314. Reconstructing a Shadow Box Santo: SAN ANTONIO DE PADUA

One vanishing art that is taught in mostly Catholic schools is the construction of 3-dimensional religious images from flat pictures, encased in a shadow box. This art form has its origins in the monastic arts of yore that were created by nuns to while away their leisure time, that often includes embroidery, painting, shellcraft, paper tole and paper curling. When religious-run schools were established, nuns passed on this shadow box art to their students, as part of the art education classes.

This small vintage, 1950s 3-D picture of San Antonio de Padua with the Child Jesus, was found assembled in a cardboard box, its frame gone. To achieve the 3-D look, the colored figure of the baby-holding saint is first cut out,  then is “clothed” with brown fabric that is folded, creased and glue to the figure, to simulate the natural drapes of the robes when worn by a real person. 

The cincture was fashioned  from a piece of string, and the vestments decorated with sequins. The Child Jesus is dressed using the same process. The saint’s paper hands, and the Baby’s arm and feet, which have been cut separately, are then set appropriately to complete the 3-D illusion.

The whole ensemble was pasted on a cardboard backing, decorated with cotton,  fabric flowers and foil leaves. The backing, as it turned out, was from a bakery carton packaging (Plaza Bakery) that may once have kept a pie or a cake for Christmas.

 

The well-preserved San Antonio cut-out was carefully removed from this backing, and the most of the fabric flower decorations were saved.   The cutout, together with the rewired flowers and foil leaves, were then assembled on a new, thicker cardboard backing.

Meanwhile, a new cardboard box was constructed from foam board and the lined with brown, ruffled fabric to form the matting. The cardboard containing the 3-D San Antonio was then glued onto the inside of box. 

The whole assembly was then encased permanently under a vintage glass frame, the last step in the shadow box art reconstruction.

268. MINE EYES HAVE SEEN THE GLORY: Santo Sightings in Shops and Homes

AN IVORY CALVARIO SCENE.

Hobbies such as antique collecting can lead you to unexpected adventures, bringing you to ancestral residences, dealers’ homes and warehouses, thus affording you unexpected glimpses of Philippine religious art . Such examples are featured here, taken from as far as decades back.

MADONNA & CHILD, ivory masks and hands.

SAN ROQUE, in the folk style.

FOLK DOLOROSA and IVORY SAN LORENZO MARTIR

PACIENCIA, wooden processional.

Many of these items are long gone, some have gotten away, acquired by antique shops, and sold to collectors. Many still, are kept by the owners as part of their family heirlooms, lovingly cared whether folksy or fancy, in shabby or in pristine condition. Between then and now, I will not be surprised if a few of these have already been lost—either to theft, disasters or the ravages of time.

SAN VICENTE FERRER, NINO JESUS, AND ANTONIO DE PADUA

CRISTO BUSTO

IVORY DOLOROSA

IVORY CRUCIFIX, for home devotion.

All will agree though that these examples of Philippine sacred art are  glorious expressions of our faith, for to behold such beauty is to see the Light.

SAGRADA FAMILIA, ivory head and hands,

INMACULADA CONCEPCION, ivory head.

SAN ROQUE, classically carved wooden santo

STA. MARIA MAGDALENA, processional santo.

229. Fat Friar in Ivory: SAN ANTONIO DE PADUA

THE PREACHER SAINT, San Antonio de Padua, was born in Lisbon, Portugal and is venerated today as one of the greatest Franciscan saints.

Saint Anthony of Padua, the great Franciscan thaumaturgist, was often described as short and even chubby. The first biographies of the Saint made some references to his physical stature, suggesting that he was ‘robust’ and that he had a ‘Mediterranean’ complexion. In the 1500s, Girolamo Romanino depicted Anthony as a slightly balding man with a rounded face.

This antique ivory santo of the famous preacher saint vividly captured those descriptions. The chubby-faced saint was obtained from a local Manila shop, and which I found on display while passing by the said antique store. The ensemble was complete, the santo wears its original Franciscan habit, frayed and tattered, but with the gold embroidery intact. He holds a sprig of lilies on one hand and cradles an orb-carrying Nino on the other arm.

I was struck by the quality of both ivory and carving--the face of San Antonio and the Christ Child are wrought beautifully in white ivory, painted with great detail, from the perfectly arched eyebrows right down to the irises of their eyes. Yet, the image also shows hints of folksiness, as gleaned from the way his fingers are rendered, and the awkward stiffness of his stance.

I had not planned on acquiring this image, and for months it lay displayed inside a replacement virina, mounted on its gilded carved base. I was told that it had been reserved, so I had sort of given up on this beautiful santo. A few more months passed before I learned that San Antonio was back on the market, and it was offered to me at a reasonable discount.

In one of his sermons, the good saint wrote "The saints are like the stars. In his providence Christ conceals them in a hidden place that they may not shine before others when they might wish to do so." How lucky I am that this piece--in all its fatness-- has come out of its hiding to shine as one of my prized and favorite ivory santos in my collection..

225.Retro-Santo: SAN ANTONIO DE PADUA of the St. Anthony Shrine, Sampaloc

SAN ANTONIO DE PADUA. The center of veneration of many Filipinos in the church of Sampaloc is this image of St. Anthony, patron saint for the recovery of lost items. His devotion was promoted by Franciscan missionaries.

The St. Anthony Shrine in Sampaloc is one of two Franciscan churches in Manila dedicated to the devotion of St. Anthony of Padua, propagated by the Order. The first Franciscan missionaries to the Philippines embarked from the port of San Lucas in July 1576 and by the time the ship reached Manila on 24 June 1577, seven had died in the voyage leaving just 10 Franciscans to start their missions.

By 2 August, they had finished the construction of a convent where they were lodged. A second mission from Madrid left in 1577, which included San Pedro Bautista, who was martyred in Japan. The Franciscans are credited for founding the towns of Santa Ana De Sapa, Majayjay, Nagcarlan, Pililla, Lumbang, Tayabas, Naga, Morong, Lucban, Pila, Pangil, Iriga, among others.

In the 18th and mid 19th cenury, the Order expanded its labors in Leyte and Samar. Known as builders, Franciscans erected San Juan De Dios Hospital and founded the San Lazaro Leprosarium (1605), the Military Hospital (1578, destroyed in an 1863 earthquake), San Diego Leprosarium in Camarines (1586, the Monte de Piedad de Manila (1879)—and the aforementioned twin churches.

The St. Anthony Shrine on Bustillos St. houses a very old image of San Antonio de Padua who bears the Christ Child in his arms. This San Antonio used to be enshrined at the Iglesia de San Francisco, a monumental church constructed in 1739 in the walled city of Intramuros. It is the devotion to this saint that proved to be popular among Filipinos, and in time, the image became an important icon of veneration, drawing devotees from all over for the triduum masses and processions held from June 13 to 16.

The stately Franciscan Church, however, suffered the same fate as major churches during the 1945 Liberation of Manila , completely destroyed by bombs in the bloody siege. When people came back to sort through the ruins, they found the image of their revered San Antonio miraculously unscathed, under the rubble of the church.

The rescued statue was whisked away for safekeeping to the Franciscan church of Sta. Ana. Through the prodding of Fr, Mariano Montero, OFM, the image was transferred to the reconstructed convent and church of V.O.T. in Sampaloc, which became known as the Shrine of St. Anthony. San Antonio was mounted on the wall directly behind the main altar of the shrine.

The saint continues to attract large crowds anywhere from 5,000 devotees on ordinary days, to 8,000 during the 13 weekly Solemn Novenas prefacing the saint’s feast day.

220. WHERE HAVE ALL THE SANTOS GONE? Part I

HEADS WILL ROLL. All these exquisite antique santo heads from the Philippines were auctioned off on ebay, by the controversial antique dealer, Rory Bacus. The fate of unsold santos remain unknown. 

One of the most controversial dealers of Philippine religious antiquities was the late Rory Bacus of Cebu, who listed his business as an exporter-importer of woodcarvings. In the early 2000s, Rory Bacus, under the name "robacus", posted regularly on the international auction site, ebay, many religious artifacts, examples of which are shown here on this page.

Bacus has been associated with the loss of many old religious images from Cebu parishes, which includes figures of Virgen Dolorosa, Baby Jesus of Mount Carmel, San Jose, Nazareno and Sta. Monica, from the Santa Monica Parish in Dalaguete, Cebu.

These, along with 158 icons, including 58 crucifixes and other sacred artifacts, were recovered in a raid conducted in the house of Bacus in late April 2003. Bacus had also been allegedly involved in the disappearances of many images from different churches in and outside Cebu.

In October 2003, the Archdiocese of Cebu charged the noted antique dealer of fencing various religious artifacts. Included in the complaint at the City Prosecutor’s Office was an affidavit of Rosa Navarro, the treasurer of the Badian pastoral council who testified that she was able to recognize a cherubim icon, among the  icons seized by the police from Bacus’ house in a previous May 2003 raid.

On April 25, 2003, prior to the serving of the search warrant, the police were also able to retrieve ten antique religious icons at a house in Guizo, Mandaue City, reportedly owned by Bacus. Agapito Torrentira, councilor of Inabanga town in Bohol, and barangay captain Emiliano Divino, of the same place, came to Cebu and identified two of the icons recovered as among those stolen from barangay Cambitoon chapel, of the town.

A second police raid conducted later yielded  the images of San Isidro Labrador, San Agustin, and Our Lady of the Immaculate Conception, verified by the 2 Bohol officials as items stolen from their place.Carcar residents, Josefina Roldan, Angeliza Tanodtanod, and Silvina Francisco had also stated that they had identified another icon from Bacus, as the one stolen from a chapel in barangay Perrelos of the town.

However, Bacus’' lawyer had earlier questioned the search that the police had conducted, arguing that they used a general warrant, which was not specific as to what objects will be searched. The lawyer also contended that the police were not able to establish that icons seized were indeed stolen, as alleged. She said those icons could not be declared as illegally possessed if there is no evidence to show these were stolen somewhere. (TO BE CONTINUED)

Sources: http://www.philstar.com/nation/226051/cebu-archdiocese-sues-antique-dealer
All pictures were grabbed and saved from actual postings on ebay between 2000-2003.

211. Perfect Combinations: SANTOS AND NINOS

ST. ALOYSIUS GONZAGA, Feast day, June 21. Patron saint of young students, Chrsitian youth, plague sufferers. 

A gallery of ivory statuaries depicting saints and virgins carrying the Infant Jesus, as shown in an exhibit at Malolos, Bulacan, in 2012.

SAN ANTHONY OF PADUA. Feast Day, June 13. It is said that Jesus appeared to this Franciscan saint in the form of the Holy Child.  Invoked when finding lost or missing objects.Patron of sailors, travelers, fishermen.

OUR LADY OF MOUNT CARMEL. Feast Day, July 16. Our Virgin and the Holy Child Jesus appeared to St. Simon Stock, and presented him with a brown scapular,  a devotional sacramental signifying the wearer's consecration to the Blessed Virgin.

ST. CAJETAN. Feast Day, August 7. While attending the Xmas celebration at St. Mary of the Crib, he is said to have been given the grace of receiving from Mary, the Child Jesus into his arms. Ptron saint of the unemployed, seekers of job and good fortune.

ST. JOSEPH, Feast Day, March 19.Husband of Mary, father and guardian of Jesus.

ST. ROSE OF LIMA, Feast Day, August 23. The first saint of the new world was a mystic who saw visions of the Child Jesus. Patron saint of Peru, Philippines, California, florists, gardeners and embroiderers.

ST. STANISLAUS KOSTKA, Feast Day, August 15. Legend has it that the Virgin placed the baby Jesus in the saint's hands and urged him to join the Society of Jesus. Patron saint of Jesuit novices, Poland, students.

ST. THERESE OF AVILA. Feast Day, October 15. This Spanish mystic and Doctor of the Church is associated as former owner of the esteemed image of the Infant Jesus of Prague. Patron saint of Spain, Croatia, lacemakers, sick people.

198.The Ones That Got Away: SAN ANTONIO, STO. NINO & A CRUCIFIJO

GONE TOO SOON. A trio of very fine quality antique ivories, a Crucifix, a San Antonio de Padua and a Sto. Nino de la Pasion were snapped up immediately after failing to sell as a lot. 

In my long collecting years, I  have seen many antiquities that have been my objects of desire, but alas, the price tags have always been the biggest obstacle towards acquiring them. Hen I see that an antique is beyond my reach, I just quietly turn away, filing the beautiful, but lost objects in my mind under the category of “the ones that got away’’. But a trio of old ivories shown to me by a dealer caused me to rethink this position, for I have never seen so many pieces of exquisite quality, all offered in one swoop.

 They must all have come from one talyer, as they seemed to have been crafted from the same ivory, with vestments cut from the same fabric, sporting same styles of embroidery. This was further bolstered by the dealer who informed me that the items all came from one house.

 There was a magnificent crucifix, which, despite some missing brass rays, held much promise with its classically carved crucified Christ figure in flawless ivory.

 Another piece was a tabletop San Antonio, with ivory head and hands and clothed in its brown habit, profusely decorated with thick gold embroidery, miraculously intact after so many years.

Though missing the Child Jesus, it was still a spectacular piece.

 But the third ivory left me breathless—it was a large, standing ivory Child Jesus—Sto. Nino de La Pasion—with ivory head, hands and feet,vested in a robe sumptuously embroidered with gold thread.

It was clutching three pieces of nails—symbols of his Passion; one hand may have held a crown of thorns, now missing. The face was child-like and expressive, with a hint sorrow in His eyes.

 Originally, the 3 pieces were being sold as a lot, but weeks had passed without any buyer. Now, they were being sold individually. I made a feeble attempt to throw in my offer on the Sto. Niño, which I judged to be the best piece, only to be rebuffed. I made a second offer, which the dealer considered, but when I made a follow-up, the dealer told me the Sto. Niño has been sold.

 The object of my desire, gone forever. I spent some time thinking of what could have been. What if I had not dilly-dallied? Or what if I had made a firmer offer? Or had followed up earlier? I wallowed in my sad thought for days until, from out of the blue, a long-forgotten dealer from Pampanga called. Would I be interested in an antique 10 inch standing Sto. Niño with a solid ivory head?

 Would I? Me? Interested? Of course!! See how easy it is for me to move on?

177.RELIGIOUS IVORY ARTS DURING THE SPANISH PERIOD

 (Excerpts from Chapter 2, The Arts of the Philippines 1521-1957, ed. By Winfield Scott Smith, Manila, 1958. Published by Associated Publishers, Inc. , p. 9, 14, 15). 

SAN ANTONIO. Ivory polychromed and gilded. Philippine-Chinese school of the 18th century. Unsuual in that the figure is rendered in ivory, harking back to an earlier tradition. The ivory has been enriched with paint and gold leaf (F. Zobel Collection). 

 SAN JOSE. The head and hands were usually fashioned of ivory while the body was a wooden structure under the heavily embroidered robes. Often, human hair was used and frequently, gold, silver and previous jewels were used with the embroidery. (Miss Adelaida Paterno Collection). 

NUESTRA SEÑORA DEL ROSARIO. An execellent example of highly finished and elaborately conceived images popular in the 18th and 19th centuries, and still treasured as family heirlooms. (Miss Adelaida Paterno Collection). 

 SAN ANTONIO. Ivory figurine clothes in robes embroidered with prescious metals. The hair is real. Probably late 18th or early 19th century. . (Miss Adelaida Paterno Collection).

A word should be said about sculpture in ivory. Unlike wooden sculpture, large numbers of old ivory have survived to our day. Their survival was caused, not only by their small size, but by the intrinsic value of the material involved. On the whole, the ivory statuettes lack the vigor of their wooden brethren. Ivory lends itself to technical virtuosity, distracting to the spectator and apparently irresistible to the ordinary craftsman. The worst examples replace expression with simple enumeration. They become mere catalogues, of eyebrows, toe nails, buckles and glass eyes with nothing in particular to hold them together as artistic statements.

The craftsmen who carved them were perhaps too skilful and copied their models over-conscientiously, putting manual dexterity over imagination. As forms of artistic expression, the majority of these figurines are of little artistic and historical value, though they are pleasant enough in their Victorian quaintness, especially when furnished with glass eyes, real hair and elaborately embroidered robes that hide, more often than not, a wooden body.