 |
| LA NAVAL SOUVENIR PROGRAM, 1957 |
 |
| LA NAVAL SOUVENIR PROGRAM, 1964 |
 |
| LA NAVAL SOUVENIR PROGRAM, 1970 |
 |
| LA NAVAL SOUVENIR PROGRAM, 1974 |
 |
| LA NAVAL SOUVENIR PROGRAM, |
Showing posts with label Sto. Domingo Church. Show all posts
Showing posts with label Sto. Domingo Church. Show all posts
Friday, October 23, 2015
233. LA NAVAL DE MANILA SOUVENIR PROGRAMS
Friday, October 9, 2015
232. Santos of La Naval: STA. CATALINA DE SIENA
 |
| STA. CATALINA DE SIENA. Antique ivory image used in the La Naval procession of Our Lady of the Most Holy Rosary, Sto. Domingo Church, Q. C. Credits: Saga of La Naval, Triumph ofa People's Faith, Dominican Province of the Philippines, 2007. |
About The Image: The image of Sta. Catalina is housed at the Beaterio de Sta. Catalina. At the base of the image is inscribed: Donacion de la M.R.M. / Catalina de la Resurrecion/ Jez/ +13 unio 1853. This means that the image was donated before Mother Catalina died in 1853. When the Japanese destroyed the building on 28 Dec. 1942, the image was evacuated under the leadership of Fr. Francisco Sadaba O.P. of Letran. The air raid sirens threw the bearers in panic, who left the image in the street while they scampered for refuge at the Jesuit religious house in Intramuros. Eventually, everybody reached the University of Santo Tomas campus. The image is dressed in Dominicn’s habit.
Attributes: Crown of roses proffered by Christ, chosen over a crown of gold, heart in hand, rosary, book (referring to her work) and lily, symbol of virginity.
Friday, October 4, 2013
166. THE SANTOS OF LA NAVAL
The Virgin of the Most Holy Rosary, the most important Marian image in the Philippines commisioned by Gov. Gen. Luis Perez Dasmarinas, is closely associated with the Dominicans as it was to them that the image was entrusted after its completion in 1593. It was later enshrined at the Sto. Domingo Church.
As such, the venerable image is honored with annual processions participated in by carrozas bearing the likenesses of Dominican saints made with ivory head and hands. The age of the ivory images has not yet been ascertained, but most seemed to be from the 19th century. The first images to be made were those of Sto. Domingo and San Pio Quinto.
Santo Domingo Guzman, from a noble family in Caleruega, Spain was first a priest, then a Canon Regular in the Cathedral Chapter at Osma, He went on to found the the Order of Preachers ("Dominicans") , approved by Pope Honorius III in 1216. His iconography includes a dog with flaming torch in its mouth, based on her mother's dream. His name has become a pun for "domini canis" (God's dog) and "Dominicanus", or a Dominican priest. He is also represented with star on his forehead, a vision seen by a godmother during his baptism. A staff and a rosary are also his attributes, as a legend states that the Virgin personally gave him a rosary. He died in 1221 and was canonized by Pope Gregory IX in 1234.
San Pio Quinto was born in Bosco, Tortona, Piedmont, Italy, in 1504, and baptized as Michael Ghislieri. He joined the Dominicans and rose to become bishop, grand inquisitor, and cardinal. Elected pope in 1566, he zealously implemented the decrees of the Council of Trent. He had the rosary prayed throughout the battle against the Turks at Lepanto until these were defeated; he instituted the fiesta of our Lady of the Victories, later changed to the Rosary, on October 7. Died on May 1, 1572, at the Vatican, April 30. Beatified 1672, canonized 1712.
The image of San Vicente Ferrer is one of the original images to join the La Naval processions. It survived the war by being kept in a vault at the Sto. Domingo Church. Standing under 5 feet, its metal accessories--banner, book and aurelo, are of silver. Valencia-born San Vicente Ferrer joined the Order of Preachers at age 17, and became known as an "Angel of Peace" during turbulent times in Europe. Hence, he is represented as a winged saint. He gained fame as a charismatic preacher, and was miraculously understood by many people of different nationalities who listened to his sermons despite speaking in his native language. Thousands of Jews and Moors in Spain were successfully converted this way. A trumpet is also an attribute, referring to his preaching of the coming of Judgment Day.
Other La Naval santos: San Lorenzo Ruiz, Beata Juana de Aza, Beata Margarita de Castelho, Santo Thomas Khuong, San Juan de Capillas, Santa Rosa de Lima, Santa Ines de Montepulciano, San Vicente de la paz, Santa Magdalena de Nagazaki, San Juan Macias, San Martin de Porres, Santa Rosa de Lima, Santa Catalina de Ricci, San Juan de Colona, San Luis Beltran, San Antonio de Florencia, Santa Catalina de Siena, San Alberto Magno, Santa Ines de Montepulciano, San Raymundo de Penafort, San Jacinto de Polonia, San Pedro Martir, Santo Tomas de Aquino, Santa Margarita de Ungria and San Jose.
As such, the venerable image is honored with annual processions participated in by carrozas bearing the likenesses of Dominican saints made with ivory head and hands. The age of the ivory images has not yet been ascertained, but most seemed to be from the 19th century. The first images to be made were those of Sto. Domingo and San Pio Quinto.
Santo Domingo Guzman, from a noble family in Caleruega, Spain was first a priest, then a Canon Regular in the Cathedral Chapter at Osma, He went on to found the the Order of Preachers ("Dominicans") , approved by Pope Honorius III in 1216. His iconography includes a dog with flaming torch in its mouth, based on her mother's dream. His name has become a pun for "domini canis" (God's dog) and "Dominicanus", or a Dominican priest. He is also represented with star on his forehead, a vision seen by a godmother during his baptism. A staff and a rosary are also his attributes, as a legend states that the Virgin personally gave him a rosary. He died in 1221 and was canonized by Pope Gregory IX in 1234.
San Pio Quinto was born in Bosco, Tortona, Piedmont, Italy, in 1504, and baptized as Michael Ghislieri. He joined the Dominicans and rose to become bishop, grand inquisitor, and cardinal. Elected pope in 1566, he zealously implemented the decrees of the Council of Trent. He had the rosary prayed throughout the battle against the Turks at Lepanto until these were defeated; he instituted the fiesta of our Lady of the Victories, later changed to the Rosary, on October 7. Died on May 1, 1572, at the Vatican, April 30. Beatified 1672, canonized 1712.
The image of San Vicente Ferrer is one of the original images to join the La Naval processions. It survived the war by being kept in a vault at the Sto. Domingo Church. Standing under 5 feet, its metal accessories--banner, book and aurelo, are of silver. Valencia-born San Vicente Ferrer joined the Order of Preachers at age 17, and became known as an "Angel of Peace" during turbulent times in Europe. Hence, he is represented as a winged saint. He gained fame as a charismatic preacher, and was miraculously understood by many people of different nationalities who listened to his sermons despite speaking in his native language. Thousands of Jews and Moors in Spain were successfully converted this way. A trumpet is also an attribute, referring to his preaching of the coming of Judgment Day.
Other La Naval santos: San Lorenzo Ruiz, Beata Juana de Aza, Beata Margarita de Castelho, Santo Thomas Khuong, San Juan de Capillas, Santa Rosa de Lima, Santa Ines de Montepulciano, San Vicente de la paz, Santa Magdalena de Nagazaki, San Juan Macias, San Martin de Porres, Santa Rosa de Lima, Santa Catalina de Ricci, San Juan de Colona, San Luis Beltran, San Antonio de Florencia, Santa Catalina de Siena, San Alberto Magno, Santa Ines de Montepulciano, San Raymundo de Penafort, San Jacinto de Polonia, San Pedro Martir, Santo Tomas de Aquino, Santa Margarita de Ungria and San Jose.
Sunday, September 25, 2011
82. MANILA’S OLD VOTIVE FEAST: LA NAVAL
By Nick Joaquin
Philippine Quarterly, Vol. II No. 1—October-December 1961. p. 1-2.
(Nick Joaquin was a Rockefeller Foundation fellow in 1954. He won the Eugene Saxon Memorial Fellowship in 1955, the Palanca Prize in 1957, the Stonehill Award in 1958 and recently, the Republic Heritage Award. Many of his stories evoke the Manila of olden days. The feast of La Naval described here celebrates the victory over the Dutch armada which invaded the Philippines in 1646.)
The festivities began on the Saturday before the first Sunday of October. One went to Sto. Domingo to find the great image of the Virgin transferred from the Lady’s Chapel to the main altar and arrayed in gold robes and jewels.
In the afternoon, the novena began. The music of Santo Domingo was famous; the monastery had a fine boys’ choir and eminent friar musicians; and the novena of the Rosary was, in effect, a series of 9 superb sacred concerts. One heard polyphonic renditions of the Litany of the Virgin, old Castilian motets and, every evening, a different Salve, a different Tantum Ergo, sung to organ and orchestra. But the ceremonies always ended with the Despedida, the lovely hymn of farewell so associated with this feast. As the tiples went into the haunting closing phrases of the Despedida, a descending curtain slowly hid the radiant image of the Virgin, the bells rang.
Outside, in the patio, a band played, people clustered around the feria stalls to buy lanzones and roasted chestnuts, the internos from Letran and internas from Santa Rosa romped through the crowd, squealing with delight at the prospect of 9 nights with no study periods after supper.
On the morning of the 1st Sunday of October, before the high mass, the image of the Virgin was borne in procession from the Plaza de Santo Tomas to the patio of Santo Domingo. The morning procession commemorated the Battle of Lepanto in 1571, when Christian forces crushed the last attempt of Islam to conquer Europe. From this victory arose the Feast of the Rosary.
From a side portal of Santo Domingo emerged the carrozas of St. Pius V, the Pope of Lepanto and of St. Dominic. Then, though a cloud of incense, appeared the Santo Rosario, the most splendid image of the Virgin in the Philippines. (The image was carved in 1612 by a pagan Chinese sculptor who later embraced Christianity.) Down the street, past the Colegio de Santa Rosa, rode the Virgin, the crowds on the sidewalks falling to their knees as this image that had been the palladium of the city for three centuries passed by, in a rainbow of precious stones. (The gem of the Virgin’s brow, was, according to legend, wrested from a serpent.)
Into the patio flowed the procession, the bells pealing as the Santo Rosario entered the gothic portals of Santo Domingo, the lit chandeliers now illuminating the crown of the Virgin wrought of gold and jewels that had come as offerings from all over the country for the Virgin’s coronation in the early 1900s. (The Santo Rosario was the first image of the Virgin in the Philippines to be crowned canonically.) At the altar waited the Archbishop of Manila, or the Apostolic Delegate, to celebrate the mass of the victory of Lepanto, the victory in which Cervantes lost an arm.
During the first week of October, all Manila gathered, morning and evening, at the Dominicans, and Manila houses filled with visitors from the provinces who had come to attend the novena of the Santo Rosario but would stay the whole month, for after the Naval came the fiestas of Sta. Cruz and Binondo, once the city’s gayest celebrations. What Manileño can forget the old-time merriment of October in Manila?
The novena of the Santo Rosario ended on the second Sunday of October with the Feast of the Naval. This is one church feast special to the Philippines; it began in 1646, when a might Dutch armada sought to invade Manila but was routed in a series of 5 naval battles (from March 15 to October 3) by 2 decrepit galleons, the city’s only defenders. The victories were attributed to the Santo Rosario, to whose shrine at Santo Domingo the crews of the galleons had vowed to go on pilgrimage if they would triumph over the Dutch. Manila was saved; and the returning victors fulfilled their vow, marching barefooted from the gates of the city to the shrine of the Virgin. That was the 1st Naval procession, on an October day in 1646.
Six years later, the cathedral chapter of Manila decreed that the 5 victories of 1646 were “miracles vouchsafed by the Divine Majesty of God through the intercession of the Blessed Virgin, Our Lady, and the devotion to her Holy Rosary”. For four centuries now, Manileños have annually been reenacting the fulfillment of a vow made in 1646, when their city was saved through a small naval triumph that has become, for them, as magnificent and memorable as the victory of Lepanto.
On the afternoon of the Dia de La Naval, all roads led to Intramuros for the “procession of processions”, and a multitude lined the traditional route: from the Plaza de Santo Tomas to Plaza McKinley to Arzobispo to the faded grandeur of Calle Real. Above would be the wild dark skies of October, but the streets of Intramuros would be ablaze with light as, once again, across the ancient cobbles, moved the city’s ancient Queen, symbol of the traditions that once welded Manileñans into one.
Manila lost unity when Intramuros perished, and old palladium was borne away to another shrine, far from the city’s gates. The Feast of the Naval has not died, but much of its old glamour has vanished, now that one must go to Quezon City instead of Intramuros. The feast and the setting were one; they should never have been separated And October in Manila has ceased to be magical now that Intramuros and Sta. Cruz and Binondo have decayed into mongrel communities, without a common memory, a common tradition.
But one can still get an idea of what the Naval used to be. Two years ago, the Dominicans finally released all the old beloved images that used to accompany the Santo Rosario in the Naval processions in Intramuros. One can see them again now, in procession, in Quezon City, on the Day of the Naval---St. Vincent Ferrer with his wings, St. Thomas with his sun, St. Catherine of Sienna with her lilies, St. Dominic with his dog. Only one, the most dramatic of the images perished in the war: that of St. Peter Martyr, the image that provoked the most curiosity among the children, because St. Peter Martyr had a bolo through his head.
Now “exiles”, like Santo Rosario, in Quezon City, these lares and penates of the old Manila again emerge in October, after a long absence, to provoke wonder and nostalgia, on the feast called La Naval de Manila.
Philippine Quarterly, Vol. II No. 1—October-December 1961. p. 1-2.
(Nick Joaquin was a Rockefeller Foundation fellow in 1954. He won the Eugene Saxon Memorial Fellowship in 1955, the Palanca Prize in 1957, the Stonehill Award in 1958 and recently, the Republic Heritage Award. Many of his stories evoke the Manila of olden days. The feast of La Naval described here celebrates the victory over the Dutch armada which invaded the Philippines in 1646.)
The festivities began on the Saturday before the first Sunday of October. One went to Sto. Domingo to find the great image of the Virgin transferred from the Lady’s Chapel to the main altar and arrayed in gold robes and jewels.
In the afternoon, the novena began. The music of Santo Domingo was famous; the monastery had a fine boys’ choir and eminent friar musicians; and the novena of the Rosary was, in effect, a series of 9 superb sacred concerts. One heard polyphonic renditions of the Litany of the Virgin, old Castilian motets and, every evening, a different Salve, a different Tantum Ergo, sung to organ and orchestra. But the ceremonies always ended with the Despedida, the lovely hymn of farewell so associated with this feast. As the tiples went into the haunting closing phrases of the Despedida, a descending curtain slowly hid the radiant image of the Virgin, the bells rang.Outside, in the patio, a band played, people clustered around the feria stalls to buy lanzones and roasted chestnuts, the internos from Letran and internas from Santa Rosa romped through the crowd, squealing with delight at the prospect of 9 nights with no study periods after supper.
On the morning of the 1st Sunday of October, before the high mass, the image of the Virgin was borne in procession from the Plaza de Santo Tomas to the patio of Santo Domingo. The morning procession commemorated the Battle of Lepanto in 1571, when Christian forces crushed the last attempt of Islam to conquer Europe. From this victory arose the Feast of the Rosary.
From a side portal of Santo Domingo emerged the carrozas of St. Pius V, the Pope of Lepanto and of St. Dominic. Then, though a cloud of incense, appeared the Santo Rosario, the most splendid image of the Virgin in the Philippines. (The image was carved in 1612 by a pagan Chinese sculptor who later embraced Christianity.) Down the street, past the Colegio de Santa Rosa, rode the Virgin, the crowds on the sidewalks falling to their knees as this image that had been the palladium of the city for three centuries passed by, in a rainbow of precious stones. (The gem of the Virgin’s brow, was, according to legend, wrested from a serpent.)
Into the patio flowed the procession, the bells pealing as the Santo Rosario entered the gothic portals of Santo Domingo, the lit chandeliers now illuminating the crown of the Virgin wrought of gold and jewels that had come as offerings from all over the country for the Virgin’s coronation in the early 1900s. (The Santo Rosario was the first image of the Virgin in the Philippines to be crowned canonically.) At the altar waited the Archbishop of Manila, or the Apostolic Delegate, to celebrate the mass of the victory of Lepanto, the victory in which Cervantes lost an arm.
During the first week of October, all Manila gathered, morning and evening, at the Dominicans, and Manila houses filled with visitors from the provinces who had come to attend the novena of the Santo Rosario but would stay the whole month, for after the Naval came the fiestas of Sta. Cruz and Binondo, once the city’s gayest celebrations. What Manileño can forget the old-time merriment of October in Manila?
The novena of the Santo Rosario ended on the second Sunday of October with the Feast of the Naval. This is one church feast special to the Philippines; it began in 1646, when a might Dutch armada sought to invade Manila but was routed in a series of 5 naval battles (from March 15 to October 3) by 2 decrepit galleons, the city’s only defenders. The victories were attributed to the Santo Rosario, to whose shrine at Santo Domingo the crews of the galleons had vowed to go on pilgrimage if they would triumph over the Dutch. Manila was saved; and the returning victors fulfilled their vow, marching barefooted from the gates of the city to the shrine of the Virgin. That was the 1st Naval procession, on an October day in 1646.
Six years later, the cathedral chapter of Manila decreed that the 5 victories of 1646 were “miracles vouchsafed by the Divine Majesty of God through the intercession of the Blessed Virgin, Our Lady, and the devotion to her Holy Rosary”. For four centuries now, Manileños have annually been reenacting the fulfillment of a vow made in 1646, when their city was saved through a small naval triumph that has become, for them, as magnificent and memorable as the victory of Lepanto.
On the afternoon of the Dia de La Naval, all roads led to Intramuros for the “procession of processions”, and a multitude lined the traditional route: from the Plaza de Santo Tomas to Plaza McKinley to Arzobispo to the faded grandeur of Calle Real. Above would be the wild dark skies of October, but the streets of Intramuros would be ablaze with light as, once again, across the ancient cobbles, moved the city’s ancient Queen, symbol of the traditions that once welded Manileñans into one.
Manila lost unity when Intramuros perished, and old palladium was borne away to another shrine, far from the city’s gates. The Feast of the Naval has not died, but much of its old glamour has vanished, now that one must go to Quezon City instead of Intramuros. The feast and the setting were one; they should never have been separated And October in Manila has ceased to be magical now that Intramuros and Sta. Cruz and Binondo have decayed into mongrel communities, without a common memory, a common tradition.
But one can still get an idea of what the Naval used to be. Two years ago, the Dominicans finally released all the old beloved images that used to accompany the Santo Rosario in the Naval processions in Intramuros. One can see them again now, in procession, in Quezon City, on the Day of the Naval---St. Vincent Ferrer with his wings, St. Thomas with his sun, St. Catherine of Sienna with her lilies, St. Dominic with his dog. Only one, the most dramatic of the images perished in the war: that of St. Peter Martyr, the image that provoked the most curiosity among the children, because St. Peter Martyr had a bolo through his head.
Now “exiles”, like Santo Rosario, in Quezon City, these lares and penates of the old Manila again emerge in October, after a long absence, to provoke wonder and nostalgia, on the feast called La Naval de Manila.
Sunday, June 6, 2010
13. RETRO-SANTO: Nstra. Sñra. Del Rosario de La Naval
Nuestra Senora del Santissimo Rosario de la Naval de Manila (Our Lady of the Most Holy Rosary) or simply called Virgen de la Naval is certainly one of the most historied Marian image venerated in the country today. The image dates back to the year 1593, and was carved by a Chinese sculptor commissioned by Gov. Luis Perez de Dasmariñas after his Moluccan expedition.
The making of the ivory image was attended with many miraculous happenings. While it was being carved by the Chinese non-Catholic artist, he supposedly heard a mild protest in Spanish: “no me des tan fuerte!” (don’t chisel me too hard). Subsequently, the Chinese converted to the Catholic faith. The image was then donated to the Sto. Domingo Church in Manila.
The Del Rosario image stands all of 56 inches, with head and hands in ivory. The face bears a distinct and delicate Oriental features. She is vested as a royal lady of the court of the Felipes, holding the Niño Jesus in her left hand and her scepter of authority in her right had.
Over a period of more than 4 centuries, the Virgen del Rosario has been lavished with precious jewelries, and the most famoust one rests in brilliance on her forehead. A “carbuncle”, old folks call it, which, legends say, was once carried by a serpent in its mouth. He would only remove his hold on the jewel when it would feed on milk, and it was in this manner that he was trapped and killed—while the great jewel was retrieved, to be use as an adornment on the Lady whose feet had once crushed the snake’s head.
But the most incredible story about this well-loved Marian image is woven around a series of 5 naval battles, two ships with 200 Filipino and Spanish sailors, one faith and one rosary. From March to October 1646, La Encarnacion and La Rosario, together with their crew, waged epic battles against the Dutch who always took flight and retreated—until their ultimate defeat. The victories were attributed to Our Lady whose image was ensconced in special niches of the ships, and the recitation of the Rosary before every skirmish.
When “galleons of miracles” returned to the city amidst tumultuous welcome, the crew walked barefooted to Santo Domingo barefooted, to pay homage to the Virgin who heard their prayers.
The country’s celebrated Virgin was canonically-crowned on 5 October 1907 under Pope Pius X, the first Marian image to be accorded the honor in the Philippines and in Asia. The centennial of its coronation, held in 2007, was marked with a grand re-enactment of Her crowning and a publication of the book, "The Saga of La Naval".
The Virgen de La Naval shrine is at the Sto. Domingo Church at Quezon Boulevard Ext., Quezon City. She is recognized as the patron of the capital city as well as the city of Angeles in Pampanga which has a church dedicated to her. Her feast is on October 7 (celebrated on the Sunday nearest the 7th) .
Subscribe to:
Posts (Atom)
