. It was transferred to the parochial church of san Roque in the heart of the town, where it is now the object of continued veneration by the Caviteños.


(ADDENDUM:  On March 16, 1984, the icon of the Virgin was stolen from its altar but was recovered on August 15, 1984, divested of all its original gold decorations and precious stones. Devotees restores the image to its former glory, and on August 19, 1984, it was re-enshrined in the altar with much rejoicing)