369. VIVA! EL SERAFICO PADRE DOCTOR SAN BUENAVENTURA! A Restoration Story, by Mr. Francis Ong

SAN JUAN BUENAVENTURA of Mr. Francis Ong

Years in conception but merely months in the making, my own image of our town's Patron Saint is finally done.

Mauban is the only old town in the Philippines that was dedicated to San Buenaventura. Though the year when the Franciscans officially arrived in Mauban has not yet been established, Huerta notes that the town has already been in existence at least by 1583 but Fray Gaspar de San Agustin in his work 'Conquistas de las Islas Filipinas' mentions that after reaching Lucban in 1571, Juan de Salcedo traveled to the Port of Mauban in a place called Alitas where he found boats that took him to the gold mines of Paracale.

The earliest mention of Mauban and San Buenaventura together, I found in a letter from 1599 sent by the Ecclesiastical Council in Intramuros complaining about the Religious Orders' non-compliance with establishing parishes and that these Churches mentioned did not have the license to operate-- one of them is for San Buenaventura de Mauban.

The antique head and paragua (payong) came from one of those very rare occurrences when Alex Del Rosario Castro chose to part with one of his collections. 

His blog, andalltheangelsandsaints, has probably been one of the biggest influences with the way I view collecting -- as an adventure and a treasure hunt worth stories to tell. Was it a decade of random panliligaw that eventually ended with a 'YES' late last year?

It then underwent the careful encarna conservation by Elbert Mateo who did a very fine job in keeping true to the original. The hands came from Kevini-Tzi Hanunaneh, the body made by reliable Louie Frederic de Jesus. 

The metal accoutrements were made by Jass Monteroso of Kalayaan, Laguna -- the church atop the book is a faithful replica to the one carried by our Festejada image that could've been the image of Mauban's stone church and belfry that fell during the earthquake of 1880. His sandals (not visible in the photo) have also been copied from the pair wore by the Santo Patron.

His vestments were beautifully made by Makoy Basco Celestino of Linea and it was based on old photos of the wooden image enshrined in the Church (This image was said to have miraculously survived the destruction of the last Spanish era church in Mauban that was a casualty of a december typhoon that hit our town in 1947), the image on the fachada of the Church and the silhouette of the mozetta (shoulder cape) of the Festejada.

Much thanks to everyone that has been a part of the image, may San Buenaventura pray for you and your loved ones as well.

Maligayang Kapistahan San Buenaventura - Patron ng Bayan ng Mauban! Viva! Viva! Viva!

(Mr. FRANCIS ONG is a corporate executive and an ardent collector of santos and antiques, especially those originating from Mauban, where he traces its roots. Thank your for sharing your photos and santo restoration story.)

368. NTRA. SRA. DEL CARMEN of Brgy. Valdes, Floridablanca, Pampanga

Virgen del Carmen, in 1957 and the replica of the original today.

The story of the altar image, Ntra. Sra. Del Carmen, is inextricably linked with the founding of barrio Valdes, where the chapel in which the revered image is enshrined. Barangay Valdes was carved out from a portion of Floridablanca wildlands called “Masulput” (full of amorseco weeds) that was thought to be unproductive. The vast forested land was used as hunting grounds by outsiders.

The Valdes Family—who are of Cuban-Spanish and Filipino stock—were mainly responsible for clearing the land and turning it into viable agricultural estate known as Hacienda Valdes, possibly ca. 1840s-early 1850s.

It had live-in tenants who worked the sugar fields with their families. It gained a barrio status under its first head, Vicente Climaco S. Valdes, son of Capt. Basilio Bayot Valdes of the Spanish Navy and Manileña mestiza, Francisca Salvador, who managed the hacienda with help from his brother, Lubao-born Dr. Benito S. Valdes.

Original Virgen del Carmen, courtesy of Jcob Bacani

The new barrio of Valdes, one of the largest in Floridablanca,  was put under the patronage of Ntra. Sra. Del Carmen, to whom Vicente had a special devotion. It is said that he bought the image in Spain and installed it in a makeshift wooden visita, that would be modernized in the years to come.

The classically carved wooden image depicts Our Lady of Mt. Carmel, cradling Baby Jesus in one arm, and holding a scapular on the other hand. It is a mannequin figure of medium size,  dressed in richly-embroidered vestments in traditional Carmelite colors of yellow and brown.

Barrio Valdes became quite developed, drawing people to buy property in the area, which were converted into sugarfields, that proved profitable in the world market.

In time, more houses and buildings were built, and the population grew that warranted the creation of a new barrio, Del Carmen, as a tribute to the patroness of the Valdes pioneers. It was formed with the condition that no chapel must be built there, in deference to Barrio Valdes, which already has one.

American businessmen who saw a promising future for the burgeoning sugar industry put up a sugar central within the area called PASUMIL Del Carmen, not knowing it was technically in barrio Valdes. So as not to confuse its clients with regards to its exact address, the location of the mill was referred to as Del Carmen-Valdes.

Vicente’s nephew, Gen. Basilio J. Pica Valdes, the son of his patriot brother, Dr. Benito with first wife Filomena Pica, took over the reins of the Hacienda. He was a national figure as he was Pres. Quezon’s Chief of Staff and defense secretary.

Source: Replica Image, Our Lady of Mt. Carmel FB Page

The care of the image of the Ntra. Sra. del Carmen was assigned to the Valdes-Rodriguez descendants. Findly called “Apung Calmen”, the age-old image of the Virgen del Carmen is kept by the Rodriguezes, while a well-made replica reposes in the chapel, Our Lady of Mt. Carmel Chapel, enshrined in a baldachin.  The patron’s feast day, observed every July 16, is marked with big fiesta celebrations in the barangay. The “pyestang barrio” on the other hand, used to be celebrated every May 18-19.

SOURCES:

Valdes Barrio Fiesta Souvenir Program, May18-19, 1957

Photos: Our Lady of Mt. Carmel FB Page, Media & Social Communications, Jcob Bacani

Basilio Pica Valdes, geni.com

Floridablanca, Historical Data Papers

“Fortune Helps the Brave: Gen, Basilio J. Valdes”, viewsfromthepampang.blogspot.com

367. LA PURISIMA CONCEPCION de TABUÑGAO of Minalin

In the oldest barrio of Minalin, Pampanga, known today as Sta. Maria, one can find the revered and ancient image of La Purisima Concepcion de Tabuñgao, whose origin is wrought in a miraculous legend still told in this Kapampangan town. The barrio’s old name –“Tabuñgao”—refers to the 1609 discovery of the image, where people found floundering on the flooded river, a large, dried gourd (upo), or “tabuñgao/tabungo”.

The local folks fished out the floating gourd from the river which was near the ‘visita’ (chapel) they were building, and to their utter surprise—the tabuñgao, when opened, yielded an image of the Blessed Virgin.

Carved of wood, the small image depicts the Blessed Virgin Mary standing on a globe base with a snake coiled at her feet. She has a steady gaze, with the palms of her hands together in an act of prayer. Devotion spread from Tabuñgao, as the pueblo was established with the expansion of its frontiers.

Today, the present barangay known as Sta. Maria still has the visita or chapel that has been named after her. In the central niche of the altar, La Purisima Concepcion reposes, standing watch over Her people whom she has showered with an abundance of blessings.

In gratitude, the community have embraced her with love and lavish attention. Her designated camareros are the Intal Family and Nevil Pineda, a longtime devotee in charge of her vestments. 

In 2008, the “La Purisima Concepcion Festival” was organized to honor her on her feast day, Dec. 8. Replica images (festejada) of La Purisima have also been made for other devotional events including Marian processions, novenas and rosary crusades. She has also been gifted with rich vestments made by Borda de Oro, under the auspices of benefactor PJ Nepomuceno (+). 

Indeed, today, there is only one Queen who reigns in the hearts of Minaleños—La Purisima Concepcion de Tabuñgao.

 SOURCES:

Sta. Maria Archive Minalin (Nomer Pangilinan) FB page: https://www.facebook.com/stamariaarchive.minalin

Visitas ning Sta. Maria FB Page: https://www.facebook.com/visitasning.stamaria

La Purisima de Tabungao FBPage: https://www.facebook.com/lapurisima.concepcion.de.tabungao

Minalin Wikipedia, https://en.wikipedia.org/wiki/Minalin

Many thanks to Romel Zapata Tubig Jr, Tourism Officer of Mianlin, for the additional info.

366. Found Identities: THE CHAPEL SANTOS OF UBIHAN

Old photos of 3 Santos on their andas, 1922.

Stashed among my collection of religious photos are these 2 snapshots taken over a hundred years ago in 1922. On the back were short lines written by a Mother to his Son, David, updating him of the goings-on of some religious events happening in their place, which unfortunately, was not named. For over a decade, I have not been successful in identifying where these santos came from, as the real photo postcards have no postmarks.

The first photo shows a trio of images: St. Joseph with the Child Jesus, a Crucified Christ, and an Immaculate Conception, on top of individual andas (shoulder-borne platforms). The mother writes:

David:

Ang Retrato ng Señor ay hindi nakunan sa prosesion pagkat nĝ dumating ang kukuha ay tapos na ang prosesion, bukod sa rito, ng tang(g)apin ni Jacin ang sulat mo ay sa 11 nĝ Enero sa kaniang kasera. Yto na lamang at kahi(t) ma na wari pagpalain ka ng P. (oong) D. (iyos) at nĝ mahal na Virgen.   Ang iyong Yna

 (David, The picture of the Lord was not taken during the procession because by the time photographer came, the procession had already ended. Also Jacin received your letter on Januray 11 from his landlady.  This is all for now, and may you be blessed by the Lord God and our beloved Virgin.---Your Mother).

The second photo shows a picture of the Crucified Christ nailed on his Cross, outfitted with an opulent metal burst and paper flowers. The back has this handwritten notation:

David:

Pinagpilitan na ming pakuhanan ng retrato ang poon sapagkat bagong lubog na lahat ang kaniang kasangkapan na iyong makikita rito; sa pecha 27 ng Deciembre ng 1922.   Ang iyong Yna.

(David: We made an effort to have the picture of the Lord taken because all His metal  accessories that you see here have been newly re-plated; on this date 27 December 1922.)

Just last month, Robby de la Vega, a friend from Intramuros Administration, alerted me about the photos, informing me that they are those of the still-extant chapel santos of brgy. Ubihan of Meycauayan, Bulacan. The key was the date written by the mother—December 27---which is the date of the fiesta of the barangay patron—Sto. Cristo.

Checking online, I found the FB page of the “Sto Cristo de Ubihan”, which has posted pictures of the Crucified Christ in my old photo—and indeed, they are one and the same image. There were also fiesta photos of their images of  San Jose con Niño Jesus, and the Inmaculada Concepcion on new carrozas, as the andas in the old photos are long gone.

I also learned the Ubihan was one of the most remote barrios of Meycauayan which thrived on fishing and aquaculture as it was surrounded by rivers and fishponds. It was so named because ube plants used to be planted in abundance in the barrio. In 1882, Ubihan was plagued by cholera that decimated the population. So distant was the barrio, that revolucionarios used Ubihan as their hiding place. As such, it was constantly raided by Spaniards. The Americans burned the barrio in 1900 at the onset  of the Philippine -American War and once gain razed by the Japanese in the last world war.

Inspite of all these tragic calamities, both natural and man-made, Ubihan survived, and continues to thrive--certainly protected by their 3 Patrons who, after over a century are still very much around, cared for and revered by  the local faithful in gratitude for the blessings received and the salvation of their humble barangay in the most trying years of its existence. 

CREDITS:

MANY THANKS to Mr. Robby dela Vega of the Intramuros Administration

Photos from the "Sto. Cristo de Ubihan" FB Page

City Government of Meycauayan website:https://meycauayan.gov.ph/ubihan/

365. SAN ISIDRO LABRADOR: When Vintage is Valuable

When I saw this 32 in. image of San Isidro Labrador on FB Marketplace, I thought it was an antique, crafted to perfection by an artist who seemed familiar with Spanish-style carving and religious iconography.That was until more close-up photos were shared, and I saw the still-sharp cuts and edges which bore tell-tale signs that the figure was not one. There certainly were attempts to make it look old like the effects of paint loss, missing hands, and attributes like the shovel or the sickle—symbols of the saint's work. One foot was also broken.

As the santo was advertised on FB marketplace

To soften and smoothen the look, traces of white talcum powder can be still seen in the crevices, mimicking dried layers of old gesso. Probably, which was why it remained unsold for days, ignored by true-blue antique collectors.

But age to me, while important, is not always the reason why I am attracted to newer santos of this kind. It's the excellent execution of this San Isidro that got me—presented alone on a base—without the plowing angel and the kneeling Don Vargas that one often sees on tableaus. Seldom do you see vintage santos of impeccable quality such as this one. 

This, surely was a product of a learned carver who knew his stuff well—from the way he accurately posed the saint with one hand on his chest,  while holding, on the other hand,  an iconographic  farm implement, now missing.

His carved costume depicts the common outfits of peasants in old Castile: a tunic with buttons that adjusted it to the chest, short breeches, high boots (or leggings) close to the knee, and a jacket collar, sometimes decorated with a frill.

The artist paid great attention to the minute detail--from the delineation of the saint’s hair, the creases on his forehead and sallow cheeks, to his windswept hair and tunic, and the folds of his boots.

I contacted the seller and made a few inquiries; he told me the San Isidro came from Samar, and that it was carved from 2 separate woods—the base being made of santol. He asked me what my plans were—will I restore it? Repaint it? He said it looked good as is. I said I don’t know yet. I made an offer, he made a counter offer, and the deal was sealed.

In a day and a half, the San Isidro arrived at the courier’s office for me to pick up. I wasn't prepares for its weight--it was very heavy, I had to drag the huge box to my car. When I opened the box back home, there it was---San Isidro Labrador---it was exactly how I imagined it to be---except for its denseness and extreme weight ( close to 10 pounds on a bathroom scale). I was later told it was ironwood (local name, mangkono).

I was in for another surprise  when a separate bubble wrap revealed  his pair of hands—they were not missing after all. That, along with a broken fragment from one boot. The holes at the bottom of his feet were outfitted with short metal tubes, to provide extra support when the image was attached by pegs on the base. That rather new feature proved that San Isidro may have been made in just the last 2 years or so, new by antique collectors' standards.

I decided to make a replacement for his lost farm implement. Using found objects at home, I created San Isidro’s long-handled shovel from a rattan stick, whittled down to the right circumference, to create a pole handle.  A rusty, mini-hand spade provided the metal spade, while its wooden handle  was joined to the tip of the stick to serve as a handle grip. A metal strip cut from an old liquor cap was ringed around the joined parts. The long-handled shovel was distressed and aged by rolling it over the stove flame, then brushed with mahogany stain.

The santo was not without flaws, with many nicks and dings, plus the usual cracks, so I had to fix these with a variety of  fillers--plastic wood for the cracks, and epoxy clay to fill in bigger gaps. 

One arm and left leg of San Isidro were a bit wobbly so I had to detach them to see the problem.  It turned out that the dowels or pegs used to connect arms to the body and the feet to the base have come apart. When all the parts have been secured properly, I found out one peg would no longer fit into the hole on the base; the position of one foot had moved a bit in the  regluing process. I had to open up the hole and dig in a bit deeper to fix my mistake.

The whole ensemble was then polished with bees wax which evened out and darkened its color to a deep brown-black and gave it a rich mellow sheen. Though a vintage piece, San Isidro appears much better now--looking more venerable, and more valuable than ever! 

Many thanks to Mr. Jay Consunji Capistrano for this beautiful piece, and for the use of his FB Marketplace photos.