Friday, August 1, 2014

Renacimiento 101: "At the Villa San Miguel"

Here is another photo brought back to life. I found this photo of Archbishop Alejandro Olalia, D.D. and added it in my FB album. Pictured here is the altar of the Archbishop's Palace in Villa San Miguel (Mandaluyong). It is intact even to this day, silvers and all. The Virgin Mary is an ivory image. Recently, I fondly recolored it via lip tint media of the, so here's the result. :)

 Original photo

My coloured rendition

On the subject's history

The Catholic Church hierarchy in the Philippines is peopled with many Kapampangan religious leaders who are noted for their pioneering spirit and missionary zeal. The first names that come to mind are Cardinal Rufino Santos of Guagua, the 1st Filipino prince of the Church and Archbishop Pedro Santos of Porac. But equally outstanding was the life of another Kapampangan priest who also rose to become an archbishop of note: Most Rev. Alejandro Olalia.
The future church leader was born on 26 February 1913 in the town of Bacolor. He studied at the Bacolor Public School and attended San Carlos Seminary (1930-36), from where he finished his priestly studies. Sent to the Gregorian University, he was ordained a priest at age 27 on 23 March 1940 at the Pio Latino American College. Two years later, he obtained a Licentiate in Canon Law. He then hied off to the United States as an exchange priest, where he served in a Georgian parish. On 18 May 1944, he earned a Doctorate in Canon Law from the Catholic University of America.Upon his return to the Philippines on 4 February 1946, he was assigned to be the Assistant Parish Priest of Tondo. In September of 1947, Fr. Olalia was named as the private secretary of the Archbishop of Manila. His leadership qualities earned him an appointment as Coadjutor Bishop of Tuguegarao and Titular Bishop of Zela on 2 June 1949 at the age of 36. A scant two months after, he was ordained as bishop on 25 July 1949. The next year, he succeeded the Dutch-born Bishop Constancio Jurgens C.I.C.M., who served Tuguegarao for 22 long years.
From Tuguegarao, the bishop was assigned to Lipa in Batangas in 1953, replacing then Bishop Rufino J. Santos, who was elected as Archbishop of Manila. The reverend was noted for being a good manager of the church, often conducting business even in full Prelate regalia. He was also noted for being an open-minded religious, “who accepted all good things that came to the Philippines, including the Cursillo”. He was the first to support the SOS Children’s Village in Lipa, a haven for abandoned and orphaned children—a revolutionary concept at that time, established in Lipa in 1967.
It was during his term that the Diocese of Lipa became the tenth Archdiocese and Ecclesiastical Province as decreed by Pope Paul VI on 20 June 1972. He was likewise elevated to the rank of an Archbishop. Archbishop Olalia would stay at the diocese for 20 years, until his death on 2 Jan. 1973, not quite 60 years old (from "Views from the Pampang"


Thursday, July 31, 2014

Renacimiento 101: "Beato Vicente Soler"

Here is the very first old photo I coloured by the online app "". I got this photo of Blessed Vicente Soler, OAR from the OAR Heritage and History blog. Seeing sepia photo is truly such a nostalgia, but bringing them back to life is even a more exciting part. So I share to you this photo, hoping you like and love it. :D

Original photo

My coloured rendition

On the subject's history

At the outset of the Spanish Civil War in July of 1936, Father Vicente Soler, a poet and a friar of the Augustinian Recollects' monastery in Motril, Spain, told the nuns of the Recollects' convent in the same city, 
"Some of us will die and be martyrs, but after Good Friday comes the Resurrection." 
On July 25, five of Father Soler's fellow friars were executed, and a sixth was gunned down the next day. Father Soler evaded capture until he was betrayed to the authorities and arrested on July 29. Over the seventeen days that followed, he used his time in prison to pray with the other prisoners, leading them in a Marian novena, and hearing their confessions. He also won the conversion of an anti-religious Socialist. When at length prisoners were being singled out for execution, Father Soler offered to die in place of a father of eight children, but the exchange was refused, because Father Soler's name was already on the list of those condemned to death. On August 15, 1936, the solemnity of the Assumption, Father Soler was able to bless and absolve a number of others executed with him before his own execution (from the

Fr Vicente Soler hid in the home of two young women until 29 July, but was betrayed and captured. He led prayers for his fellow prisoners, encouraged them, heard their confessions and converted the socialist Juan Antúnez. He was shot at dawn on 15 August with another 28 (from the

Renacimiento 101

Hola amigos! 

Due to boredom, I fondly coloured some sepia and black-&-white photos I have in my FB album. Using the Picmonkey App online, I revived some of them and posted in my timeline. Seeing the good feedback from them, I want you now to see them here in my antiquarian blog. I hope you watch out for the next photos came back into life. 

[Photos being posted here are from the worldwide websites and numerous blogs. If you recognize some of your photos and you wish to reclaim or remove them here, kindly email me at]

Good day! Ciao!

Satcheil Amamangpang
The Antiquarian 

Friday, January 17, 2014

Old Item 101: "Colección de Cánticos Sagrados”

One of the antique collections in my list is the 2nd Volume of the "Colección de Cánticos Sagrados” [Collection of Sacred Hymns], compiled and composed by Reverend Father Fray Domingo Carceller, O.R.S.A.* in the year 1952. It is a compilation of his exquisite musical opus, most of which are hymns sung in the Holy Mass. One of them is the Himno Oficial del 33ra Congreso Eucarístico Internacional [Official Hymn of the 33rd International Eucharistic Congress] held in 1937 at the city of Manila.

There he also composed: several Latin and Spanish Hymns, five Mass Settings including his very own Missa Requiem, six (6) versions of Sálve Regina, two (2) versions of Rosario Cantado [Rosarium cum Cantu], two (2) Villancícos, five (5) Letanía Lauretana, five (5) Joseph, Fili David, and some hymns to Saints Augustine of Hippo, Rita of Cascia, Anthony of Padua, and songs to the Our Lady of Consolation, Immaculate Conception, five (5) Himnos a la Virgen del Carmen, three Ave Maria, his Despedida a la Virgen del Carmen and other more hymns and chants.

Fray Carceller dedicated this compilation to his Prior General, Fray Eugenio Ayape de San Agustín. Its Nihil Obstats are Frailes Constancio Peña [who gave the “Proemio” or Foreword] and Daniel Ayúcar, O.R.S.A., the Imprimi Potest Fray Simeon Asensio de San Gregorio Ostiense, O.R.S.A., and the Imprimatur el Vicario General, Monseñor José Jovellanos, H.P. in the 9th of April, 1952.  

The book was printed in offset by Joaquin Clavano and binded by Siongco’s Binding Shop.

The first custodians of this book are the Dominican Sisters of Saint Catherine of Siena (Philippines), in their first Generalate House at the Santa Catalína College (Calle Legarda, Sampaloc, Manila). It was discarded in the mid-2013 and I saw it included in the junks, so I saved it and kept it in my custody.

The Cover Page features one of the stain glasses of San Sebastian Church.
A glimpse of what's inside the book.
One of the Rosario Cantados
The book resting in an old 19th century piano

*this is the proto-title of the Augustinian Recollects (Ordinis Recolletorum Sancti Augustini), which is changed to “O.A.R.” (Ordinis Augustinianorum Recolletorum).


Monday, January 13, 2014

Old Item 101: "La Santa Biblia"

This is just one of the old items [and the first, actually] in my collection. It was primarily cared by Atty. Marwil "Mars" Llasos until he handed it down to me in the year 2011. This Holy Bible dates back year 1868 in Barcelona, Spain and was published and annotated by Most Rev. Felipe Scio de San Miguel, Bishop of Segovia and Ex-Provincial of the Order of Pious Schools (Escuelas Pias).

It is the fourth and last tomo (volume) of the Old Testament series. It includes the books from the prophet Jeremiah up to the Books of Maccabees.

Its provenance traces back to a certain Presbitero Diocesano Padre Vicencio Maclang of Vigan, Ilocos Sur. This year is its 146th year and 3rd year in my custody.

Here are some glimpses on this precious collection of mine.

The outer covering, made from already aged royal leather.

The Title Page

Friday, January 10, 2014

"Duñgaw": A Renaissance

The Señor in his silver andas. ca. 1950s

In the 9th of January, 2014.

The rebirth of this postponed tradition of "Dungaw" or "Mirata" reminded us of the lovely custom of Filipino families placing their images outside their windows, sometimes arranging a makeshift altarina to honor the passage of a solemn procession. Tracing its roots from the traditional route of traslacion before discontinued due to yet unknown reason, the images of the Señor and of our Virgen del Carmen are of Recollect origin. It is an encounter of a people's faith, a faith's journey and triumph.

As the traditional "traslacion" was commenced by the celebration of the Holy Mass at the Quirino Grandstand, the devotees of the Señor comes from the different walks of life -- from the poorest, humblest of them, to the middle-living ones, unto the affluent members of the church. The feast day of the translation of the Black Nazarene is a day of awe, of miracle, of atonement, of grace.

The Gothic San Sebastian Church, where the Virgen del Carmen is enshrined.
ca. 1900s
Nearly in the early noon, the steel church of San Sebastian is already flocked by the devotees of the Nazareno and of del Carmen: the former, resting and having their filial cling to this Recollect church as they have just went through the tiring colossal procession, and the latter, waiting for the Virgen Señora to come down from her pedestal of old silver altar.

The organizadores of the tradition of dungaw set a scaffolding outside the entry door at the Gospel side (left) of the church, facing the del Carmen Street. The scaffold is of maximum 10 person capacity. Under it is the "imagen de portal" of del Carmen, made from wood material. While the piaña used was that of the official replica, simpler in design and color.

The people inside the church reminds one of the pilgrims' custom of resting, laying at the church floor to regain their strength after a hot sunny day of procession. Others meet their friends and compatriots, from different paths of faith. Wherever you look, you will clearly see the masses of people, wearing their shirts of red and maroon, with their towels touched to several replicas of the Señor. An exciting historical day is awaiting to each of us -- a moment of grace and blessing.

A six o'clock p.m. Mass was celebrated inside the steel church. Attendants of commonality, most of them encountered in the social media, met at this renaissance of a long-hold custom. Our spirit are in a state of wonder and joy -- to see familiar and even meet unexpected friends, hoping to accompany us in our story of Catholic life.
At the right side of Quiapo Church.
ca. 1900s
A sea of red and maroon swarmed the locus of San Sebastian. That was an opportune moment for friends, acquaintances, and even enemies, to unite as one community and seek confidence and maternal love to the Virgen -- mercy and grace from the Señor.

"Ite, Missa est."  The evening Mass ended, and everyone was advised to leave the church immediately. Mass attendants gathered together at the outside walls of San Sebastian, while the organizadores prepares the pedestal where the Virgen will be lifted, as she watches over the thousands of people escorting her Son, carrying the saving Cross of Calvary. Of long wait, the devotees filled the plaza del Carmen. All of us awaits the coming of the Señor that he would bless us and give us grace. It is a chance, a once in a year moment we are waiting. Devotees talking about the arrival of the Black Nazarene, others having a time to share stories of life, to chat and savour the spare hours of waiting -- of almost four or five hours standing.

The facade of Quiapo Church.
ca. 1900s
It was nine o'clock in the evening. It was a continuous play from the sound system of the "Marcha del Carmen". It is a nostalgia to hear the banda de musicos playing this beautiful Spanish march. In my expectation, I was waiting for the "Carmen Coronada" to be played. Around minutes, the ciriales walked forward to Guzman Street.

After a while, the prayer-leader started and invited the devotees to meditate the Glorious Mysteries. It was prayed in the vernacular. What a great glance to see thousands of mouths uttering the prayers, beads running to the fingers, of eyes lifted up to our Lady, of minds and hearts contemplating the glorious life of our Lord and her Mother. Nearly the people were put in the holy silence, as God speaks to them through it.

The Rosary ended as customary. Each of us cannot but wait for the Virgen to ascend to her meek pedestal. As a signal, the church bells tolled endlessly in their glory, as we expect the Señor to come and pass by Bilibid Viejo. Numerous banners are coming through the street. Several replica images of the Señor begin to flock at the plaza. All cannot wait to shout "Viva!", a famous acclaim to our Señor and the Virgen.
Interior of Quiapo Church.
ca. 1950s
Of fireworks;

of banners;

of the swarm of devotees;

to the shout of the continuous "Viva!"

It was already half past 10 o'clock when the Virgen ascended to her piaña. Her beauty is radiantly illumined, while we sing her hymn "Bulaklak ng Carmelo" by Alfredo Buenaventura. The cruz estila signaled her "assumption", held by servers wearing white-hooded sotana and plain sobrepelliz. The Shrine Rector, wearing shielded cope of red, lead the congregation of the acclamation of "Viva Nuestro Padre Jesus Nazareno!" "Viva Virgen del Carmen de San Sebastian!" "Viva Reina ng Quiapo!" One may not imagine how the devotees are joyful, waving their handkerchiefs and filling the air of their bi-syllabic "Vi-va!" While some are taking videos and pictures from their digital cameras and others contented of treasuring this moment in their hearts and minds.
The Traslacion of the Black Nazarene from Intramuros to Quiapo Church in the year 1787 by the order of the Lord Archbishop Basilio Sancho de Santas Justa y Rufina.(Courtesy: Biblioteca Nacional de España)

The Friar-Rector lead the praying of "Pater Noster", "Avemaria" and "Gloria Patri" in the vernacular. And again repeated the acclamation "Viva Nuestro Padre Jesus Nazareno!" "Viva Virgen del Carmen de San Sebastian!" "Viva Reina ng Quiapo!"

Every devotee showed how much they love and venerate the Señor as the custom dictates. Waving their towel imprints of the Señor, throwing it to the Hijos and back to them having touched the vestments or the face of this much-venerated image, as the Virgen watches over another faith's triumph. Hymns like the traditional "Ama Namin" of Fr. Eduardo Hontiveros, S.J. (RIP) and the "Aba, Ginoong Maria" by Lucio San Pedro (RIP), were sung. Each was accompanied by the "Vivas" to the Señor and the Virgen. Endless shouts of joy filled this glorious night, 'til the Señor entered Guzman Street.

Everyone was in awe, of gaze and ecstacy. As the usual, a number of devotees met accident or fainted in the event, but were aided by the medics around the vicinity. Finally before the Virgen descended to the balcony, people bid their farewell to the Señor and to Her, as they clamored "Viva!" The Virgen, removed of her areolo, was brought down of the platform back to her camarin. A tradition ended joyfully, as each of masses traces their paths home. Friends bidding goodbye, their joyful adieu, the dungaw was ended leaving an unforgettable remark and memory to each and all of us there.
The andas of the Señor flanked by the devotees.
(c) 2014 by CBCP News 

It is but a great wonder to us Catholics of these islands that we can relate our lives not to the Regal King, but on the baby Jesus in the manger and to his painful carrying of the Cross, as one priest reflects. We learn the divinity of our Savior in his humility, poverty and suffering.

To be born in a manger, to die on the Cross, This how the Lord commenced and ended his life in our midst.  It would be fitting to us to live as how we are born, and to die in a painful suffering, that will lead us to that Greater Glory.


--S. M. Amamangpang
9th January 2014
Feast of the Traslacion of the Black Nazarene 


Tuesday, September 10, 2013


Coronation Sept. 8, 1956
This is how Kapampangans abbreviate Her name. The Virgen de los Remedios has been always a part of each Kapampangans wherever they go. But what has been so special of her? 

1952. The whole Pampanga is being torned down by destructions -- made by the godless ideology spreading throughout the land. At that time, on the 1st of May, the pastor of the land, Bishop Cesar Ma. Guerrero, called to the Virgen for help. He then established the Crusada ning Pamanisi at Lugud (Cruzada de Penitencia y Misericordia) to rally his kabalens to renew their Catholic faith. The image from Barrio Baliti, City of San Fernando, became the key icon of the crusade. 

So the Virgen went roaming around Pampanga the whole year, towns by towns, barrios by barrios, chapels by chapels [Recently I featured the old photo of Barrio Santa Monica chapel with the Virgen and the Santo Cristo of the crusade]. Hundreds and thousands of people turned back to God, to the Church. Many were healed, their spirits renewed. No one of each towns visited would forget to give thanks to the Virgen for all the blessings they received and obtained. The hearts of those rich were suddenly opened for the poor; giving birth to the charitable "lamac". 

1953 came. Time to return the Virgen to Barrio Baliti. But a request for a year 2 of the Cruzada was appealed by many. So Bishop Guerrero asked again to the Baliteños to pick up the Virgen for another. But they did not allow him to, because they have missed the Virgen so much and they thought the ownership would be removed from them. But Bishop Guerrero did not lose hope. He ordered Victoriano Siongco to make a replica of the Virgen just to save the day. The crusade pushed throughout. 

. . .'Til 1956 came. Bishop Guerrero mailed the Holy See to canonically crown the Virgen. But a problem was met: the antiquity of the image is needed in order to crown her. Uh-oh. . . The replica was just that few years old then. "Mangaddi ta' namu" [Let's just pray then.], Bishop Guerrero said.

Te Deum laudamus! 8th of September 1956. The Virgen de los Remedios was solemnly crowned by Monsignor Egidio Vagnozzi, the Pope's emissary. Over 70,000 Kapampangans witnessed the Virgen's canonical coronation.

After that, the devotion to Her grew even more. Years had pass, yet the news of the miracles obtained from the Virgen continues to spring up. Calamities, typhoons, lahar, volcanic eruptions, landslides and many more cataclysmic events tested each Kapampangan's faith. Yet through Her intercessions, "tsiken pid mu yan!" 

And last Sunday, 8th of September, the whole Pampanga celebrated the 57th anniversary of the Canonical Coronation of the Virgen de los Remedios with the theme: "Maria, Aslag ning Casalpantayanan" [Mary, the Light of the Faith]. In spirit, I joined my brethren in rejoicing and acclaiming God's grace for this blessing!

I humbly dedicate this 9th posting in honor of the Queen of All Kapampangans.

Luid ya ing Indu ning Kapaldanan!
Luid ya ing Reina ding Anggang Kapampangan!
Luid ya ing Kristong Ari!