362. The Ivory Image of Parañaque's SANTA VERONICA

The processional ivory image of STA. VERONICA, is a representation  of the woman who offered a cloth (likely her veil)  to Jesus so He could wipe His face on the way to His Crucifixion, and on which His likeness was miraculously imprinted on the cloth.Though not mentioned in the Bible, the scene of the meeting endures in Catholic tradition in the Sixth Station of the Cross, "Veronica Wipes the Face of Jesus."

Parañaque’s Sta. Veronica has a head and hands crafted from high quality white ivory, This 2008 photo documentation of the santa shows her in a replacement  purple vestment embellished with gold-colored thread embroidery, for the Lenten procession of the Parish of St. Andrew.

She holds a “birang”, with the face of Christ imprinted three times that shows signs of fading due to age. The original “Veronica’s Veil” is believed to exist today in the Vatican and is considered one of the most treasured relics of the Church.

Photos from Dr. Raymundo Feliciano Albums in the care of the Center for Kapampangan Studies.

361. PORAC’S LITTLE JOHN of the SANTOS FAMILY

The small, but handsome image of the young SAN JUAN APOSTOL is a family heirloom from the Familia Santos of Porac, led by Leon Santos, a planter and businessman. Family lore has it that the image was originally owned by a local Chinese who gifted it to the Santoses. The image was inherited by Leon's son Isidoro Ponce Santos, whose overseas-based children now contributes the funds for his upkeep, including procession expenses.

The San Juan image is just 3 feet tall, with articulated arms. In this version, San Juan has carved, brown-painted hair, that falls gracefully down his nape and shoulders. Over his stiff collared top, he wears a tunic of green with a red, shawl-like drape on his shoulders. He is topped with a brass halo and shown holding his attributes: a feather quill and a book.

For years, it was a regular participant in the annual Lenten processions of Poblacion, Porac, Pampanga, until 2000. His entry is preceded by his symbol as an evangelist, a carved figure of an eagle, which has the ability to gaze directly at the sun, representing the divinity of Jesus.

Last procession appearance of San Juan, 2000

As San Juan was the smallest religious image in the procession, the Santoses decided to pull it out and caused a new, taller image to be made, to  match the size and proportions of the other Lenten santos.

MANY THANKS TO MR. JERRY PUNZALAN SAGMIT for the photos and information.

355. A Penitent Redeemed: STA. MARIA MAGDALENA

STA, MARIA MAGDALENA, RESTORED 2005

The circumstance of how this beautiful Sta. Maria Magdalena image was delivered to me was one for the books. I had been working with a Bulacan dealer for sometime, when he called to say that there was an antique santa in the market available, but I had to decide fast whether to get it or not. To make my decision faster, he offered to bring it to me in Makati, where I lived and worked.

MAGDALENA, in its original state, when acquired

Intrigued, I told him to pass by for me by lunchtime, hitch with him in his van, go home together to my nearby studio where I can better check out the santa. Some 2 hours later, he was on his cellphone to tell me of his arrival at my office building. I hastily rushed down the elevator from my 23^rd floor office, got out of the main door---and there, seated at the groundfloor Starbucks Café was my dealer, next to an old, naked, wigless santa, and which has started to attract the stares of the café patrons, building tenants, businessmen, visitors, and passersby! In a loud voice, he said: “Eto na ang Magdalena mo, boss…what do you think?”

MAGDALENA, with a wan and white complexion.

“I think you need to put back the santa in your van NOW!”, I  muttered under my breath, while turning red with embarrassment. Just as a crowd had begun to gather around the santa, the dealer grabbed the wooden figure, stowed it in the van, and sped away with me to my place, just 5 minutes away.

MAGDALENA'S HEAD, before and after re-encarnacion

I’ve never been so stressed at the thought of the commotion we caused at that café. But all that dissipated when, in the privacy of the closed van, I took a closer look at the penitent saint.

STA. MARIA MAGDALENA, under restoration

Even in its state—paint gone pale and peeling, a vertical crack running down the body, shaky base, plus the usual dings, nicks and scratches—this Sta. Magdalena was a real beauty, with a long face face slightly frowning in restrained grief. Her mouth was slightly open, curled downward in sorrow, showing teeth. The slightly long neck featured 3 shallowly-carved neck folds that almost looked like a 3-strand necklace.

STA. MAGDALENA, under restoration

On the other hand, her ghostly white hands and slender fingers, and her bare feet were well-carved and defined. There was the slightest hint of plumpness in her body, characteristic of old female santas. This processional image was not exactly tall, only 52 inches, including the base.

REPAINTING THE PENITENT SAINT

The dealer and I struck a deal, wrote him a check, and Sta. Maria Magdalena was mine to keep. But it didn’t stay long with me either, for just a scant week after, I delivered the Magdalena to the atelier of Mr. Francisco “Kiko” Vecin, Makati’s eminent collector and santo restorer. His workshop was just across my street, near the Makati City Hall, and the schedule for its restoration was drawn up in no time at all.

THE SAINT AND HER BLONDE-BROWN LONG LOCKS

As the santa was complete, I thought restoring it would be a breeze. Other than the crack on the body,  no major repairs were really necessary. What took long was the repainting of the santa that took some 3 months to finish. A friend of mine suggested that I stick to the original paleface kind of encarna, commonly seen in old Semana Santa images. I opted for a more natural complexion that is more Filipino, rather than the fair, pinkish Caucasian type.

STA. MAGDALENA, CROWNED

Mang Kiko commissioned veteran encarnador Eddie Mabaquiao Sr. to handle the repainting, which took forever to do. But the wait was all worth it, as the santa’s expression came real and alive with his brush. The magnifical restoration of Sta. Maria Magdalena was completed in late 2005.

VESTMENT BY LOPEZ ATELIER

Even long before it was finished, a member of our local pastoral council had saved a place for me 2006 Holy Week procession. The reservation, however, was not for a Magdalena, as the town already had one—but for broom-wielding Sta. Maria Jacobe. The idea was to transform this Magdalena into a Jacobe, by having her hold a broom—which was very much possible with the grasping position of her fingers.

OLD EMBROIDERY RECOVERED AND
USED FOR MAGDALENA'S VETSMENT

This threw me into panic, as I had not really planned on having vestments and metal accessories made just yet. Dr. Raffy Lopez came to the rescue by quickly making a light blue half-cape and a matching light fuschia tunic decorated with old gold embroidery. I designed a pukpok broom handle executed in plated brass by Jeric Canlas, inserted with tambo reeds. A new brass crown that I had been keeping went to the head of the santa, which looked obviously bigger. With that the primera salida of this Sta. Maria Magdalena finally took place in 2006—in the guise of  Sta. Maria Jacobe! I soon had ambivalent feelings about that practice.

PRIMERA SALIDA, as Sta, Maria Jacobe, 2006

That was the first and last time this antique santa came out, eventually replaced by my in-law family’s antique Jacobe. But when a second Magdalena I owned suffered a similar fate, I have vowed not to allow these “conversions” to happen again.

In one corner of our covered porch today stands a glass case, in which the cloth-covered antique image of Sta. Maria Magdalena reposes. It has not been seen since 2006, and I intend to keep it that way. It is very much in keeping with a penitent saint who spent part of her life as a hermit in a cave on a desert—away from prying eyes. Her life continues to give us an example of how no person is beyond the saving grace of God, so—by the same token, no broken santo  should be left unsaved too.

STA. MARIA MAGDALENA, Castro Family

354. CRISTONG MACAGAPUS: Passing on the Tradition from Generation to Generation, by Guest Writer, Allen Luis Galang Dizon Jr.

APUNG MACAGAPUS, 1855, Holy Wednesday 2023

The heirloom image of Apung Macagapus (Scourging at the Pillar) is among the very first Holy Week processional images of the town of Sta. Ana, Pampanga.

THE ANCESTRAL STA. ANA  HOUSE

This 19th century holy image was owned by Maria Dolores Pangan. She passed down Apung Macagapus to her niece Angela Pangan, who eventually married Domingo P. Dizon. His family owned the statue of Sta. Ana, making them the first camareros of the original processional image of the town’s patron saint.

Domingo and Angela had two children, Dr Antonio and Dr. Nilo. Due to old age, Angelina passed on Apung Macagapus to her son Dr. Nilo Pangan Dizon and daughter- in- law Amelia "Lily" Tiosejo Dizon. Although Dr. Antonio is the eldest, he and his wife Corazon and family lived mostly in the United States and Manila. Angela died at the age of 91.

DRESSING UP THE CRISTO

THEN, AS NOW, Dressing up the santo is a family affair.

When the Dizons decided to transfer to Manila, the holy image was entrusted to Grace Dizon Medina, niece of Domingo and first cousin of Dr. Antonio and Dr. Nilo. Grace is also the daughter of the ex-mayor of Santa. Ana, Pampanga - Hon. Roque Dizon Sr.

Domingo & Angela considered Grace as their real daughter since they only have two sons (Dr. Tony & Dr. Nilo) and were not able to have a daughter of their own. Apung Macagapus stayed with the Medina family for more than a decade.

ANTIQUE LOINCLOTH AND RIBBON

In 2002, Allen T. Dizon (son of Dr. Nilo & Lily Dizon) together with his wife Dra. Mayette G. Dizon and their kids decided to stay for good in Sta. Ana. So, on April, 2009 the holy image went back to the care of the Dizons.

 When Allen died in 2010 and Dr. Nilo in 2015, the family heirloom image and the pious tradition of the Dizons were passed down to the 5th generation of the family, the grandchildren of Dr. Nilo most specially Marvin, Jayr and Keith (Allen & Mayette’s children).

KEEPING A FAMILY TRADITION ALIVE

The tradition of the family still continues to this day, made possible through the love and profound dedication of the family and the many devotees of Apung Macagapus. From the time of Maria Dolores, the succeeding generations have vowed and continually kept the tradition alive and strong.

MANY THANKS TO MR. ALLEN LUIS DIZON GALANG JR., for the use of his article here.

 SOURCES/ REFERENCES: Dr. Antonio “Tony” P. Dizon (+), Edited By: Gertrudes "Ditas" Dizon

From the Photo Archives of Dr. Nilo P. Dizon (+), Photo Taken: March 26, 1986 at San Joaquin Santa. Santa Ana Pampanga

 

352. Ecce Homo: BEHOLD, A BUSTO CRISTO!

BEHOLD THE MAN, Ht. 12"x W 14", heavy wood, late 19th c.

Jesus at his trial is represented in artworks and sculpture  often titled as “Ecce Homo”, (Behold the Man), an allusion to the statement of Pontius Pilate when he presented the anguished man to the hostile crowd.

There are countless  paintings and processional statues depicting the bruised and battered Christ, as well as busts, which are rarer to find. Perhaps, the most significant bust found in the Philippines is the 4-centuries old Ecce Homo of Cebu. It is considered the 2^nd oldest image next to the Sto. Niño, given as baptismal gift by Ferdinand Magellan to Cebu’s Rajah Humabon in 1521.

This Ecce Homo, which date from the late 19^th  century, was found in Pampanga. It is a folksy version, made from 2 solid wooden parts. The slim head of Christ was carved separately to fit into the upper wooden torso, draped with a neatly tied cloak.

His thin features, bulging, half-closed eyes (outfitted with glass eyes--now lost), and open mouth showing some teeth—reveal the depths of his pain and sorrow. This Christ was meant to wear a wig, but his moustache and pointed beard are carved, with many of the detailed hair strands damaged over time. 

In fact, the head, which was once painted, is pockmarked with scratches, scrapes, and woodworm damage—which dramatically added to the gravity of Jesus’s painful and humiliating torture in the hands of his tormentors. 

Indeed, the Ecce Homo serves to remind us that Christ suffered for our sake, and the image aims to encourage people to contemplate on Jesus’ sufferings, to see ourselves united with Him in sorrow and in hope-- in the face of adversities. 

332. Santo Stories: STA. VERONICA of SAN MATEO, RIZAL

San Mateo, Rizal has perhaps, one of the most organized Lenten processions in the region, with a little over 20 santos participating, a mix of the old and new. The oldest image is believed to be that of the STA. VERONICA, the woman who wiped Jesus’s face with a towel that cause His likeness to be imprinted on the cloth.

 

STA. VERONICA, Holy Tuesday, 2016

The processional image was originally owned by couple Victoriano (Maestro Bito) and Andrea Santos. The image, which had been carved in Pangil, Laguna in the 1800s, and which had participated in the early processions there, was brought to San Mateo in the 1930s, as Bito’s  wife hailed from there. Their STA. VERONICA has since been a regular participant in the annual Lenten rituals in the historic town.

 

STA. VERONICA, April 2019

When the Santos couple passed away, the image of STA. VERONICA was left in the care of their daughter, Mrs. Rosita Santos-Manahan. When, in her old age, she found it difficult to tend to the image, she passed it on to her only child, Tessa Jasminez-Manahan, who, with her family, has been caring for the antique image ever since.

 

IN PROCESSION, 2019

The processional image shows the santa with a roundish, almost glum face. The sudarium that she holds unfolded with both hands, and which bears the painted impressions of the 3 Holy Faces, has been periodically changed.

 

TESSA JAZMINES, current caretaker, in glasses

All other original accessories, are still intact and complete, from her jewel-encrusted corona and paragua, brass appliques, right down to her beautiful, silver paneled carroza. Preparing her has become both a family and a community affair, a responsibility that daughter Tessa has come to love and embrace.

 

STA. VERONICA, 2012

SOURCES:

Tessa Jazmines FP Page

Debosyon at Kasaysayan: Ang Mahal na Araw sa Bayan ng San Mateo, Parokya ng Nuestra Señora de Aranzazu. Souvenir program, 2001.

311. SAN PEDRO APOSTOL OF ANGELES CITY, 1836

The early images of Angeles (early name: Kuliat), came mostly from the family and descendants of the founders, Don Angel Pantaleon de Miranda and Rosalia de Jesus. The two earliest santos—San Angelo Custodio (now enshrined at the Holy Angel Chapel) and Virgen del Rosario (in the central niche of the Holy Rosary Parish and used in La Naval celebration) date from the 1830.

By 1835, Kuliat had a Pio Quinto (Pius V) , San Juan (St. John), Sto. Domingo (St. Dominic), Magdalena Mary Magdalene), Nazareno (Nazarene), Apung Mamacalulu (Lord of the Holy Sepulchre), Manalangiñ (Agony in the Garden), Bayung Dacap (Arrest of Christ), Macagapus (Scourging at the Pillar), Desmayadu (Fainted Christ), Macalucluc Batu (Crowning of Thorns), Tercera Caida (Third Fall) and Sta. Veronica.

In 1836, the Sanchez Family, headed by the matriarch Fernanda Sanchez, had a processional San Pedro image made. A relative,  Casimiro Sanchez,  had earlier commissioned the image of Christ being crowned with thorns.

When Fernanda passed away, the image was bequeathed to heir Don Lorenzo Sanchez, who used to have a stately residence in front of the more famous Pamintuan Mansion. It was in his house that future president Manuel L. Quezon stayed when he attended the first anniversary of the Philippine Republic in 1899 as member of Aguinaldo’s staff. Designated caretakers were Jose Galán and Quiteria Espiritu.

Fernanda’s San Pedro, wrought by an anonymous craftsman, was accompanied by a silver rooster atop a 4-cornered column. The centuries-old image itself is masterfully carved with head gazing heavenward, with two keys dangling from his clasped hands. This San Pedro has a wide forehead, with more luxurious locks and a full beard.  The city’s San Pedro is rarely seen, but participates in the La Naval celebration of Angeles every October.

ALL PHOTOS COURTESY OF DR. RAYMUND FELICIANO