by Michael P. delos ReyesMADRE SANTISSIMA DEL LUME
Fr. Giovanni Antonio Genovesi, SJ was born in
Sicily on 4 March 1684, and became a novice of the
Compania de Jesus (Society of Jesus/ Jesuits) on 2 March 1703. As a missionary, he went around
Sicily for twenty years. Through his preaching, he was able to bring people to Jesus through the
Blessed Virgin Mary, whom he would always call upon for guidance in his missionary work. The last part of his life served as a fitting culmination of his life of service.
Fr. Genovesi was then the
Superior of the Novices and the Rector of the college in
Messina when a fatal plague broke out in 1743. The college was turned into a hospital where the Jesuits untiringly served those who were stricken by the plague. As time went on, the novices were inflicted by the plague one by one. On 6 July 1743,
Fr. Genovesi died after being struck by the plague.
During the first quarter of the 18th century (1722),
Fr. Genovesi desired to have a representation of the
Virgin Mary painted to take with him and display as he preached missions throughout the island of
Sicily. He asked the help of a devout lady in a neighboring village who had the reputation of having frequent visitations from the
Virgin Mary and asked her to request guidance. The
Virgin Mary granted the request and she described exactly how she wished to be represented. She showed herself to the lady in the
Church of S. Stanislao al Noviziato.
The Virgin appeared in a glorious light, surrounded by a troop of seraphims and was extremely beautiful. She wore an imperial crown and had a girdle adorned with jewels that surpassed the beauty of the stars. On her shoulders was a blue mantle. On her left arm, she carried the
Child Jesus. With her right hand, she lifted a sinful soul from the horrible throat of Hell, keeping him from falling back in. On the other side, a kneeling angel held up a basket filled with hearts, which he presented to the
Divine Child in His mother’s arms. He took the hearts one at a time and enflamed them with his love. The Virgin Mary said she wished to be called
Maria Madre Santissima del Lume (Mary Most Holy Mother of Light), and repeated it three times, and said not to forget that.
The pious lady returned to
Fr. Genovesi and recounted all that the Virgin had said, and he quickly found a painter and gave him the instructions. The lady did not go to the painter’s studio out of modesty, and the priest did not supervise the work, and the result was not satisfactory. The choir of angels was lacking, there was a crescent moon beneath her feet, and her robe was red rather than white. As a result, the Virgin Mary did not give a promised sign of approval.
Fr. Genovesi asked the woman to go to the painter, but she was extremely busy with family matters in
Bagheria, which is some distance from
Palermo, and couldn’t get away. The Virgin, however, appeared to her again and said she needed her in
Palermo. The woman, in turn, protested that since the Virgin had all the resources of Paradise, how could such a vile worm as she carry out such an important task, and, anyway, there was no way she could get away. The Virgin responded that whether or not she felt she could go to
Palermo she would, in no uncertain terms. As a result, the woman was hit with a terrible pain in her chest and lost her voice. There seemed to be no cure, and she was taken to
Palermo where the air was more temperate and healthy. In fact, after she arrived she was soon healed.
Once the woman was in
Palermo, and healed, she was visited again by the Virgin. The lady said both she and the priest were very disappointed that the painting didn’t turn out right and asked if a new one should be made. The Virgin responded positively, and this notice was taken to
Fr. Genovesi who arranged for a new painting to be done. It was the custom of the Virgin to send a guardian angel to her “servant” the evening before to warn that she would appear after the woman had received communion. The woman, following instructions, then went to the painter’s studio where she found him ready to begin work. The Virgin had said that she would meet her there, but only she would have the vision. The woman was to instruct the painter, but the Virgin would guide his brush. This in fact, happened, and the work was accomplished to the satisfaction of the Virgin. Although numerous copies were subsequently made, none approached the perfection of the original. Even the painter himself could not duplicate exactly his first work.
The picture of the
Madre Santissima del Lume was always carried by
Fr. Genovesi in his mission. Each time the people of a certain place would know that he and the picture were coming, they would wholeheartedly prepare their chapel or church, and the altar on which the holy picture will be enshrined. The arrival of the priest and the picture was always met by many people holding flowers or lighted candles. According to tradition, the visitation of the picture would always result to great love and devotion to the Virgin, thereby making it very difficult for the people to part with the picture. This started the practice of leaving a faithful copy of the picture in the chapel or church of the place visited by
Fr. Genovesi.The devotion to Our Lady rapidly spread to the community of the faithful in
Noviziato al Capo, where in 1736 a group was formed which became the
Confraternita della Madonna del Lume al Noviziato. On 6 February 1736,
Pope Clement XXII authorized through an apostolic letter the veneration of the
Virgin Mary under this title. Moreover, through the same document, the feast of the Virgin was established on the
Second Sunday of September, and granted plenary indulgence to those who will participate in the Mass on the feast day. In
Palermo, the Virgin is the patroness of carpenters, while in
Porticello, also in
Sicily, she is the patroness of fishermen. It is unfortunate that the original picture painted in 1722 got destroyed with the church of
Casa Professa when it suffered bombardment during the war in 1943.
KABANAL-BANALANG INA NG KALIWANAGAN
A few years after the birth of the devotion to the
Mother of Light in
Palermo, the devotion was introduced in
Cainta by the
Jesuits in 1727. The Jesuit missionary ministering in
Cainta during that time,
Fr. Bartolommeo Cavanti (al Gavanti), SJ, may have been instrumental in introducing the devotion, since he comes from Ferrara, Italy. The devotion to Our Lady in
Cainta preceded by some years the same devotion introduced by the Jesuits in
Guanajuato, Mexico (1732);
Loon, Bohol (1753); and to the
Nuestra Señora de Salvacion introduced by the
Franciscans in
Horoan, Tiwi, Albay (1776). The devotion also spread in
Italy, Equador, Venezuela, and
Peru. Since then, Our Lady has been called by various titles, e.g.
Nuestra Señora de la Luz/ Lumen, Our Lady of Light, Kabanal-banalang Ina ng Kaliwanagan, or
Inang Santisima ng Kaliwanagan.The holy picture of the
Our Lady of Light brought by the
Jesuits has a gilded frame and crest, and was enshrined in one of the
colaterales (side altars) of the church of
Cainta. Before 1853, the holy picture was transferred to the
retablo mayor (main altar). Above it was the image of St.
Andrew the Apostle, the
patron principal, and on both sides were the images of
St. Anthony of Padua, and
St. Aloysius Gonzaga. Unfortunately, the original picture of Our Lady was burned with the church in March 1899. Nevertheless, there are two existing faithful copies of the original picture.
The first is an 1801 print that has a description at the bottom which would read like this when written fully: “
Verdadero retrato de Nuestra Señora Reina del Universo Maria Santisima Madre de Lumen que se venera en la Iglesia de Cainta en su propria capilla a solicitud y expensa de ciertos devotos de esta gran Señora en el año de 1801” (
Real image of Our Lady Queen of the Universe Mary Most Holy Mother of Light, which is venerated in the church of Cainta in her own chapel, upon the commission and expense of certain devotees of this great Lady, in the year 1801). Copies of this print were usually given to those who would give donations to Our Lady, and until the present, there are a few homes in
Cainta where such a copy is enshrined. The second faithful copy of the original picture is a charcoal painting by
Mariano Javier of
Cainta, which he did in 1857. The picture has certain similarities to the 1801 print. Its care has been handed down to the descendants of
Mariano, from
Pablo Javier to
Guadalupe Javier. At present, it is under the care of
Mrs. Flora Javier Buenviaje. In this painting, Our Lady was identified as “
Ma. Sma. Madre de la Luz.”
The devotion to Our Lady has also been manifested in two of the three antique bells of the church which are still used at present. A small
campana de vuelo or
esquila was named after
“Nuestra Señora de la Luz” in 1835. A huge bell recasted in 15 November 1883 by
Fundicion de Hilario Sunico was named after the
“Nuestra Señora de la Lumen.” As the devotion to Our Lady became widespread, she became the
segunda patrona of Cainta.
The first Tagalog novena to
Our Lady of Light, entitled
Casantasantahang Virgen ng Caliuanagan, was prepared by
Don Luis Remedios, secretary of the
Archbishop of Manila, Fray Pedro Payo, O.P., upon the request of the parish priest of
Cainta during that time,
Don Mariano (de) San Juan. The permission to publish it was given by the Archbishop in 16 September 1884. By this time, Our Lady was considered as titular of the Church of
Cainta. It was explained in the same
novena booklet why the title
“Ina nang Caliuanagan” is more appropriate than
Pag dedevocion at Pag sisiam sa“Ina nang Ilao.” It says that,
“bucal sa tila di wastong pangungusap ay wala tayong naririnig na nagsasalita nang gayon.”
Inasmuch as the original picture of
Our Lady of Light perished with the church in 1899, it was deemed proper to have a new picture commissioned in 1950 from no less than
Mr. Fernando Amorsolo, a National Artist. The parish priest of
Cainta during this time was
Fr. Joseph Flameygh, C.I.C.M.
This painting of Our Lady is noteworthy in some aspects. The faces of the
Virgin and the Child Jesus have Filipino features. The
Holy Child, which appears to be holding only one heart with his left hand, is actually holding another one with his left hand. It did not become noticeable since the color of the heart seems to blend with the red tunic of the
Holy Child. A closer look, however, reveals that the
Christ Child is really holding close to his heart a soul that has not yet been inflamed by his love. It is flesh in color with traces of vein-like lines. The painting was initially enshrined in the semi-concrete chapel that served as a temporary church. After the reconstruction and solemn blessing of the church of
Cainta in 1968, the Virgin was enshrined in her own chapel inside the church, together with a smaller version of the painting of the
Madonna and Child, and an image of
St. Andrew.
The feast of
Our Lady of Light is celebrated in
Cainta since 1853 or even earlier, on December 1, after the feast of
St. Andrew. The Virgin has a secondary feast which is observed on Thursday after
Pentecost Sunday. For her primary feast, the novena begins on November 21, while for the secondary feast, the
novena commences on Tuesday before
Pentecost Sunday. There are also other forms of devotion to Our Lady such as the daily prayer to her in the morning and before going to bed, the prayer to the
Holy Spirit and to Our Lady, and the
Siete Sabados or
Seven Saturdays preceding her feast day. All of these can be found in the revised prayerbook entitled
Pagdedebosyon at Pagsisiyam sa Kabanal-banalang Ina ng Kaliwanagan: Patrona ng Cainta (1727-2007). In
Cainta, the Virgin is recognized as the patroness of reconciliation and those seeking conversion.
May the devotion to
Our Lady of Light lead to Jesus who said,
"I am the light of the world. Whoever follows me will not walk in darkness, but will have the light of life" (John 8:12).
BIBLIOGRAPHY
Cassidy, Joseph L. Mexico: Land of Mary’s Wonders. Paterson: St. Anthony Guild Press, 1958.
delos Reyes, Michael P. Virgen ng Caliuanagan: Patron ng Cainta. 2006.
Neuerburg, Norman. “La Madre Santisima de la Luz,” The Journal of San Diego History vol. 41 (Spring 1995), no. 2: 74-86.
Remedios, Luis. Pagdedevocion at Pagsisiyam sa Cabanal-banalang Virgen nang Caliuanagan. Manila: J. Martinez, 1927.
Vengco, Sabino. “La Madre de la Luz, Our Lady of Salvation,” Avenues, vol. 13, no. 2 (Second Semester 2006): 1-16. Ympresion en tagalo – titulado Pagdedevocion at Pagsisiam sa Casantasantahang Virgen Caliuanagan, 1884.
Printed on the front cover of this issue of Esso Silangan is a picture showing the wooden images of the “Three Wise Men”, Melchior, Gaspar and Balthazar, who worshipped the Christ Child twelve days after his birth.
No one can dispute the fact that icons are valued not only as precious work of art but also as a focal point of religious adoration. It must be this singular harmony between art and religion that prompted many individuals and business concerns to feature them on Christmas cards to promote the artistic spirit and contribute to the Christmas celebration.
