327. THE ALTAR SANTOS OF SAN GUILLERMO CHURCH, Bacolor, Pampanga

The venerable San Guillermo Church, in the former capital of the Philippines, Bacolor, is a beautiful legacy of the Agustinos who built the church in 1576 on land donated by Don Guillermo Manabat, town founder. Completely destroyed by an earthquake, it was rebuilt in 1897 by Fray Manuel Diaz.

SAN GUILLERMO CHURCH,
wikimedia commons

The gilded retablo mayor, and the side retablos are intact—despite being half-buried in the lahar inundation of 1995 triggered by the Pinatubo eruption. They are profusely carved with baroque and rococo designs, and the richness of the details are better seen now that they have been beautifully restored. Inside the nichos are various antique  Augustinian santos from the colonial period. These, too, have been restored, repainted, and regilded under the supervision of the late Thom Joven, Pampanga’s most eminent ecclesiastical artist.

Now a tourist attraction, the San Guillermo Church continues to be a place of worship, a witness to the history and old glory of Bacolor, acclaimed for its arts and artists, hence the sobriquet—“Atenas ning Pampanga”-- the Athens of Greece.

180. ANTIQUE COLLECTORS AS CRUSADERS OF CULTURAL HERITAGE

 VIRGEN DE LA CORREA OF BETIS. Photo courtesy of Mr. Richard Diño

The recent theft of the antique ivory Nino Jesus of the Virgen de la Correa of Betis last Dec. 30 (the district’s fiesta, no less) once again put antiquarians and sacred art collectors on spotlight. Often, the knee-jerk reaction is to impute suspicion on antique collectors and their inordinate urge to acquire antiquities at any cost, leading many to conclude that collectors themselves are the major masterminds of church theft.

THE DRESSED UP CARROZA OF THE VIRGEN DELA CORREA, BEFORE THE PROCESSION.

Photo courtesy of Mr. Richard Diño

 There are allegedly horror stories of affluent collectors running a ring of antique dealers, financing them so they could acquire prized church art, through all means—from cajoling priests to part with their old santos as they renovate their churches, to resorting to paid crimes like theft and robbery. True, there are spurious collectors, middlemen and dealers, but they are few and far between. Past events involving the theft of church art have, in fact, included collectors playing significant parts in their return and recovery.

 AT THE SANTIAGO APOSTOL CHURCH.

Photo courtesy of Mr. Richard Diño

 Indeed, it is this instinct to save, to recover, to conserve and preserve—that drives a collector to do what he does, which, in a way, is aligned with the work of cultural and heritage activists. It took an antique collector with a discerning eye, for example, to recover the Santo Nino de Romblon, which had been lost for 22 years. In 2009, antique collectors networked online with heritage workers to find the image of an antique San Juan, stolen from one of the retablos in the Cathedral of Tayabas.

 MR. TOM JOVEN, WITH THE RECOVERED NINO OF THE VIRGEN DE LA CORREA

Photo from the FB page of Auxiliary Bishop Pablo Virgilio David.

Thankfully, there is a happy ending too, to the recent event in Betis. A few days after the reported theft of the ivory Nino, the Archdiocesan Commission on Church Heritage (ACCH) of the Archdiocese of San Fernando, announced the successfully recovery of the revered image, with the help of yet another collector and renown ecclesiastical artist, Tom Joven.

Joven, who heads the Parish Pastoral Council of San Guillermo Parish of Bacolor and who also serves as member of the Tangible Heritage Committee of ACCH, reported his find to diocesan church authorities as the image surfaced in the antiques market, days after it was reported to be missing. His network of collector-friends provided him leads that allowed him to track the image in Manila, and which he eventually purchased---the ivory parts brought to him discreetly in a plastic bag, minus the wooden body.

 "I ONCE WAS LOST...BUT NOW I'M FOUND".

THE RETURNED NINO, MINUS THE WOODEN BODY.

Photo from the FB Page of Auxiliary Bishop Pablo Virgilio David

Immediately, he notified the church authorities headed by Auxiliary Bishop Pablo Virgilio David and the Pastoral Council of Betis. The acknowledged santo expert offered to restore the image and have it ready for official turnover to diocesan and local church authorities in time for the celebration of the Santo Niño Feast on January 19 (3rd Sunday of January).

 

Photo courtesy of Mr. Richard Diño

The ACCH circular acknowledged with gratitude the role that antique collectors played in the recovery of the Nino—alongside media entities, heritage advocates and netizens who helped spread the word about the theft of this treasured image which is imbued with priceless historical, cultural and spiritual meanings—a special part of the Augustinian legacy in Betis, Pampanga.

In the crusade against church crimes, count antique collectors in.

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! 

127. Visualizing Sanctity: SAN PEDRO CALUNGSOD by Thom Joven

The country is thrilled to see the courageous teen "beato" raised to the rank of a saint--San Pedro Calungsod--only the second Filipino saint after San Lorenzo Ruiz. San Pedro Calungsod (b.1654 – d. 2 April 1672) was  a young sacristan who worked alongside San Diego Luis de San Vitores and who was martyred  in Guam for preaching Christianity to the Chamorros through catechism.

Beatified on 5 March 2000 by Blessed Pope John Paul II, Calungsod was  canonized by Pope Benedict XVI at Saint Peter's Basilica in Vatican City on 21 October 2012 together with 6 others: Jacques Berthieu, a Jesuit martyr-priest ,Giovanni Battista Piamarta, founder of the Congregation of the Holy Family of Nazareth, Maria Carmen Sallés, founder of the Conceptionists Missionary Sisters of Education; Marianne Cope, a religious who worked among lepers, Kateri Tekakwitha, the first Native American Saint and Anna Shaffer from Germany.

San Pedro Calungsod's most well-known representation is based on a portrait modelled by then 17 year old Ronald Tubid, a basketball player from Iloilo. This same portrait became the basis for artist Rafael del Casal's artwork done in 1999 that was used as the official picture for the canonization rites in Rome. Del Casal's portrait is the first to feature a Christogram, the seal of the Society of Jesus with which San Pedro was associated. Sculptors Francisco dela Victoria and Vicente Gulane (Cebu), Felix Baldemor and Justino Cagayat Jr. ( Paete, Laguna), also created statues of Calungsod in 1997,1999 and 2012, respectively. Most images show the saint wearing a white camisa and trousers, with his characteristic palm, a rosary,a crucifix or a Doctrina Christiana book pressed to his breast.

Pampanga's most accomplished ecclesiatical artist, Thom Joven of Bacolor has also been commissioned by Bishop Angel Lagdameo of Iloilo to execute his santo version of the teen martyr, following his approved iconography. Made by a local carver under his stringent supervision and personally painted using traditional encarnacion technique, San Pedro Calungsod stands all of four feet and bears a strikingly young, lifelike and saintly mien. He pensively looks at an open book of Christian doctrine, with another hand holding a palm branch in brass--his official attributes.

It is impeccable in its simplicity, and appropriately so, for the saint lived a life of austerity and hardship while catechizing in the Marianas. Just like San Lorenzo Ruiz, he is similarly attired in a camisa chino-daily wear for most Filipinos-and a pair of loose, hanging pants. Carved in the round, he is shown unshod, unlike other representations where the saint wears sandals.

Thom Joven is well-known in the santo circle as a leading figure in saving and restoring the altars, niches and wooden saints of San Guillermo Church in Bacolor, heavily damaged by the Pinatubo aftermath. He has likewise worked on the San Vicente de Zaragoza Church, also in his hometown. His prized works and restorations are in private collections and have even reached the Vatican--an image of of Nuestra Sra. de Guia, was chosen by then Pres. GMA and given to  Pope Benedict XVI as a "Gift from the Filipino People". His interpretation of the likeness of San Pedro Calungsod is indeed, a most apt artistic tribute to one who now belongs to the pantheon of saints of the Catholic Church.

FEAST DAY: Celebrated every 2nd day of April, the anniversary of his martyrdom. If the date falls within Holy Week or Easter Week, the feast is observed on the Saturday that immediately precedes Passion/Palm Sunday. If April 2 falls on a Sunday of Lent or on a Sunday of Easter, the feast is celebrated on April 1.

PRAYER:
Blessed Pedro Calungsod, young migrant, student, catechist, missionary, faithful, friend, and martyr, you inspire us by your fidelity in time of trial and adversity, by your courage in teaching the Faith in the midst of hostility and by your love in shedding your life’s blood for the sake of the Gospel of Jesus. 

We beg you, make our cares and troubles your own [here mention the special intention you are asking him to bring to the Lord] and intercede for us before the throne of Mercy and Grace, so that as we experience the help of Heaven, we may be encouraged and strengthened to proclaim and live the Gospel here on earth. AMEN. 

 (Imprimatur: Ricardo Cardinal J. Vidal) 

(ALL PHOTOS USED WITH PERMISSION, COURTESY OF MR. THOM JOVEN).

117. ICONS OF ST. JOSEPH ON EXHIBIT

Originally published on Philippine Daily Inquirer Lifestyle 5 March 2007, Monday 

A back-to-back exhibit will open at the Museo de Santo Domingo in Quezon City as part of the celebration commemorating the centennial of the canonical coronation of Our Lady of the Rosary, La Naval de Manila, as Patroness of the Philippines. The fourth and fifth in a series of exhibits will begin on March 10 and 24, respectively.

 SAN JOSE CON NINO JESUS. An early 20th century piece courtesy of Gino Marasigan. 

The fourth exhibit, "San Jose, Esposo de la Virgen", will feature various images and depictions of St. Joseph, the patron of the universal church. Gino Marasigan, with his early 20th century image, is the hermano of the exhibit, together with the Cofradia de San Jose headed by Rolly Tayo. Other images and icons will be provided by designers Manny Castro; Steve de Leon; Fr. Roland dela Rosa, OP; Fr. Robie Reyes, OP;Nena Bernales; Ting Escobar; Deus Antique Shop; Toots Munar; and museum curator Rei Nicolas.

 SAN JOSE, from the collection of Rei Nicolas. 

The special veneration of St. Joseph began in the east where the apocryphal "History of Joseph" enjoyed great popularity in the fourth to the seventh centuries. In the ninth century, Irish Felire of Oengus, a commemoration is mentioned, but it was not until the 15th century that the veneration of St. Joseph in the west became widespread when his feast day was introduced in the Roman Calendar in 1479. The devotion was particularly popularized by St. Teresa of Avila and St. Francis of Sales.

The chaplain of the shrine, Rev. Fr. Roberto Pinto, OP will open the exhibit on March 10, at 4: 30 p.m., with a blessing of the information lobby of Santo Domingo Convent. The exhibit runs until March 19.

 VIRGEN DOLOROSA, owned by Tom Joven. 

The fifth exhibit, "Misterios Dolorosos" will open at the Museo on March 24 and will run until April 6. It highlights the rosarian character of the Sto. Domingo Church, with rare images, icons, photos and prints of the suffering of Christ and the Mater Dolorosa on exhibit.

97.A CRISTO, A CALANDRA, AND A RE-CONSTRUCTION STORY

About 6 years ago, I attended a special auction of the Bayanihan Collectors at the Loft, in Rockwell, only because it was walking distance from my place. It was late in the afternoon and the auction was about to end.

I quickly scanned the bourse tables and found this rare mini-calandra with a terra-cotta Christ. It was a bit-run down, but I saw it had promise—the carvings on the base were very detailed, and most of the calandra parts were intact, including the etched glass panels and the relief carvings on the trapezoidal cover.

The 8 inch Christ itself is very unusual because it is made from terra cotta and wood. The catafalque on which it rested even had its original satin cover. The base has a drapery pattern and is trimmed with floral carvings, now incomplete.

The dealer wasn’t even there when I inquired about the piece; I had to talk to him on the phone. When he told me of the price of the calandra, I thought it was reasonable enough, but I wasn’t into these things back then.

I let it go but I kept the business card of dealer Albert Dealino and promised to visit his place. Flash forward, early 2007. While I was cleaning my files, I found Abet’s card and this time, I checked if his contact number was still valid—it was! I had to reintroduce myself to him and then asked if I could visit his Fairview warehouse.

He agreed and so we set up a meeting on one rainy Sunday afternoon. It was a long drive to north Fairview but I found his home-cum-warehouse which was crammed with old things of all sort. It was then that I asked him about the calandra that I saw years ago in Rockwell. Surprisingly, he told me it went unsold and was still available. After a few minutes, he took it out and I was reacquainted once more with the object of desire that I thought had gotten away.

To make the story short, I got the piece at a discount and carted it home with the intention of having it restored to its former glory. Instinctively, I thought of assigning the work to Mr. Tom Joven, the accomplished ecclesiastical artist from Bacolor, whose background in furniture, I thought, would be valuable in a project that requires carpentry, carving and expert finishing.

Sure enough, when I brought the piece to him, his sharp eye noticed something amiss with the mini-calandra and its base. Later, he called me to say he believed that the calandra used to have a separate base—to which it was attached, at some point in time. He asked my approval if he could separate the calandra from its base; a new base will be made for it while the separated carved base can serve as a display stand for it or for some other santo or urna. A few months after, the calandra looked like this with its new, simplified base.

A few more weeks would elapsed before the calandra could be finished and primed for painting. Note the added floral trims, the handsome Grecian columns on the four corners and the arches to frame the four glass paneled sides of the calandra.

When Tom removed the catafalque that had been ‘upholstered’ with red satin, he found out that the sides were trimmed with fine gold embroidery in repeating trefoil pattern that have tarnished with age.

Work on the base proved to be faster. The floral carvings around the perimeter of the base were completed and then painted and gilded.

Finally, just this weekend, after a year of intense restoration, my mini-calandra project was finally finished. It was painted in black and with faux kamagong streaks. The floral trims, the columns, the serrated edgings and the relief carvings were all gold-leafed.

All it needs is a small agnus dei (Lamb of God) figure to sit on top of the calandra. Unfortunately, the old bubble glass panels were too fragile to be reused; new glass had to be ordered. 

Even then, with or without the base, the completed mini-calandra looked exceptionally beautiful.

As to the terra cotta Cristo, a nephew of mine who has a special interest in European ecclesiastical art noticed its similarity to the Cristo Yacente of the Hermandad del Sto. Entierro in Spain.

He also told me that what I have is certainly of European origin as terra cotta figures are made all over Europe like in Italy and Spain. I had thought of housing a smaller ivory Sto. Entierro for this calandra, but because of these inputs, I have decided to retain this original Cristo.

I am in the process of restoring it myself (I don’t know of any who does clay restoration!), but I have decently managed to put the broken parts together using tacky glue, filling the spaces with epoxy clay which I discovered recently. 

I have also succeeded in cleaning it using good, old dependable Wipe-Out. Its dirty brown complexion has given way to a pinkish hue, a dramatic change. It still remains to be seen if I have a future as a santo-restorer.

The hardest part of the restoration is over--a mourning shroud, a pillow and perhaps a small crown of thorns and potencias are all that the calandra needs as finishing touches. 

Jesus’s resurrection took awhile to happen---over a year for the restoration alone and a total of 6 years to bring home a treasure that I now consider one of my most valuable finds.