345. SAN ROQUE : Patron Against Pandemic and Pestilence

SAN ROQUE, Invoked Against Pandemic

 In these, the pandemic years, no other saint has been heard more often than SAN ROQUE as his name is included in the Oratio Imperata, specifically composed for  covid-19.

SAN ROQUE (“St. Roch” in France and “San Rocco” in Italy) was born in Montpellier, in southern France, near the end of the 13th century. It is said that Roch bore a vivid red birthmark on his chest, shaped like a cross. His father, a governor of Montpellier, as well as his mother,  died by the time Roch was 20, leaving him to fend for himself in Europe during the time of the Black Death, the plague which killed an estimated over half of the European population.

SAN ROQUE distributed his inheritance among the poor, gave the governorship of Montpellier to his uncle which he would have inherited.  With his few personal possessions, he headedfor Italy. In his journey, he encountered cities stricken by the plague. In Aquapendente, a village in Italy, he ministered to the plague-stricken citizens, healing them with the sign of the cross. He moved on to Cesena, Rome, Mantua, Modena and Parma,  curing people along the way.

DELICATELY PAINTED FACE OF SAN ROQUE

SAN ROQUE soon caught the plague himself; and like a “self-quarantined” patient in today's COVID-19 crisis, he sought a sanctuary, where he could be in prayerful solitude. A dog miraculously appeared to bring him food and sustenance every day. Surviving the plague, he chose to return to his France, but was imprisoned instead, as he was dressed like a pilgrim. He died after 5 years, but his identity was revealed when the cross on his chest was uncovered; he was given a holy burial. 

In 1414, when the city of Constaza, Italy was hit by a plague, people were called on to pray to SAN ROQUE for healing.  After their petitions and processions, the plague miraculously stopped.

This representation of the santo, in wood and ivory, depicts him as a pilgrim with his dog by his side. The head and hands are of fine ivory, classically carved, and outfitted with glass eyes. His boots are painted on.

SAN ROQUE, with original metal accessories

The saint is iconically posed with his right hand lifting his tunic, and his finger pointing at the festering wound on his knee. The other hand holds his original pilgrim stick in brass, with a metal flask tied on top.

The tunic and cape have been replaced using the original tattered garments as pattern for the new outfit, all re-created by Dr. Raffy Lopez. 

SAN ROQUE’s faithful canine companion is shown on his right, with bread in his mouth. The seated dog is made of painted wood. At first glance, the Angel –his other iconographic element—seems to be missing. 

Usually, the Angel is present bearing a scroll that proclaims the saint as the patron of pestilence victims, to be invoked for protection and relief  from their illness. However, a close inspection of the base shows no traces of nails or dowels that could have anchored the small figure on the base to complete the tableau. 

THE HEALING POWER OF SAN ROQUE

However, there are many representations SAN ROQUE that show him Angel-less, with just a dog for his companion. Besides, the reference to the Saint’s healing power is already written on the rectangular, stone-topped base. In Spanish, it reads: “Los que tocadas de la peste invocoven  mi siervo Roque se libraren por su intercesion de esta cruel de enfermedad.” (Those who are touched by the plague, invoke my servant Roque, and, through his intercession, you will be freed by his this cruel disease)

This SAN ROQUE was possibly made in the 1930s, as it came with a gothic-style wooden urna popular in the era. I have a special interest in the saint as I lived at the San Roque Rectory of the San Roque Church in Blumentritt, Sta. Cruz, Manila, the church that my late uncle, Msgr. Manuel V. del Rosario founded in 1958, and which he served until his retirement in the 1980s. 

300. MY FIRST SAN ROQUE

San Roque (St. Roch of Montpellier)-- along with  San Vicente Ferrer, San Isidro Labrador, San Jose--are perhaps the most popular santo devotions in the early days of our Christianization, this, based on the abundance of images carved in their likeness.  San Isidro was a natural choice for an agricultural country, while San Jose, well, he was Jesus’ father. The winged San Vicente was known as an “angel of the Apocalypse”, and angels, too,  appear in the iconographies of  San Vicente and San Isidro Could it be our fascination with heavenly winged messengers  that drew Filipinos  closer to these saints?

A more plausible explanation was that our islands and its people were prone to widespread epidemics. The cholera pandemic that killed a million people in Russia hit the Philippines in 1858. The great cholera epidemic would happened again in 1882 and from 1902-1905 that claimed over 200,000 lives.  In the course of time, we have had severe outbreaks of  smallpox , typhoid fever, malaria and tuberculosis.

Our Spanish colonizers, in order to facilitate their evangelization, introduced us to San Roque, his life and his works---how he ministered to the sick in plague-ridden Italy, until he got ill himself. He retreated to a cave where a dog came to bring him bread for sustenance, and licked his wounds that healed them. After his death, an angel was said to descend from heaven, holding a tablet which he laid on the head of the saint. On it was written a prayer, which declared that anyone who calls on San Roque will be spared from  any pestilence.

Because of this, the friars urged the Filipinos to invoke the saint against epidemics and “peste”, cholera, most specially.  People also dropped down on their knees to appeal to San Roque to cure their skin ailments, relieve the pain of bad knees, and keep their dogs healthy.

I can’t even remember what particular shop I brought my first antique San Roque. I do know that I got it in the early ‘80s from one of the stores in Mabini Art Center, then one of the ‘antique’ enclaves of Ermita. I paid exactly Php 170 for this primitive folk example,  which came complete, although its head seemed to have fallen off and then reattached at some point. I guess this was why I got it for that bargain price, as you can get a perfect set back then for Php 300.

The 12 inch., rather thin San Roque stands on a plain, rectangular base, adding ¾” of an inch more to its height. His head sits askew on its shoulders; I had thought it was due to the bad restoration, but I had the head properly re-attached since, and it seems it was really carved with an awkward tilt. The saint’s eyes are bulgy, the beard full, and the mouth is wide.

Wearing a pilgrim cape and a short tunic, San Roque is shown lifting the hem high to reveal the wound on his left knee. There is quite a distance between his pointing finger and the location of the wound though. Note also how rough the folds of the tunic are carved,

He holds a staff with his right hand—I lost the original staff when one of his fingers broke—the one that secured it in the first place. What he now holds is a replacement fashioned from a bamboo barbecue stick. In place of a carved water flask, I just hanged a tiny metal bell.

The unimpressive angel—carved from a narrow piece of wood—stands 7 inches, and no longer has its tablet. It could have been made of tin, on which a native ‘oracion’ would have been handwritten. The native dog has broken one rear and one front foot, but  it has still the ‘pan de sal’ firmly between his teeth.

I have kept this San Roque for some thirty years—unappealing it might be—primarily for sentimental reasons. I bought it at a time when I had the audacity to start a relatively expensive hobby, while struggling to make a living.  The thought of acquiring better quality santos was farfetched from my mind, I had no choice but to buy only what I could afford—often the headless, armless, imperfect ones--the kind Mabini dealers regularly pass up. In all those years that I’ve had San Roque with me, I have neverbeen visited by any pestilence nor  afflicted by a malady of the serious kind---except perhaps, antique addiction!

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.

234. Santo Stories: SAN ROQUE of Bilibid Viejo, Quiapo

Bilibid Viejo in Quiapo takes pride in having the pilgrim saint, San Roque (St. Rich of Montpellier) as its titular patron. The resident’s devotion is centered on a small, wooden image of San Roque, the pilgrim saint of Montpellier, who ministered to victims of a plague, that he, too, caught. A dog came every day, bringing him bread for sustenance. An angel holds a scroll proclaiming his invocation against pestilences of all sorts.

The origin of this image is lost in history, but since Bilibid Viejo is just a walk away to Quiapo’s carving centers, it may be assumed that the image could have been commissioned from any of the talleres in Evangelista, Hidalgo, or even those in Sta. Cruz. The image is enshrined in a small corner chapel that was constructed way before the war.

The devotion to San Roque and its upkeep were assumed by a confraternity that was founded on 18 July 1926, with 16 pioneer members—Hermandad de San Roque. They actively propagated the faith by holding yearly fiesta activities, held in the first two weeks of August. There were daily sponsored masses, band contests, basketball competitions, movie screenings and musical jamborees. The fiesta is highlighted by a procession led by the image of the Sto. Niño, followed by their patron, San Roque, and then by the Virgin of Mount Carmel.

The San Roque fiesta is still being held in Quiapo, marked with rowdy street games. Not many people know that in the not so distant past, especially in the post-war years, the celebration of Bilibid Viejo’s patron had a more devout air, with many groups like “Sub-Comite de Damas, Señoritas y Soletros”, “Los Companeros” (a band of musicians that played during the fiesta) and Bilvie Youth Club lending their hands to promote the devotion though organized pilgrimages, excursions to churches and the promotion of scaramentals through San Roque medals.

168. COLLECTING MINIATURE SANTOS

Santos for personal devotion are common in European countries; small metal figures of Christ, the Virgin and patron saints kept in leather pouches or capsules are often carried by mobile devotees, and brought out during times of prayer and reflection. These are different from the Philippine metal amulets (anting-anting)  cast in the shape of small religious figures, that are meant to be worn on the body.

Santo miniatures, however rare are not unknown in the Philippines, as seen from these examples. Much smaller than the standard tabletop santos that range from 8 to 24 inches, these mini-santos of wood can be found in sizes from 6 inches to as small as 2 inches.

There's a quiet legion of mini-santo collectors out there who delight in amassing these small antiques for various, yet practical reasons--budget, limited display space and appeal. Artist Claude Tayag is once such collector, who collects santos under 8 inches tall. Indeed, they make for an unusual collection, and over the years, I have assembled a modest set that are no more than 7 inches high, exclusive of their bases. I am presenting these mini-santos along with a 3.25 inch tall gluestick tube to give you a size reference.

The tiny figure of San Vicente Ferrer stands just about 5.5 inches, without the base. Next to it is an even tinier San Roque tableau, carved with intricate details, so unusual for its miniscule size. San Roque stands a mere 4.25 inches without its peana and base, while its companion dog and angel are  2.50 in. and 2 in. respectively.

 A more colorful version of San Vicente Ferrer is shown above, purchased from ebay.ph. Standing on an orb, the 4 in. San Vicente strikes a pose with his emblematic book and raised upright finger. Overall, the santo is about 6.25 inches in height. Next to it is the kneeling figure San Isidro's landlord, Juan de Vargas, with a Lilliputian size of 3.25 inches. This used to be part of a tableau.

 A complete Sagrada Familia tableau carved from heavy wood stands in all its miniature glory on a base just 1 inch high. The adult figures of San Jose and Santa Maria are a shade under 6 inches tall. Both have traces of polychromy on their vestments.

 Meanwhile, the Child Jesus sandwiched in the middle is just about 3.5 in. The figures of Bohol provenance are all well carved and may have been housed in a matching small urna.

Though small in stature, these folk santos evoke the same charm as their bigger tabletop counterparts, losing none of their appeal and attraction--proof positive that big things do come in small packages.

167. THE CASE OF THE DOGLESS SAN ROQUE

ROCH OF AGES. The restored and completed San Roque reunited with a replacement dog. The base was repainted and the santos, which remained in great condition, were cleaned and buffed. The santo stands 24 inches high, excluding the base.

The hunt for antiques –and antique santos, to be specific—has changed irrevocably with the advent of cellphones, which can conveniently transmit photos in minutes. In this manner, assessing antiques for sale has become easier; pictures, however small, can give one a fair idea of the santo’s aesthetics, condition, and indications of age and size.

 When the above picture of a dogless San Roque was sent to me by a Pampanga dealer, I was impressed by the overall carving style and uncommon representation of this pilgrim saint. The santo is dressed like a peregrine (pilgrim), with a cross carved in relief on his left chest area.

 He is shown lifting the hem of his brown vestments, a finger pointing at the wound on his thigh (more common folk representations show the wound on his knee).

The hatted figure holds an original staff, with a flask tied to the tip.

 The face of San Roque is lean and long, his face dour,almost devoid of expression. His glass eyes were of the imported variety, commonly referred to as ”ojos de Europa”, which are in fact, doll eyes that were commercially produced in Europe since the 19th c.

 Keeping the saint company is an expressionless Angel in white holding a tablet with this inscription: “Los que fueron heridos de peste el favour de Roque alcanzaran salud” (Those wounded by the plague, (ask) the favor of St. Roch to attain health) This is in reference to his ministry of the sick during a pestilence in which he himself was stricken with the deadly disease.

 San Roque stands on a damaged base, which has lost much of its paint. Also missing is San Roque’s faithful dog, who ministered to him when he became ill himself, by bringing him bread daily.

 I would date this incomplete tableau to the 1950s and I thought it’s worth acquiring and restoring. The size alone—24 inches—is highly desirable. The best thing about this San Roque was its price, and when I personally saw it, I was convinced even more that I have found a truly worthy piece.

 I personally undertook the cleaning of the santo and the angel, which I easily detached from the base. The base immediately went to a local painter who simply re-painted it with a marbleized effect.

 The most challenging part was finding a replacement dog. Weeks before I saw this San Roque, I remembered seeing a dog being sold separately in one of the shops at Philtrade. I had made an offer for it, which the Seller did not accept.

I thought that the dog had the right proportions to match my San Roque. I returned to Philtrade and located the shop—and thank my lucky stars, the wooden dog with a whole bread in its mouth was still there! I made another offer, and this time, the Seller agreed to sell me the dog.

 Soon as the base arrived, I assembled and staged the different pieces, using wooden pegs. Everything fell into place, moreso when I positioned the dog by his master’s side—it was perfect fit. My San Roque tableau is finally complete.