370. THE 7 ARCHANGELS OF INDANG, CAVITE

In the Parish of Indang, Cavite (est. 1625)  dedicated to San Gregorio Magno (St. Gregory the Great), there not only flourishes a profound devotion to its great patron, but also to the 7 Archangels: Baraquiel, Gabriel, Judiel, Miguel, Rafael,  Sealtiel, and Uriel.

Town lore has it that a painting of the 7 angels was found rolled up in a trash heap behind the church. The unsigned Archangels painting was a local painted version of an 16^th century print made by Flemish engraver Hieronymus Wierix (1553’d. 1 Nov.1619) who did many religious prints.

The ancient painting, in a shadowbox frame,  was enshrined on one side of the altar, and it was in this manner that the people’s devotion came to include the 7 archangels.  Indang’s town fiesta, celebrated on the 2^nd Sunday of May and the following Tuesday, honors their joint patrons– the pope-saint, San Gregorio Magno, and the Seven Archangels. Their actual feast days are marked separately: Sep. 3 and Sep. 29, respectively.

Show here are the old statue carvings of the Seven Archangels which were meant to be used for processions.

SAN BARAQUIEL. Chief of the guardian angels,  a patron of family and married life. He is also invoked as the special guardian of those born on Saturday. Symbols: include a wreath of white roses or a book, representing marital and family guidance. Traditions associate him with  power over lightning and storms, as his name can also be interpreted as "lightning of God.

SAN GABRIEL. Messenger of God; known for delivering significant messages, such as the announcement to the Virgin Mary that she would give birth to Jesus. Patron saint: Gabriel is considered the patron saint of messengers, communication workers, and postal workers. Symbolic attributes include a white lily, representing purity, and a trumpet.

SAN JUDIEL. His name—from “Jehudiel”--means "Praise of God". Patron saint of all those in positions of responsibility and encourages those in their work. Often shown holding a crown (reward for spiritual labor) and a whip or a three-thonged whip (punishment for sinners).

SAN MIGUEL. Prominent warrior archangel, leader of God's armies, specially for his role in vanquishing Satan. Venerated as a champion of justice, a healer, and the guardian of the Church. Depicted with a sword, a banner, or scales, and sometimes shown stepping on a dragon.

SAN RAFAEL. His name means "God has healed," and he is invoked for divine healing. He served as a guide for Tobit, hence, also patron of  travelers and pilgrims. Often shown holding a staff or a fish, the latter symbolizing the healing powers he used from a fish's gall to cure Tobit's father's blindness.

SAN SEALTIEL. San Sealtiel. The angel of prayer and worship,  believed to help people with their prayers, guide them in worshiping God, and present their petitions to God. Often depicted holding a censer (thurible), with arms crossed in prayer.

SAN URIEL. San Uriel. The angel of wisdom, prophecy, truth, and light. His name means "God is my light" or "fire of God". Often depicted with a book or scroll and sometimes with a solar orb. In some traditions, he is the one who wields the fiery sword at the gate of Eden.

CREDITS:

All photos, Dr. Raymundo Feliciano Albums, 1994.

Phtoto of the 7 Archangels of Indang: wikimedia commons

368. NTRA. SRA. DEL CARMEN of Brgy. Valdes, Floridablanca, Pampanga

Virgen del Carmen, in 1957 and the replica of the original today.

The story of the altar image, Ntra. Sra. Del Carmen, is inextricably linked with the founding of barrio Valdes, where the chapel in which the revered image is enshrined. Barangay Valdes was carved out from a portion of Floridablanca wildlands called “Masulput” (full of amorseco weeds) that was thought to be unproductive. The vast forested land was used as hunting grounds by outsiders.

The Valdes Family—who are of Cuban-Spanish and Filipino stock—were mainly responsible for clearing the land and turning it into viable agricultural estate known as Hacienda Valdes, possibly ca. 1840s-early 1850s.

It had live-in tenants who worked the sugar fields with their families. It gained a barrio status under its first head, Vicente Climaco S. Valdes, son of Capt. Basilio Bayot Valdes of the Spanish Navy and Manileña mestiza, Francisca Salvador, who managed the hacienda with help from his brother, Lubao-born Dr. Benito S. Valdes.

Original Virgen del Carmen, courtesy of Jcob Bacani

The new barrio of Valdes, one of the largest in Floridablanca,  was put under the patronage of Ntra. Sra. Del Carmen, to whom Vicente had a special devotion. It is said that he bought the image in Spain and installed it in a makeshift wooden visita, that would be modernized in the years to come.

The classically carved wooden image depicts Our Lady of Mt. Carmel, cradling Baby Jesus in one arm, and holding a scapular on the other hand. It is a mannequin figure of medium size,  dressed in richly-embroidered vestments in traditional Carmelite colors of yellow and brown.

Barrio Valdes became quite developed, drawing people to buy property in the area, which were converted into sugarfields, that proved profitable in the world market.

In time, more houses and buildings were built, and the population grew that warranted the creation of a new barrio, Del Carmen, as a tribute to the patroness of the Valdes pioneers. It was formed with the condition that no chapel must be built there, in deference to Barrio Valdes, which already has one.

American businessmen who saw a promising future for the burgeoning sugar industry put up a sugar central within the area called PASUMIL Del Carmen, not knowing it was technically in barrio Valdes. So as not to confuse its clients with regards to its exact address, the location of the mill was referred to as Del Carmen-Valdes.

Vicente’s nephew, Gen. Basilio J. Pica Valdes, the son of his patriot brother, Dr. Benito with first wife Filomena Pica, took over the reins of the Hacienda. He was a national figure as he was Pres. Quezon’s Chief of Staff and defense secretary.

Source: Replica Image, Our Lady of Mt. Carmel FB Page

The care of the image of the Ntra. Sra. del Carmen was assigned to the Valdes-Rodriguez descendants. Findly called “Apung Calmen”, the age-old image of the Virgen del Carmen is kept by the Rodriguezes, while a well-made replica reposes in the chapel, Our Lady of Mt. Carmel Chapel, enshrined in a baldachin.  The patron’s feast day, observed every July 16, is marked with big fiesta celebrations in the barangay. The “pyestang barrio” on the other hand, used to be celebrated every May 18-19.

SOURCES:

Valdes Barrio Fiesta Souvenir Program, May18-19, 1957

Photos: Our Lady of Mt. Carmel FB Page, Media & Social Communications, Jcob Bacani

Basilio Pica Valdes, geni.com

Floridablanca, Historical Data Papers

“Fortune Helps the Brave: Gen, Basilio J. Valdes”, viewsfromthepampang.blogspot.com

367. LA PURISIMA CONCEPCION de TABUÑGAO of Minalin

In the oldest barrio of Minalin, Pampanga, known today as Sta. Maria, one can find the revered and ancient image of La Purisima Concepcion de Tabuñgao, whose origin is wrought in a miraculous legend still told in this Kapampangan town. The barrio’s old name –“Tabuñgao”—refers to the 1609 discovery of the image, where people found floundering on the flooded river, a large, dried gourd (upo), or “tabuñgao/tabungo”.

The local folks fished out the floating gourd from the river which was near the ‘visita’ (chapel) they were building, and to their utter surprise—the tabuñgao, when opened, yielded an image of the Blessed Virgin.

Carved of wood, the small image depicts the Blessed Virgin Mary standing on a globe base with a snake coiled at her feet. She has a steady gaze, with the palms of her hands together in an act of prayer. Devotion spread from Tabuñgao, as the pueblo was established with the expansion of its frontiers.

Today, the present barangay known as Sta. Maria still has the visita or chapel that has been named after her. In the central niche of the altar, La Purisima Concepcion reposes, standing watch over Her people whom she has showered with an abundance of blessings.

In gratitude, the community have embraced her with love and lavish attention. Her designated camareros are the Intal Family and Nevil Pineda, a longtime devotee in charge of her vestments. 

In 2008, the “La Purisima Concepcion Festival” was organized to honor her on her feast day, Dec. 8. Replica images (festejada) of La Purisima have also been made for other devotional events including Marian processions, novenas and rosary crusades. She has also been gifted with rich vestments made by Borda de Oro, under the auspices of benefactor PJ Nepomuceno (+). 

Indeed, today, there is only one Queen who reigns in the hearts of Minaleños—La Purisima Concepcion de Tabuñgao.

 SOURCES:

Sta. Maria Archive Minalin (Nomer Pangilinan) FB page: https://www.facebook.com/stamariaarchive.minalin

Visitas ning Sta. Maria FB Page: https://www.facebook.com/visitasning.stamaria

La Purisima de Tabungao FBPage: https://www.facebook.com/lapurisima.concepcion.de.tabungao

Minalin Wikipedia, https://en.wikipedia.org/wiki/Minalin

Many thanks to Romel Zapata Tubig Jr, Tourism Officer of Mianlin, for the additional info.

365. SAN ISIDRO LABRADOR: When Vintage is Valuable

When I saw this 32 in. image of San Isidro Labrador on FB Marketplace, I thought it was an antique, crafted to perfection by an artist who seemed familiar with Spanish-style carving and religious iconography.That was until more close-up photos were shared, and I saw the still-sharp cuts and edges which bore tell-tale signs that the figure was not one. There certainly were attempts to make it look old like the effects of paint loss, missing hands, and attributes like the shovel or the sickle—symbols of the saint's work. One foot was also broken.

As the santo was advertised on FB marketplace

To soften and smoothen the look, traces of white talcum powder can be still seen in the crevices, mimicking dried layers of old gesso. Probably, which was why it remained unsold for days, ignored by true-blue antique collectors.

But age to me, while important, is not always the reason why I am attracted to newer santos of this kind. It's the excellent execution of this San Isidro that got me—presented alone on a base—without the plowing angel and the kneeling Don Vargas that one often sees on tableaus. Seldom do you see vintage santos of impeccable quality such as this one. 

This, surely was a product of a learned carver who knew his stuff well—from the way he accurately posed the saint with one hand on his chest,  while holding, on the other hand,  an iconographic  farm implement, now missing.

His carved costume depicts the common outfits of peasants in old Castile: a tunic with buttons that adjusted it to the chest, short breeches, high boots (or leggings) close to the knee, and a jacket collar, sometimes decorated with a frill.

The artist paid great attention to the minute detail--from the delineation of the saint’s hair, the creases on his forehead and sallow cheeks, to his windswept hair and tunic, and the folds of his boots.

I contacted the seller and made a few inquiries; he told me the San Isidro came from Samar, and that it was carved from 2 separate woods—the base being made of santol. He asked me what my plans were—will I restore it? Repaint it? He said it looked good as is. I said I don’t know yet. I made an offer, he made a counter offer, and the deal was sealed.

In a day and a half, the San Isidro arrived at the courier’s office for me to pick up. I wasn't prepares for its weight--it was very heavy, I had to drag the huge box to my car. When I opened the box back home, there it was---San Isidro Labrador---it was exactly how I imagined it to be---except for its denseness and extreme weight ( close to 10 pounds on a bathroom scale). I was later told it was ironwood (local name, mangkono).

I was in for another surprise  when a separate bubble wrap revealed  his pair of hands—they were not missing after all. That, along with a broken fragment from one boot. The holes at the bottom of his feet were outfitted with short metal tubes, to provide extra support when the image was attached by pegs on the base. That rather new feature proved that San Isidro may have been made in just the last 2 years or so, new by antique collectors' standards.

I decided to make a replacement for his lost farm implement. Using found objects at home, I created San Isidro’s long-handled shovel from a rattan stick, whittled down to the right circumference, to create a pole handle.  A rusty, mini-hand spade provided the metal spade, while its wooden handle  was joined to the tip of the stick to serve as a handle grip. A metal strip cut from an old liquor cap was ringed around the joined parts. The long-handled shovel was distressed and aged by rolling it over the stove flame, then brushed with mahogany stain.

The santo was not without flaws, with many nicks and dings, plus the usual cracks, so I had to fix these with a variety of  fillers--plastic wood for the cracks, and epoxy clay to fill in bigger gaps. 

One arm and left leg of San Isidro were a bit wobbly so I had to detach them to see the problem.  It turned out that the dowels or pegs used to connect arms to the body and the feet to the base have come apart. When all the parts have been secured properly, I found out one peg would no longer fit into the hole on the base; the position of one foot had moved a bit in the  regluing process. I had to open up the hole and dig in a bit deeper to fix my mistake.

The whole ensemble was then polished with bees wax which evened out and darkened its color to a deep brown-black and gave it a rich mellow sheen. Though a vintage piece, San Isidro appears much better now--looking more venerable, and more valuable than ever! 

Many thanks to Mr. Jay Consunji Capistrano for this beautiful piece, and for the use of his FB Marketplace photos.

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.