323. A Picker Picks a Peter: SAN PEDRO DE BANGKAL

The last time I was in Bangkal, Makati was around 2012. Years before, the barangay had established a reputation as the thrift shop center of Makati, where one could find one-of-a-kind vintage items, and even antiques buried in the jumbled assortment of second-hand "pre-loved" items, garage sale consignments, not to mention the debris and detritus of demolished old houses.

But by 2012, the place had been discovered by antique dealers, and the thrill of the hunt had diminished as the price tags became more expensive and old item became more scarce.  The mishmash of articles have also been  organized, i.e. Italian decors, Orientalia, etc., stripping the place of its randomness, which was part of the exciting picking experience.

So, I went there, expecting nothing, and saw nothing—until I went to the Bangkal depot—that big compound near the end of Evangelista St., where they drop off all the found items from here and abroad for processing.

 

There were also stalls there, where objects are laid out on tables and consoles, in disarray. This was more to my liking, my idea of a picker’s paradise—the organized chaos was a sign of many possibilities!! True enough, a table in a back stall caught my eye. For there, behind some kitschy woodcarvings, I espied  an antique folk santo, a San Pedro, badly out-of-place amidst crystal ashtrays, resin figurines and decors !!

It’s not a remarkable San Pedro its carving shallow and unrefined, as all folksy santos are. But its condition is impeccable—its height alone is 16 inches, inclusive of the half-inch base. Made of medium wood, the rather hefty santo owes much  its charm to its color, still brilliant all these years. Save for the missing key—San Pedro’s square base, paint, hand, base—are all intact.

The image has been painted with house paint—latex—using just 3 colors—black (San Pedro’s hair), yellow (tunic), and brown (cape). The tulip-like strokes that decorate the garments are painted in silver paint, perhaps to mimic metallic embroidery. These floral flourishes, I have seen in many Visayan santos. The provenance was later confirmed by the Seller.

I had to keep the good saint in my hands, as by then, the place was swarming with pickers, Mentally, I estimated the price of the santo, all things considered.  When I approached the Seller to ask for the santo’s  price tag,  I was stunned (but happy) that it was way below my estimate. I made an offer, which she gladly accepted, and San Pedro de Bangkal, the keeper of the gate—was mine to keep.

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

293. BARRIO SALUYSOY’S SANTO CRISTO AND SAN PEDRO: Then & Now

THE TWO SACRED IMAGES OF SALUYSOY, MEYCAUAYAN

In the ancient barrio of Saluysoy, in Meycauayan, Bulacan, there kept in the visita of the barangay, two old images revered since one can remember: the image of Santo Cristo (Crucified Christ) and San Pedro (Saint Peter).

Saluysoy, located adjacent to the heart of the town, takes its name from a slow-flowing gurgling brook which cut northwards at the eastern side of the original location of the barrio. “Saluysoy” means the sound of a brook’s steady water flow.  But when the water dried out, residents relocated to the west of the barrio where  a faster-flowing river was found. People dug up wells to ensure that they do not run of water anymore in their new place, which retained the name “Saluysoy”. The former abandoned site was named “Palanas”.

VISITA OF SALUYSOY

The barrio played a small, but significant part in the second world war. In 1941, when the Japanese Army broke through the USAFFE lines en route to conquering Manila, the barrio folks put on a gallant resistance that delayed the march of the invaders to the capital city by 11 days.

In the 1950s, it was said that indolence was unknown to the hard-working people of Saluysoy. Though small in size, the barangay thrived on many industries—shoemaking, wood carving, blacksmithing, goldsmithing, farming, fishing, and making of religious images.

It would seem that the two processional images were carved locally for the chapel, as the people were also known for being devout and religious. The chapel itself was rebuilt after the war, and at one time was considered to be the most beautiful in the whole province of Bulacan. It was fully funded through the efforts of “Samahang San Pedro”, a leading religious organization.

Today, Saluysoy is one of the more prosperous barangays of the city of Meycauayan, its prosperity driven by its jewelcraft and goldsmithing industries. Every year, the images of the barrio patrons—Santo Cristo and San Pedro—are brought out for processions during the May 4 barangay fiesta. San Pedro’s feast day is also observed separately by Saluysoy folks every June 29.

CREDITS:
Many thanks to Mr. Robby de la Vega for the photos and for the background on brgy. Saluysoy from the Historical Data Papers of Meycauayan

169. The Bangkal Picker II: MORE THRIFT SHOP SANTOS

Just a few days after I went home from Bangkal with a cache of folk santos, the same seller called me up to say that she has some fresh stocks that I may like. She even sent me, by phone, photos of a pair of folksy-looking but solidly made santos. I thought they were quite interesting, so during my Monday lunchbreak,  I taxied to her shop to look at the pair of santos she was offering.

They turned out to be an appealing pair, almost of the same size, and obviously carved by the same artist. They are even painted the same way, and the colors have retained their vividness all these years. Though done by one artist, they are carved from different wood.

The first santo, a Sta. Maria, is the taller and heftier santo, about 12 inches tall. She is made of santol wood, and the body is almost cylindrical in shape, following the contour of a straight santol branch or small trunk. The cape and tunic are fancifully painted with trefoil flowers growing from a leafy vine.The naive carving of her features betrays the folksy character of this image. Nailed on her head is a rusted tin crown, with some missing tin parts.

San Vicente is equally interesting because even though he is smaller, he has more details--from the tin halo to his pair of tin wings (amazing how his wings have survived without being detached from his body!). he has extremely short arms, which add to his appeal, and is painted in almost the same way as the Virgin, with more of the leafy patterns on his vestment, rather than the flowers.

He could very well be the Virgin's twin, judging from San Vicente's facial carving--with a narrow head, long nose and a cheeky face.Of course, I bought the pair for a very reasonable price, much lower that one would have paid for in a regular antique shop.

But I was in for more surprises, as when I went to the larger Bangkal warehouse and started poking my nose around, I found more folk santos--a San Pedro and another unidentified female santa. Their coloration was much more vibrant, and despite San Pedro's missing key and the snta's lost hands, they were in great shape!

San Pedro was made of lighter wood, and it only took a bit of waxing to bring out its excellent features. I replaced the key with an antique skeleton key that I've had for years.

The second santa-- a very hefty piece-- stumped me as at first glance, it looked like a generic Sta. Maria, but the longer I looked at it, the more it resembled Sta. Teresita de Nino Jesus.She wears what looks like a nun's habit, and the floral patterns on her dress are consistent with the Carmelite saint's flower attributes. So, for now, she  is St,.Therese of the Child Jesus to me.

These santos turned out to be even much more affordable, so I brought them home with me too--thrift shop santos that have now become the latest treasures in my collection.

164. For Pete's Sake: THE SAVING OF SAN PEDRO APOSTOL

 Sometime in 2006, my Makati santero, Mr. Francisco “Kiko” Vecin called me up to ask if I was interested in acquiring a vintage San Pedro Apostol that someone had brought to his shop. Carvers, collectors, dealers and sellers often bring all sorts of santo stuff to his Makati talyer—most to fix, others to just dispose, as Mang Kiko, too, was a formidable collector of antique santos. 

At that time, I had already taken an interest in Holy Week santos, so after work, I decided to drop by his shop to see the santo. I was a bit disappointed that San Pedro was just 44 inches high, its body a bit stiff and crude. The arms were not even articulated. It came with a carved rooster—St. Peter’s attribute -- that had incorrect proportions—it was squat and stout, and stood on a solomonic-like pole, attached to a plain, rectangular base. I didn’t even think that the santo was a perfect match for such a poorly-carved, featureless rooster.

When I inspected the head, the name of the carver, which I had now forgotten, was inscribed on the neck. Mang Kiko told me that the carver made the piece in the early 70s, which, to me, was too recent as I favor only antique pieces. The thing that was going for this particular image was its high degree of craftsmanship; its carved details, following classical tradition, were outstanding. San Pedro’s facial expression was uncannily hyper-realistic. I made an offer, which Mang Kiko communicated to the seller. The moment I left his shop, however, I was becoming lukewarm about San Pedro.

Would I also deny this santo, who, in turn, denied Christ not once, but three times in His time of Passion? But too late-- the next day, Mang Kiko called to say that the Seller had agreed to my offer. I mustered enough gumption to ask Mang Kiko, if he could renegotiate with the seller to lower further his price, given the santo’s less-than-desirable size, age and condition. I could sense Mang Kiko’s growing frustration—but, bless him, he made one more attempt to talk to the seller with my second, lower offer.

To my amazement, the Seller, who must have been in dire financial fix, agreed! So that’s how I came to bring home San Pedro where it languished in a room in my house for months, then years. I saw no need to have it restored as our town already had a Holy Week San Pedro.

Over three years later, I was at the place of Pampanga's best-known master restorer, Tom Joven, discussing a project when the subject of this particular San Pedro came up. Apparently, Tom had seen a photo of it posted online and thought it was good enough to be completely restored. I took up his offer and brought San Pedro to him, with no particular timetable in mind.

My only requirement was that the santo’s arm be made articulated and that the rooster be separated from the santo. I also asked that the column on where the rooster rested be changed into a pillar.

 I happened to find a silver-plated rooster on ebay which was sized better to match San Pedro, so I asked Tom to replace the image’s original wooden rooster with this metal figurine.

San Pedro was left with Tom at around June of 2008; I was hoping it would be finished in time for my January 2009 birthday, but when that day came and went, I just completely forgot about it.

So many things have happened since then—I went away on a month-long trip, my mother got sick and then passed away. I was not able to track the progress of the work, as I had more pressing things in mind.

Eventually, I received a text from Tom: San Pedro is done, at last. My first glimpses of the apostle-saint was through these photos sent on facebook.

 I was completely stunned by the transformation. The swarthy, gritty face of San Pedro has been replaced by an encarna done in the Italian religious painting tradition, marked by a pale complexion and highlighted with a pinkish blush. The carved hair and beard, once dark, were lightened.

The arms have also been articulated; the rooster replaced by my metal figurine on a new, more streamlined, yet graceful column.

Metal accessories have also been prepared by Tom—from the small beaten silver-plated halo and two keys—iconographic attrbutes of the saint, one key to open the gates of heaven, and the other, for the gates of hell.

 I didn’t have vestments made yet for San Pedro, but I scrounged around and borrowed pieces here and there from my other santos, so that I could visualize how he would look like, robed and dressed.

The results are in the next few pictures:

The santo that I nearly passed up turned out to be quite a handsome work of sacred art, ready to inspire devotion to those who look up to this apostle-saint who eventually became our first Pope.

I am glad I had the santo restored, even if it felt like it took forever. Like the selection of a new Pope, it was worth the wait. Viva il Papa! Viva Apung Iru! 

118. Holy Week Santos: SAN PEDRO

The first santo figure that heads the Holy Week processions in the Philippines is the image of San Pedro. His name in Greek means “rock”. Saint Peter or Simon Peter is one of the twelve apostles of Jesus, and acknowledged as the Prince of the Apostles and the first Pope.

The son of Jonah, San Pedro was born ca. 1 BC in the village of Bethsaida in the province of Galilee. His brother, San Andres (Andrew) was also an apostle.
 

Originally a fisherman, San Pedro was assigned a leadership role by Jesus and was with him during important events such as the Transfiguration. He was part of Jesus' inner circle, saw Jesus walked on water, denied Jesus, was restored by Jesus, and preached on the day of Pentecost.

He is said to have been put to death by crucifixion at the hand of Emperor Nero in Rome, possibly in 67 A.D.  Since he deemed himself unworthy to be crucified in the same way as Christ, the cross was positioned upside down.

San Pedro is portrayed in Philippine images as an oldish man having  a short, square beard with a tuft of white hair on his bald pate, curled at the center of his forehead. In antiquity, he was depicted with a full head of hair.

His primary attribute is a pair of keys, referring to Christ's words to Peter in Matthew 16:18-19, "I will give to thee the keys of the kingdom of heaven."  There is a gold key to open the heaven and a silver key to open the gates of hell. These are shown either being held by the saint in one hand or shown hanging from his waist.

San Pedro also often has a book, a reference to the two New Testament letters ascribed to him. When not holding his attributes, he is shown with clasped hands, in a prayerful pose.

San Pedro's triple denial of Jesus is one of the most common narrative images involving the saint and is symbolized by the presence of a rooster (“manok ni San Pedro”), which crowed thrice every time the fearful saint denied the Lord. The rooster is shown standing separately on a pillar, or placed by his feet.

In Bulacan—in the towns of Bocaue, Marilao, Sta. Maria and Meycauayan—a machete-holding San Pedro comes out during Holy Thursday processions, in reference to his protecting Christ from the guards who had come to arrest him in the garden of Gethsemane. The “tabak” he wields recalls the faithful apostle’s attempt to cut off the ear of Malcus. The next day, Friday, the hands are replaced with clasped hands.

His feet are bare or sandaled and his garb almost always consists of a long, sleeved tunic in green, matched with a deep yellow mantle draped over his shoulders.