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)  FB Page

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

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/

335. SANTOS FROM THE MUSEUM OF THE INCARNATION

CAPTIVE CHRIST

Along Pariancillo St., in Malolos, Bulacan, and right across an ancestral house coverted ino a Meralco office, is another heritage home of the Tiongson Family, that has been repurposed into a  Museum.

The Museum of the Incarnation was the brainchild of Mr. Leo Cloma, a finance executive who is a native of Bulacan. After securing the agreement of the Tiongsons, he proceeded to restore the house and convert it into a museum where “the sacred is made real”.

 

SAN MIGUEL

SAN PEDRO

BUST OF CHRIST

It houses some of the most stunning processional images and other ecclesiastical art pieces displayed using old mesa altars and antique reproductions of urnas, from his own commissioned collection, as well as centuries-old images of noted santero, Francsico Vecin. There are also “retired” images (those that are no longer processed) from Bulacan families.

DEATH OF SAN JOSE

A DAY AT THE MUSEUM

A SANTA AND A TABLEAU

The images in the specious museum house are most Semana Santa images and tableaus—from Mater Dolorosa, the Tres Marias, to whole Calvario scene, the kiss of Judas, and the Last Supper. But there are also non- Holy Week images like the death of St. Joseph, the Nativity,and individual images of santos like St. Joseph, Immaculate Conception and San Miguel.

MATER DOLOROSA

BETRAYAL OF JUDAS

PACIENCIA

The museum complements the other “museum house” of the Reyes family which also contains collections of restored images as well as stunning processional carrozas.

SCOURGING AT THE PILLAR

STA. MARTA, SALOME, MAGDALENA, VERONICA

ORACION, SAN JUAN, SAN PEDRO, ATBP.

CALVARIO

On this spread are pictures of santos from the Museum of the Incarnation. As it is a private museum, appointments should be made with the Museum admin people.

AGONY IN THE GARDEN

AGONY IN THE GARDEN 2

LA PIEDAD

 MANY THANKS TO MR. LEO CLOMA FOR THE INVITATION 

TO VISIT THE MUSEUM OF THE INCARNATION. 

324. Mother and Child of Ancient History: STO. ROSARIO

One of the most important and popular devotions in the Philippines  is centered on Our Lady of the Most Holy Rosary –or simply, Virgen del Rosario or Sto. Rosario, patroness of countless far-flung barrios, towns, cities and parishes in the country. It is a Dominican devotion that dates back to th 13^th century and propagated throughout the world. It is no wonder that many home altars feature images of Sto. Rosario, showing the rosary-holding Virgin with her Child Jesus.

This century-old Sto. Rosario is one such example, carved by an artisan of extraordinary skill, in the classical style. The image was found in Bulacan, in a house demolition-cum-antique shop, part of a lot of antiques that the proprietor was trying to dispose. 

One look and you can tell that this is not the work of a folk santero, for it is exceptionally carved in classical 19^th century style, with many wonderful details. It is surprising that this Sto Rosario was carved from softwood, given its quality. But then again, the soft, easy-to-carve material may have inspired and allowed the artist to put in more details.

This Sto. Rosario stands 16 inches tall, inclusive of the  plain,  squarish base with 2 frontal corners lopped off. The image alone is about 13 inches tall. Both Mother and Child are crowned with small parts missing, including their hands.  A small, hand-made rosary fashioned from coconut beads, could have been held in the Virgin’s right hand.

But that do not detract from the beauty and antiquity of this religious statue, which is heavily patinated and darkened with age.

The Virgin cuts a matronly figure, with a plumpish face and built. She stands with a bit of a hunch, her head in a frontal gaze, with facial features well-defined: from her full cheeks,  deep-set eyes, lips ending in a slight curl,  and neck rings. The Niño’s features are hidden in the thick patina, but it is also well-executed, with the Virgen  supporting Him precariously  with her left hand on His knee.

Wearing a cope-like cape that is buttoned on the neck, then draped and gathered on her waist, the Sto. Rosario stands on a cloud-like peana with feet showing, borne by a curly-haired cherub with downcast eyes. The paint has peeled off in her lower extremities, with the primer (gesso) showing, but with traces of gilt still visible.

Most of her back is covered by her lush, flowing hair that reaches down her knees. Hair strands are defined by shallow carving, more detailed on the side.  Whoever carved this work of devotional art should be happy to know that his Sto. Rosario-- a product of his skill and passion-- has survived all these years, cared for and loved by an antique collector.

307. Retro-Santo: STA. SALOME of CANIOGAN, MALOLOS, BULACAN

THE MYSTERY PICTURE OF STA, SALOME, ca. 1920s.

A decade ago, in one of my visits to a local antique dealer, I picked up this photo postcard of what seemed to be a family before an heirloom wooden statue of Sta. Salome, on a small wooden carroza. The people are dressed in modest clothes, in their Sunday’s best—nothing expensive or flashy. The women on the left looked like they were in mourning clothes, indicating a death in the family, maybe the pater familia. The grove of slender bamboos in the background gives the scene a real, rustic feel. It would appear that they are about to leave for a procession.  I liked how this 1920s photo evoked the spirit of bygone days in the province, —simple, unhurried, when people’s devotion to their faith was deeper, more unwavering.

But what drew me to the picture was Sta. Salome herself. It is the plain-ness of the carving that makes her remarkable. She projects a sweet expression, a slight smile evident on her face. The santa who cleaned Jesus’ tomb clasps a broom on one hand—a walis tingting—and a hanky on her left hand. Her vestments, though with traces of gold embroidery, have a  homespun quality to the way they were created. The ends of her half-cape are folded over into “palikpik” that extended till her shoulders. She wears a belt that is uniquely trimmed with a ribbon. 

On her head, Sta. Salome  wears a brass diadem, and an umbrella-type halo or paragua. She stands on an ochovado base, outfitted with spindly albortantes, topped with glass floral shades and adorned with paper flowers.

PHOTO: YVES PAULINO

The mystery over this vintage picture, however, had just begun.

Who is the family that owns this beautiful Sta. Salome?

Where was this taken?

More importantly, what fate befell the santa and her carroza?

If she survived, where is it now?

PHOTO: YVES PAULINO

For years, these questions remained unanswered. In the meanwhile, I even used the picture as an illustrative example of Philippine processions in an article I wrote for one of my blogs. Sometime in 2015, one blog reader from Bulacan—Yves Paulino-- saw the picture and noticed some startling similarities with the image of Santa Salome of Caniogan in Malolos.

PHOTO: YVES PAULINO

The overall stance of the image—for instance, in the way her hands were posed, were similar to their Sta. Salome. And so were the diadem and the “payong”. The manner in which she was dressed-- specifically, the upright ‘palikpik’—was very similar too. The most telling, however, was the unique belt. Upon closer scrutiny, Paulino noticed that the santa in the picture was wearing a unique ribbon belt—identical to the original belt on the waist of  the Caniogan image.

PHOTO: WENCY CAMIGAY, flickr.com

Despite these striking similarities, Paulino wanted to be really certain. Since my blog was about Pampanga, he assumed that the picture came from the province, and therefore the image had a Kapampangan provenance. Besides, I had identified the image in the picture was a “Sta. Maria Jacobe”. He then sent me period pictures of their santa so that  could compare the 2 statues myself.

PHOTO: JHENNEL PAULINO, FB page

When I saw the picture of their patroness, I could tell right away that this was indeed, the same one as in my picture. I pointed out that I did not identify the image as coming from Pampanga, In the caption, I had written  “….A family from Central Luzon rolls out it heirloom image of Sta. Maria Jacobe”. It is also to be noted that certain provinces interchange the names and attributes (broom and hanky vs. censer) of Maria Jacobe and Salome.  I had no doubt in my mind that the mystery santa in the picture was indeed, the Sta. Salome of Caniogan, Malolos.

PHOTO: WENCY CAMIGAY, flickr.com

The only missing information are the real identities of the people in the picture. No one in Caniogan seem to know, not even the old folks in the neighborhood. They could only tell that “someone long ago, donated the image for the chapel to use”.  

PHOTO: WENCY CAMIGAY, flickr.com

Today, the image of 5 foot  Sta. Salome with her bastidor body has her own chapel in Caniogan, and she remains under the care of “hermanos”, who,  on rotating duties, take care of the image. An assigned hermano gets to take home the statue, her vestments and even her cabinet where she is kept. Nowadays, the younger set takes care of dressing her up for her “fiesta”. All these years, she wears her original ribbon belt and her diadem, but her halo and her broom  have been replaced. She also wears a donated human hair wig.

PHOTO: JEMUEL PALACIO PAULINO

Not only did the antique image survived too, but even her wooden carroza shown on the picture is still in existence, used by the old Santa Cruz of Caniogan—a slender, holy cross that is also a treasured sacred art of the barangay.

PHOTO: STA, SALOME CANIOGAN, MALOLOS FB page

Sta. Salome’s double feast days are observed with festive dancing and celebrations—first, during the Easter Salubong, where she is feted with a procession after her return  from the Sta. Isabel Church, and on Oct. 22, her official Feast Day, where a novena is held in her honor.

PHOTO: ROBERT 'BOB' BERNABE, FB page

The only mystery left are finding the identities of the family members  in the picture. No one in Caniogan seem to know, not even the old folks in the neighborhood. They could only tell that “someone long ago, donated the image for the chapel to use”.  But that is immaterial at this point in time, for in their stead, a whole community of people have come to rally around Sta. Salome, showering her with love and devotion that are sure to last into the next generation and beyond.

PHOTO SOURCES:

Sta. Salome Close Up: flickr via Wenceslao Camigay, https://www.flickr.com/photos/wency_gentrias/2954162271

Picture of Sta. Salome with Sta. Cruz: Sta. Salome (Caniogan, Malolos) FB Page, https://www.facebook.com/stamaria.salome.3?ref=br_rs

Sta. Salome Chapel: Wenceslao Camigay, https://www.flickr.com/photos/wency_gentrias/2958003486/

Photo of Sta. Salome in church altar: Bob Bernabe FB ( posted on Sta. Salome FB page)

Medium shit of Sta. Salome: JehnNel Paulino FB ( posted on Sta. Salome FB page)

Other vintage pictures: Yves Paulino

Photo of Sta. Cruz with Carroza, Jemuel Palacio Paulino

297. Lost for 36 Years: LARAWAN NG SANTISIMA TRINIDAD, of Brgy. Santisima Trinidad, Malolos

It has been a long 36 years since the ancient icon of the miraculous Holy Trinity (“ Larawan ng Mapaghimalang Santisima Trinidad”) of a Malolos barangay with the same name,  disappeared on 27 October 1981. Known variously as “Santisima Trinidad na Orihinal”, “Santisima Trinidad na Antigo”, and  “Santisima Trinidad na Matanda”, it has been enshrined ever since at  the main altar of the visita of Brgy. Santisima Trinidad.

In this 1963 photo, on can still discern the Santisima Trinidad on the top niche
of the main altar of the chapel.

The visita itself was built on 4 May 1863. Stories have it that when the field was being cleared by workers for the erection of the visita, they unearthed an icon bearing the image of the Holy Trinity, painted on 4 wood panels pieces. The 26 x 36” painting shows the 3 divinities—God the Son, God the Father, and God, the Holy Spirit seated together, with hands raised in benediction. As a tribute to the Trinity, the chapel and th barrio was put under their titular patronage.

THE THREE CALLEJERAS

Since then, three more Santisima Trinidad icons have joined the original one at the visita-- Santisima Trinidad na Mayor, a Mexican painting on canvass, and considered the oldest of the 3 callejeras (processional images); Santisima Trinidad na Bata, an oil painting on rosewood, ca. 1762; and the Santisima Trinidad de Trisagio, a 22 x 27” image placed in the safekeeping of the caretaker or “hermano trisagio”.

Photo souvenir with the original Santisima Trinidad

But it is the original “larawan” that remained in the altar mayor for as long as one can remember, around which the people of the barangay anchored their faith, love and devotion. In time, the chapel was shared with two other barangays, Barihan and Pinagbakahan.

SANTISIMA TRINIDAD NA BATA, dated 1762

Over the years, miracles have been attributed by residents to the workings of the Santa Trinidad—impossible favors granted,  incurable afflictions healed, and babies safely delivered despite delicate pregnancies. The 3 barangays celebrate the fiesta of their revered patron annually, every Trinity Sunday, while in separate feast in October is celebrated for their secondary patron, Birhen ng Santo Rosario.

BEFORE & AFTER DEMOLITION/CONSTRUCTION PHOTOS

In 1981, the year when the old chapel was scheduled for demolition to give way to a new, more expansive building, a most unfortunate event happened. On October 27, the original Santisima Trinidad was stolen from the central niche of the altar. All efforts were exerted to find the lost icon and the criminals who committed this dastardly act—to no avail.

REPLACEMENT TRINITY IMAGES

When all hopes seemed lost, a generous family from Olongapo—the Bartletts—donated 3 vintage 1950s dressed mannikin images (de vestir) to the chapel of the much-saddend barangays. From Olongapo, the images were taken to Malolos and translated to Brgy. Santisima Trinidad by procession. Somehow, the pain of the loss was alleviated by the arrival of these images that now occupy the main altar.

MAIN ALTAR WITH DRESSED IMAGES

As if to show its divine displeasure, the Santisima Trinidad Chapel was embroiled in controversies, beginning in 2001 when it was interdicted by the Diocese of Malolos. A different sect took over the chapel from 2002 to August 16, all caused by land ownership discord and the refusal of the barrio to turn their chapel into a parish church. It was only on 27 October 2016—exactly 15 years since the disappearance of the “larawan”—that the chapel returned to the fold of the Diocese of Malolos, where Catholic masses have now resumed.

With this positive and happy turn of events, the people of 3 barangays have become more of hopeful for the safe recovery and return of their patron, Santisima Trinidad. The community of santo aficionados (and that includes camareros, private collectors, antique shop owners and their middlemen, santo carvers and artisans, auction houses, religious stores, priests and church groups, heritage and cultural advocates) are enjoined to be vigilant and to be on the look-out for this image. Like the Blessed Trinity, there is strength in numbers, and together--even after 36 years-- we are confident we can make a miracle happen.

CREDITS:
MANY THANKS TO MR. CHRISTOPHER CUNANAN, for the information and all pictures used in this article, and for calling my attention to this lost icon.