Wednesday, June 17, 2026

375. SANTOS DE PALO: The Household Saints of Puerto Rico

Featured in this excerpted article are selections from the exhibition “Sants de Palo: The Household Saints of Puerto Rico, organized by guest curator, Yvonne Lange, and shown at the Museum of American Folk Art in N.Y. from Jan. 1992-April 1994. The objects in the exhibition were drawn from the collection of Alan Moss Reveron of New York City.


By just viewing the religious artistic expressions of many Puerto Rican santeros, one can see the intertwined past of two countries, by comparing the similarities and the contrasting differences with the santo carvings of the Philippines, which, like Puerto Rico, was Spain-owned, steeped in Catholicism, introduced by their colonizers. 


Like Filipino carvers, santeros were untrained, and often worked from their imagination or by using old religious prints as guides for the saint’s iconography. Majority of the output were folksy in style, rather naïve, though a few were close to realistic—with better proportions, and superb painting,


The major difference is that, many of these Puerto Rican santeros were known and well-documented, while early Filipino artists remain anonymous. Most Puerto Rican samples average about 8” in height, while Filipinos examples show a wider range of sizes, from miniatures, tabletops, to processional and church size-images.


There are also expected differences in the representation of subjects, due to local devotions. A Filipino would be able to recognize, for example, a Puerto Rican-carved San Antonio de Padua or San Miguel., but perhapans, not Virgen de Monserrat or La Trinidad; the common Puerto Rican version shows 2 human forms (God, Son) and a dove representing the Holy Spirit. Filipino examples prefer showing a trio of look-alike persons.


Like the Philippines, the art of the Puerto Rican santero represents a rich and a varied legacy of imagery and artistic expression, often looked as a vocation, and not a trade.

SOURCES OF PHOTOS & INFO:

“Santos de Palo: The Household Santos of Puerto Rico” Exhibit Catalog, © 1991, The Museum of 61 West 62nd St., N.Y., N.Y. 10023.

Thursday, June 4, 2026

374. LA INMACULADA CONCEPCION OF MALOLOS

The deeply-revered image of La Inmaculada Concepcion (Immaculate Conception) of Malolos is enshrined at the main altar of the Cathedral-Basilica Minore dedicated to her name. It s a pre-war image done by a native carver, Teodoro Ople, who overcame his humble beginnings—he was an orphan—to become a skilled artisan of note. The image was modeled from the well-known Marian painting of Bartolomé Esteban Murillo,” La Inmaculada Concepcion de los Venerables”

In Murillo's painting, Mary is dressed in a white robe with a blue mantle, her hands crossed over her chest, with a crescent moon at her feet, and eyes raised heavenwards. Her pose-- right knee bent and her weight on her left leg—accentuates the undulating  rhythm of the composition. A crescent moon encircles her hidden foot, under voluminous layers of white fabric. 

FEAST OF IMMACULATE CONCEPTION, 1950s

Ople’s depiction minimizes the bent foot, to create a more frontal stance, enhanced by the rhythm of the folds and drapes of Her robe and mantle.

MALOLOS TOWN FIESTA, 1954

The beautifully-sculpted wooden figure of the Immaculate Conception was canonically crowned on 10 March  2012, as granted by Pope Benedict XVI. A flight of steps were built leading to the altar so the image could be touched by devotees. 

Photo: CHURCHES, BASILICAS & CATHEDRALS in the PHILIPPINES (CBCP) 

A vicaria (replica) image of the Virgin is used for processions while the precioys original image remains in the church for safekeeping. Malolos’ Immaculate Conception is one of the most photographed Marian image in the country, a testament to the profound devotion of Filipinos to the Blessed Mother.

SOURCES:

Diocese of Malolos website: https://dioceseofmalolos.ph/patroness/

 Churches, Basilicas & Cathedrals FB Page

Thursday, April 30, 2026

373. APO IRO! APO IRO! Discovering the Year-Long Cult of St. Peter in Apalit, Pampanga, by Ross M. De Leon

(Transcribed from the magazine article published on Weekend Malaya 20 Sept. 1987)

By Ross M. de Leon, Photos by Zek Barroso & Jolly David

Apalit town becomes exceedingly alive from June 28 to 30 every year. It is when the whole town becomes one and celebrate the feast of Sta. Peter whom folks lovingly call Apo  Iro. Actually, the people get busy as early as May when the fiesta committee members start mounting the bamboo poles for the buntings.

That the Apaliteños put their minds and hearts in the fiesta event is eveident in the buntings alone. The colors are well-chosen, the hangings have identical shapes and sizes.Arranged very close to each other, the buntings would look like one bg canopy. If one views it from the window of a century-old two-storey house, it turns into a magnificent rainbw that dips somewhere in the Pampanga River.

With a band playing fiesta tunes and people coming in with their glorious smiles, the scene takes a different appeal. It is as if time hangs suspended for three days and everyone is reborn. Nothing occupies the people’s attention except to give their best to Apo Iro. The life-size image in pure ivory is 287 years old. It is the only on in the country which sits on a throne.

Most of us are familiar with St. Peter in an upright position holding a rooster and keys. But Apo Iro of Apalit is a magnificent Prince of the Church in papal robes. Fr his feats, he wear a three-tiered crown symbolic of his being a first Pope. He has a scepter, a huge cross around his neck, a ruby ring and keys. On other days, Apo Iro wears a simple, priestly robe, not the old pajamas and baseball cap he used to. “A pope would never appear in public wearing pajamas, would he?”, asks Rick Badenhop who is married to the camarera, Erlinda Sazon-Badenhop.

Through the Years. It is Linda’s ancestors, specifically Don Pedro Armayan Espiritu, who bought Apo Iro t the country. Don Pedro got the image done in Spain including its original crown, scepter, ring , keys, necklace , cross, the fisherman’s shoes in pure slver. All those have remained intact since Apo Iro’s arrival in 844 at the old home of Don Pedro in Alauli, Apalit. Don Pedro transferred it to a bigger house in Capalangan and has stayed there ever since.

St. Peter’s shrine in sitio Capalangan, Apalit, Pampanga

From 1974 till now, Apo Iro has been under the care of Dña. Elisa Sazon, a direct descendant of Don Pedro. The old lady died in May this year which made her daughter Erlinda, the new camarera.

The family has undertaken the awesome task of being host to Apo Iro’s numerous visitors throughout the year. But it is on his feast day when the preparations are even bigger. Linda, a well-known dentist, is not daunted by the responsibilities for she has fund the perfect partner  in Rick. The latter is a busy executive of Equitable Bank and has accepted Apo Iro graciously as part of his life.

The very old Spanish home of Rick and Linda opens its doors to everybody ob Apo Iro feast day. Rick reveal as , “we have to hire no less than 40 cooks to feed the devotees for free.” About 10 to 20 cavans of rice are needed each year, four large pigs, 300 peces of chicken, 40 kilos of beef, and a jeepload of bihon and not less that 30 cases of softdrink are consumed. “Of course, there are other ingredients and other items butthose are the staples. The cash donation may reach up to Php 15,000 but we always add Php20,000 to that”, declares Linda.

Devotees expecting miraculous cures for rheumatism, asthma, and other ailments.

Aside from which, the family spends over Php3,000 for the coconut oil which the devotees request. Then there’s the maintenance of the chapel and the garden built in 1981 which come from the Badenhop’s purse. “We will keep the tradition the way Linda’s parents and ancestors did it. You cannot just close the shrine for lack of fnds. We believe that Apo Iro will help in every way,” says Rick without hesitation.

The Badenhop’s faith in the miraculous power and generosity of Apo Iro is echoed by the devotees who flock by the thousands. Maria Santos, a 68 year old resident of Caloocan, and her whole clan come yearly in 4 jeepneys. There are 80 of them and they have been faithful to Apo Iro for the last six years. “Lahat kami pati dalawang apo ko, pinagalig ni Apo Iro,” remarks Aling Maria, a furniture shop owner.

Aboard the barge are Apo Iro and the Virgin Mary on their 6-hour  fiesta time journey to the Apalit Cathedral.

She herself goes down the river when the fluvial procession begins. The woman explains, “Dati hindi ako makalakad dahil sa rayuma sa pareho kong paa. Pero simula nang magdebosyon ako kay Apo Iro, gumaling na ako.” In between fiestas, Alig Maria usues coconut oil to massage her feet. “Mabilis ang ginhawa. Ganon din kapag nagbabad ka sa ilog na dinadaanan ni Apo,” came the simple declaration of faith. Her two grandchildren were rid of their asthma again through the water and oil from Apo Iro.

There’s Felisa Cabildo Albina who is now 73 years old and widowed. She began her panata at 17. Aling Feling’s eyesight was failing because of cataract, “pero iniligtas ako ni Apo Iro.” She used to suffer from hypertension and severe headaches. But she does not look her age nor does her illness seem to bother her when she dances on the street with other devotees. This, they do, when Apo Iro leaves the shrine for the población and on the day that he returns.

Felisa Albina, 73, has been dancing for Apo since 1921.

The dancers bring with them all kinds of leaves but especially guavaleaves. “Kahit anong halaman basta isinama kayApo Iro nakagagaling,” relates Aling Feling. “Pakulo ka lang ng tubig at yoong dahoon pag may sakit ka ng tiyan, ulo o lagnat at tiyak na wala.”

For this year’s festa, however, there were signboards requesting devotees not to destroy the plants. Rick points out, “They can get the leaves but nothing should be uprooted. We spend a lot in the upkeep of the plants.”

Miracles? Another devotee of Apo Iro is 14-year old Nicomedes Estrella of Iba. He was only 4 years old when he got leukemia and his parents were told that he would die soon. Once, when he was delirious, he told his father, “Itay, dalhin mo ako kay Apo Iro.” He and his parents stayed in the chapel for two weeks after which Nick recovered for good. He is now a healthy teener who for the last 10 years has been spending the last 3 days of June with Apo Iro.

Aling Maria, Aling Feling and Nick are only three of the tousads of devotees who greet Apo Iro on his feast. They wait rain or shine till Apo is brought out from the chapel and down into the river. The chanting of “Apo Iro, Apo Iro!” is awesome, the kind that makes your hair stand on its end and sends shivers down your spine. There is a marvelous rain of petals, confetti and leaves followed by a thunderous applause. Dancing on the street continues as Apo Iro is carried to the river by the Knights of St. Peter.

Devotees Mary Indiongco, Knights of St. Peter Macario Vargas 
and Amado Arceo with Dr. Erlinda Sazon-Badenhop in front of the
287-year old Apo Iro.

Despite the gaiety, the festivities do nt turn into a circus that would lessen the solemnity of the event. More people await Ao Iro at the river where he takes a barge. From Capalangan, he is transferred to a bigger, more splendid float at the point where the Calumpit and Pampanga Rivers meetfor his 6-hour journey to the Apalit población.

The fluvial procession is a sight to behold, a powerful feast of colors for photographers. The large float carrying Apo Iro and and the Blessed Mother is followed by smaller bancas, barges, etc. all filled with people. The banks are lined with more devotees who immerse themselves in the water for everyone believes that this is the only time of the year when the water becomes curative through Apo Iro.

A vigil and procession are held at the Apalit cathedral for a day when Apo Iro returns to the shrine in Capalangan. The return journey is awaited with greater joy and enthusiasm as if the Apo left the sitio not for a day, but for years. Dancing, dousing of water, and feasting are the order of the day. The folks stay till late at night in thanksgiving, for their belove Apo Iro is back and safe.

Sunday, February 22, 2026

372. VEGA COLLECTION OF SANTOS, by Rosario M. Querol

 Originally published in The Weekly Nation, 29 May 1967, Art & Literature page

FULGENCIO "Fulgie" VEGA JR.

According to history, the first religious image found in the Philippines was that of the Santo Niño which was discovered on April 28, 1565 by Juan de Camus, a sailor in Miguel Lopez de Legazpi’s ship. Camus came upon it I one of the village homes; it was kept in a small pine box. This image is venerated as the Miraculous Santo Niño de Cebu, the 300th anniversary of whose discovery coincided with the celebration of the 300th anniversary of Christianity in the Philippines in 1965.

Definitely of Chinese craftsmanship is the sleeping Niño. He is made of gleaming ivory, has a gold cap and matching sandals. Nine inches long, it lies in a miniature bed in the Vega bedroom. It was acquired in Cebu.

While the Santo Niño of Cebu is believed to be Dutch in origin, the other early santos found in the country must have been carved in Spain and in the Latin-American countries. As Christianity spread in the islands, local craftsmen—Chinese and Filipinos—wrought their own peculiar characteristics in their carvings.

A close-up of San Miguel Arcangel 

Most sought after is the St. Michael atop the devil. It is so rare that it commands a steep price. Some of the St. Michaels in the Vega Collection depict different interpretations of the saint.

Aside from the professional craftsmen’s santos, there were those crude primitive statues carved by amateurs for their own little altars at home. Hundreds of years later, these primitive santos proved to be more interesting to antique art collectors than the commercial ones.

Considered  rare items are images of the Holy Trinity, the carvings of which were finally prohibited by the Catholic Church in 1928. These were crude interpretations ; the one at left stands 13 inches; the bigger one is 20 inches. Both are from Panay island.

The development of the santos in the Philippines followed closely the path of the Christianization of the country. The Santo Niño of Cebu was the precursor of other images brought to the islands by other Spanish expeditionary groups and copied by local artisans. The island of Panay is believed to be where the design patterns originated.

Standouts in the Vega collection are this unknown santo (L) from Molo, Iloilo, best known as the Parian of the South; and a Juan Bautista ( R ). The unidentified santo is dressed in the Chinese style , featuring a Mandarin collar, traditional tunic and cap. San Juan Bautista has clothes designed with intricate lattice pattern and is painted green. Both images are 15 inches tall.

The santos may not be considered strictly as works of art, but their value lies in their being relic of Philippine cultural and religious heritage. One of the most avid colectors of santos is Fulgencio Vega Jr. of Bacolod City, who has a B.S. in Foreign Service and is completing his MA in English at the University of San Agustin in Iloilo. The Vega home is a veritable museum of antique santos. On this page are some of the rare santos in the Vega collection.

Rare images of God the Father and Son sitting in judgment, from the Negros Occidental area. Next to them is an intricately carved Virgin Mary with its front apronlike panel done in silver, its pedestal carved with angels’ heads—from Aklan. At left, Our Lady of Salvation wears a sleek hat.

Friday, January 16, 2026

371. SAN MIGUEL ARCANGEL of Angeles City, Pampanga

SAN MIGUEL of the Evangelista Family, Photo: "Pisamban Maragul" book.

This 110 year-old image of St. Michael Archangel was commissioned in 1910 for the family of the prominent businessman Roman Bernardo Evangelista of old Culiat. The santo is depicted bearing a sword and helmet on his head, in the act of battle with Satan who is fallen and tampled underneath by the heavenly warrior. The San Miguel was intended for the La Naval celebration of Angeles.

Don Roman  Evangelista with wife Dona Francisca Dizon Dela
Resma , and their 2 older sons: David and Marcos  Ca. 1899 

The Evangelistas, known for their pioneering telecom business in the city, also owned the Sta.  Misericordia, a Holy Week tableau.The San Miguel image was bequeathed to Francisco and Domingo Evangelista upon the death of Don Roman, and successively passed on to their descendants.


The city of Angels also is home to other antique angel santos: El Santo Angel Custodio (Holy Guardian Angel, 1830, with Holy Angel University), San Gabriel Arcangel ( Jose Sanchez Family, 1916), and San Rafael Arcangel (Mariano V. Henson Family,1915).

As most of the Evangelista descendants have moved abroad, the carro and the image of San Miguel are both under the custodianship of the family of the late Jess Panlilio.

SOURCES:

Dr. Raymundo Feliciano Albums

Additional infor: Josel Evangelista Suarez

Pisamban Maragul: The Living Chrch of Angeles City, Nina Tomen in collabration with Bishop Virgilio David. Angeles City 2014


Friday, November 7, 2025

370. THE 7 ARCHANGELS OF INDANG, CAVITE

In the Parish of Indang, Cavite (est. 1625)  dedicated to San Gregorio Magno (St. Gregory the Great), there not only flourishes a profound devotion to its great patron, but also to the 7 Archangels: Baraquiel, Gabriel, Judiel, Miguel, Rafael,  Sealtiel, and Uriel.

Town lore has it that a painting of the 7 angels was found rolled up in a trash heap behind the church. The unsigned Archangels painting was a local painted version of an 16th century print made by Flemish engraver Hieronymus Wierix (1553’d. 1 Nov.1619) who did many religious prints.

The ancient painting, in a shadowbox frame,  was enshrined on one side of the altar, and it was in this manner that the people’s devotion came to include the 7 archangels.  Indang’s town fiesta, celebrated on the 2nd Sunday of May and the following Tuesday, honors their joint patrons– the pope-saint, San Gregorio Magno, and the Seven Archangels. Their actual feast days are marked separately: Sep. 3 and Sep. 29, respectively.

Show here are the old statue carvings of the Seven Archangels which were meant to be used for processions.

SAN BARAQUIEL. Chief of the guardian angels,  a patron of family and married life. He is also invoked as the special guardian of those born on Saturday. Symbols: include a wreath of white roses or a book, representing marital and family guidance. Traditions associate him with  power over lightning and storms, as his name can also be interpreted as "lightning of God.

SAN GABRIEL. Messenger of God; known for delivering significant messages, such as the announcement to the Virgin Mary that she would give birth to Jesus. Patron saint: Gabriel is considered the patron saint of messengers, communication workers, and postal workers. Symbolic attributes include a white lily, representing purity, and a trumpet.

SAN JUDIEL. His name—from “Jehudiel”--means "Praise of God". Patron saint of all those in positions of responsibility and encourages those in their work. Often shown holding a crown (reward for spiritual labor) and a whip or a three-thonged whip (punishment for sinners).

SAN MIGUEL. Prominent warrior archangel, leader of God's armies, specially for his role in vanquishing Satan. Venerated as a champion of justice, a healer, and the guardian of the Church. Depicted with a sword, a banner, or scales, and sometimes shown stepping on a dragon.

SAN RAFAEL. His name means "God has healed," and he is invoked for divine healing. He served as a guide for Tobit, hence, also patron of  travelers and pilgrims. Often shown holding a staff or a fish, the latter symbolizing the healing powers he used from a fish's gall to cure Tobit's father's blindness.

SAN SEALTIEL. San Sealtiel. The angel of prayer and worship,  believed to help people with their prayers, guide them in worshiping God, and present their petitions to God. Often depicted holding a censer (thurible), with arms crossed in prayer.

SAN URIEL. San Uriel. The angel of wisdom, prophecy, truth, and light. His name means "God is my light" or "fire of God". Often depicted with a book or scroll and sometimes with a solar orb. In some traditions, he is the one who wields the fiery sword at the gate of Eden.

CREDITS:

All photos, Dr. Raymundo Feliciano Albums, 1994.

Phtoto of the 7 Archangels of Indang: wikimedia commons

Wednesday, October 15, 2025

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.)