364. Lump in My Throat: SAN BLAS in Ivory

SAN BLAS (St. Blaise), the bishop-martyr of Sebaste, in Armenia, is not familiar to many Filipinos, except perhaps in Sebaste (yes, namesake of the bishop’s episcopal see!), Antique, or in Bangar, La Union and Villasis, Pangasinan, two municipalities with barangays named ‘San Blas’.

Apparently, in Pampanga, a prominent family from Guagua are devotees of San Blas, as they keep an exquisite ivory figure of the saint invoked against throat diseases, that has afflicted some members in their clan.

This ivory santo belonged to a couple who ran a successful popular and successful meryendahan in the town. They often lent their image unselfishly to people in the community with various throat issues, who, after touching the revered image, crossed themselves on the neck as they pray for relief.

According to a legend , San Blas saved a boy who had a fish bone stuck in his throat-- just one of the many miracles that he wrought. That led to him being adopted as the Patron Saint of people with throat ailments.

When the childless couple passed away, the image was bequeathed to a niece, an unamarried public school teacher. She cared for the image until she retired and passed away just this year, ahead of her remaining elder sister.  As of yet, the next caretaker of San Blas has not been named.

Typical of many classically carved santos, this San Blas has a manikin body, but has been redressed, his original bishop’s vestments now long gone. His most common iconography includes a mitre (also replaced) and a crozier. Other depictions of him in art includes an iron comb—an instrument of his torture, and a candle, in reference to a candle brought to him in jail. Images of him holding a martyr’s palm are rare.

The feast of San Blas is celebrated every February 3.

 MANY THANKS TO : MR. JERRY PUNZALAN SAGMIT for the information and photos.

362. The Ivory Image of Parañaque's SANTA VERONICA

The processional ivory image of STA. VERONICA, is a representation  of the woman who offered a cloth (likely her veil)  to Jesus so He could wipe His face on the way to His Crucifixion, and on which His likeness was miraculously imprinted on the cloth.Though not mentioned in the Bible, the scene of the meeting endures in Catholic tradition in the Sixth Station of the Cross, "Veronica Wipes the Face of Jesus."

Parañaque’s Sta. Veronica has a head and hands crafted from high quality white ivory, This 2008 photo documentation of the santa shows her in a replacement  purple vestment embellished with gold-colored thread embroidery, for the Lenten procession of the Parish of St. Andrew.

She holds a “birang”, with the face of Christ imprinted three times that shows signs of fading due to age. The original “Veronica’s Veil” is believed to exist today in the Vatican and is considered one of the most treasured relics of the Church.

Photos from Dr. Raymundo Feliciano Albums in the care of the Center for Kapampangan Studies.

350. Winging his way from ebay to my altar: SAN VICENTE FERRER

The popular online bidding site, ebay, is very strict with the sale of ivory  on its site, and since 1990, you can no longer engage in the international trade or sale of new ivory. The sale of ivory items made before 1947 can be freely bought and sold, though importers and exporters need a permit. 

But even with these rules, ebay buyers tend to pass up on antique ivory santos, after considering all other factors, not to mention, risks. That was why, when I saw a Manila-based seller offering a few antique ivory pieces on ebay, I was rather skeptical if they would sell at all. True enough, they didn’t. 

One of the antique ivories that piqued my interest was a stunning 11 inch, San  Vicente Ferrer figure, with head and hands of ivory. It was fitted on a manikin body, and dressed in its original Dominican vestments, complete with a capuce (habit hood), in traditional black--which has faded to blue—and white. 

The habit is lightly embroidered with gold thread, and the short shoulder hood features a 6 pointed star-shaped flower repeated on the white tunic.

The 19^th century ivory santo, as described in the original post, once belonged to a Catholic faithful who converted and became a born-again Christian, a religion which discourage the use of religious icons as objects of veneration. The antique ivory even bears a stamp of certification from the government that confirms its antiquity, which qualifies it for international sale.

San Vicente Ferrer is commonly depicted as a pudgy friar, with one hand pointing heavenward, with the other hand holding a book, to allude to his being a charismatic preacher. This santo, however, has an open palm in benediction. His right hand holds a tiny ‘leather-bound’ book, a nice detail, if I may add.

Missing was his pair of metal angel wings (San Vicente was considered as an angel), a halo and a globe base, in reference to his mission “to preach unto them that sit upon the earth, and over every nation, and tribe, and tongue, and people".

With the fine antique ivory unsold, I lost no time in contacting the dealer whom I knew all along—and concluded the sale online.

This San Vicente was one of my earliest ivory pieces that was worked on in 2001 by renown ivory restorer, Dr. Raffy Lopez. The first thing he did was to remove the gold embroidery from the fraying cloth, then transferring them on new satin. Using the old habit pattern, he replicated the distinctive vestment of the Dominican saint.

He had a pair of  brass wings plated in gold made, using an old pattern, and opted to have a “paragua” halo, to avoid punching holes on the santo’s outfit and body.

Finally, he had an appropriate  wooden globe base made, elevating the santo to a height of 15 inches. San Vicente Ferrer may be one of the most common santos that one can find in antique shops, but this ivory version remains special to me, not only because it was one of the very first ivory pieces that I got to own, but also because of the of the circumstances of how I acquired it—not from an antique shop, a collector, or a ‘runner’, mind you—but from the comfort of my own home-- online, in front of my computer!

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. 

340. SAINT MARTHA, THE DRAGON TAMER: Inspired by the Image Venerated in the Town of Pateros, Metro Manila

By Tereso “Terry” Raymundo Garcia, Guest Writer

STA. MARTA OF GARCIA FAMILY

Saint Martha, the sister of Mary and Lazarus, is famously known as the patroness of cooks and housekeepers because of the Gospel narrative of her unselfish service to Jesus. 

STA. MARTA PATEROS IMAGE

It was in 2013 when I first saw the somehow peculiar image of the patroness of Pateros. This small and fully sculpted figure of Saint Martha stands on top of a crocodile, reminiscent of a local legend wherein the saint saves the town from a reptile that has been terrorizing the place and jeopardizing the livelihood of the inhabitants.

The Pateros image is similar to how Saint Martha is depicted according to French lore. Saint Martha’s attributes are derived from an event of principal significance in the traditions of Provence, France: the slaying of the beast known as the “Tarasque”. 

According to pious tradition, Martha and other disciples were banished from the Holy Land after the resurrection of Jesus. She, her siblings, and other disciples were put in a boat without oars which subsequently landed in Provence. Martha first settled in Avignon then went to the region that is now called Tarascon. Martha was approached by townspeople seeking her aid in combatting a fierce dragon,half beast and half fish, which had plagued the Rhône region between Arles and Avignon. 

With a cross in her hand, Martha doused the monster with holy water with a sprig of hyssop. Through her efforts, the monster was subdued; Martha bound it with her belt and it was put to death by the onlookers. The place was later known as Tarascon to remember this event. Saint Martha lived the remainder of her life in this place, and her relics are presently venerated in the town church. 

STA. MARTA, the commissioned image

In gratitude to an answered prayer through the saint’s intercession, we commissioned an exact replica of the Pateros image in 2015. The “de tallado” image was then dressed in traditional beaded vestments known as “abolorio”. 

RESTORATION WORK BEGINS

By March 2018, our devotional image was in need of restoration. We approached the well-known santo-restorer, Dr. Raffy Lopez, for this project. Dr. Lopez suggested on how the restoration will be done so as to make our image unique but still faithful to the traditional iconography. 

The head and hands were re- done in ivory and the painted wooden body was dressed in vestments embroidered in gold threads. The brass metal works were replaced with jeweler-made silver and gold accoutrements designed by Dr.Lopez. 

After two months of meticulous work, our Santa Marta is again ready for veneration. Dr. Lopez and his team did a superb job in redefining our family’s image. Beautiful would be an understatement; a restoration truly beyond expectation. 

In the gospels, Martha was portrayed as someone diligent and meticulous; she was surely one of the first to believe in Jesus. The Lord was often a guest in her home, especially during the time of His public ministry in Jerusalem. 

Saint Martha also gives us a strong witness of faith. We see, in her response to Jesus’ questions after the death of her brother Lazarus, a total belief, a faith that does not hesitate, does not doubt. Martha has complete confidence in God, even in the face of what seems impossible on a human level.

ABOUT THE GUEST WRITER: TERESO “Terry” RAYMUNDO GARCIA is a University of the Philippines graduate who currently write content for an online site. Previous to this, he worked at the Department of Trade and Industry (DTI), Angeles City, and DBP. An avid santo enthusiast, he is a devotee of Sta. Marta, Sta. Teresita de Nino Jesus, Padre Pio, St. Charbel Makhlouf, San Luis Gonzaga and Sto. Nino.

301. My Guardian Dear: THE MAKING OF SAN ÁNGEL CUSTODIO

Who would think that this magnificent representation of the Guardian Angel--El Angel de la Guarda or Angel Custodio---was fashioned from old santo parts and new pieces by the noted restorer, Dr. Raffy Lopez?

A decade ago, a close friend of mine, Robby Tantingco, discovered the wonderful world of santos. As he was connected with Holy Angel University for many years, he explored the idea of having a santo of the Holy Guardian Angel, the patron of the school.

 

1830s heirloom image of the Holy Angel

In fact, the university chapel houses the 1830 wooden image of  San Angel Custodio, which once belonged to the founder of Angeles, Don Angel Pantaleon de Miranda. The image—which shows the Guardian Angel holding the hand of a child, was passed on to a series of descendants, until it was inherited by Juan D. Nepomuceno (1892-1973), Don Juan was inspired to name the school he founded after the Guardian Angel, hence--Holy Angel University, now the largest university in Central Luzon.

GUARDIAN ANGEL PANINTING, 1516
by artist Domenichino. Source: wikipedia

The representation of the angel protecting children is common in Catholic imagery. In art, the Guardian Angel is shown with his right arm raised, with a finger pointing heavenward; he holds the hand of a child with the other.  

However, images of the Holy Guardian Angel are seldom seen in the Philippines. Thus, the choice to have a San Angel Custodio as my friend’s first santo, was both appropriate and perfect!

 

ANTIQUE IVORY HEAD, originally, for a Marian virgin

It was serendipitous that I just bought an antique ivory head of a Virgin. Without a wig, the ivory head with glass eyes looked rather androgynous—just like the way that angels are represented. I convinced the first-time collector to invest on an ivory image for his very first santo, and I volunteered to supervise its reconstruction.

Off to Dr. Lopez the antique ivory head went, the only piece he would work with, at the start of the project. Guided by a picture of the original Holy Angel school image, he decided to make an ivory image copy of it.

First, all the ivory parts missing were ordered for the Angel (a pair of hands)  and the Child (ivory head and hands), all made with pre-ban ivory. These were assembled on wooden manikin bodies, and when done, the Angel stood 12.5” tall and the Child, 6” high.  The Angel only had to be retouched to make it look a bit  masculine, while the Child’s features were painted.

Meanwhile, the satin vestments were created, also inspired by the original. The Angel wore a full-length, belted tunic with floral gold thread embroidery, while the Child’s was blush peach. New wigs, and metal accessories—including the highly detailed silver-plated brass wings (copied from an old San Vicente Ferrer)—were sourced from local metalsmiths.

The mortar-shaped base with an oval top was a more stylized version of the antique silver base of the original school image. The cloud designs were hammered (‘pukpok’) on brass panels, that were then silver-plated and attached to the wood base.

When the costumed images were staged and finally set on the base, the result was a new, beautiful San Angelo tableau, which, though not 100% antique, is definitely worth as much for the new santo owner, what with the amount of effort, care,  and labor of love that went into its making.  Ever this day, his very own Angel Custodio will certainly be by his side—to light and guard, to rule and guide!