Medici Chapels – The New Sacristy (Florence, Italy)

New Sacristy (Sagrestia Nuova)

The Sagrestia Nuova (“New Sacristy”), intended by Cardinal Giulio de’ Medici (future Pope Clement VII) and his cousin Pope Leo X as a mausoleum or mortuary chapel for members of the Medici family (his uncle Lorenzo the Magnificent and his brother Giuliano; Lorenzo, Duke of Urbino; and Giuliano, Duke of Nemours), balances Brunelleschi‘s Sagrestia Vecchia (“Old Sacristy”), nestled between the left transept of the Basilica of San Lorenzo (with which it consciously competes) and shares its format of a cubical space surmounted by a dome, of gray pietra serena and whitewashed walls.

In the passage leading to the New Sacristy are two military trophies (trofeus militares) executed by Silvio Cosini, a further close pupil of Michelangelo.  They were part of the early project for the decoration (which included decorative grotteschi decoration and masks) of the New Sacristy, which was left unfinished in 1534 due to Michelangelo’s definitive move to Rome.

Check out “Medici Chapels

Military Trophies (Troféus Militares) by Silvio Cosini

The chapel, the first essay in architecture (1519–24)  of Michelangelo (who also designed its monuments dedicated to certain members of the Medici family), features the sculptural figures of the four times of day that were destined to influence sculptural figures reclining on architraves for many generations to come.

Altar

The Sagrestia Nuova was entered by a discreet but now closed entrance in a corner of San Lorenzo’s right transept.

The sacristy’s dome partly inspired by the Pantheon in Rome

This magnificent cubic space is covered by a hemispherical dome topped by a lantern, whose design was inspired partly by the Pantheon in Rome.

Check out “Pantheon (Italy)

Tomb of Lorenzo di Piero de’ Medici which includes the sculptures Dusk and Dawn, with the pensive duke sitting in a niche above in a meditative manner

By 1524, it was vaulted over but the ambitious projects of its sculpture and the intervention of events (the temporary exile of the Medici in 1527, the death of  Pope Clement VII and the permanent departure of Michelangelo for Rome in 1534) meant that Michelangelo never finished it.

Duskl ooks sleepy, as if ready to fall into a peaceful sleep

Dawn seem like it is just awaking from slumber

By the time of Michelangelo’s departure, most of the statues had been carved but they had not been put in place, being left in disarray across the chapel. Later, in 1545, they were installed by Niccolò Tribolo. By order of Cosimo IGiorgio Vasari and Florentine architect Bartolomeo Ammannati finished the work by 1555.

Tomb of Giuliano di Lorenzo de’ Medici decorated with the sculptures of a reclining Day and Night, made between 1526 and 1531. Both allegories are said to reflect Giuliano’s personality, prudent but ready to act, and indeed his statue sitting above the sarcophagus, sculpted as a Roman mercenary, lends credence to this portrayal.

Four Medici tombs were intended to be built but those of Lorenzo the Magnificent and his brother Giuliano were never begun. As a result, the two existing magnificent tombs, with the four statues of the allegories of Dawn and Dusk, Night (placed at the right foot of Giuliano, it is regarded as one of Michelangelo’s finest works) and Day, are those of Lorenzo di Piero, Duke of Urbino and Giuliano di Lorenzo, Duke of Nemours, two comparatively insignificant Medici here depicted as Roman leaders.

Day is depicted as a strapping man, his face unfinished

Night is portrayed as a young, sleek woman “drenched in lunar light”

Though their architectural components are similar; their sculptures offer contrast. On an unfinished wall, Michelangelo’s Madonna and Child flanked by Saints Cosmas and Damian (the Medici patrons), executed by Giovanni Angelo Montorsoli and Raffaello da Montelupo (both of whom were pupils of Michelangelo) respectively, to Michelangelo’s models, are set over the plain rectangular tomb of Lorenzo the Magnificent. His brother Giuliano de Medici is modestly buried beneath the altar at the entrance wall.  Both were brought to the sacristy in 1559.

Statues of Madonna and Child flanked by Saints Cosmas and Damian over the tomb of Lorenzo the Magnificent

In 1976, numerous charcoal drawings and sketches executed on walls, thought to be 16th century Michelangelo originals, were discovered in a small space in a concealed corridor beneath the apse and sacristies of the New Sacristy.

Crowning Lantern (Giovanni di Baldassare)

The 56 drawings show legs, feet, heads and masks, and may be related to the statues and architecture of the sacristy. From two small side rooms, go beyond the Crowning Lantern in the room on the right to see two of these charcoal drawings.

Michaelangelo Charcoal Drawings

Medici Chapels: Piazza Madonna degli Aldobrandini 6 (at the back of the Basilica of San Lorenzo), Florence, Italy. Open daily, 8:15 AM to 2 PM (ticket office closes at 1:20 PM). Closed on the 2nd and 4th Sunday of every month and 1st, 3rd and 5th Monday of every month as well as New Year’s Day, May 1 and Christmas.  Admission: €8,00.  Free entry for all visitors on the first Sunday of every month between October and March.

Medici Chapels – Chapel of the Princes (Florence, Italy)

Jandy at the Chapel of the Princes (Capella dei Principi)

The larger, opulent Chapel of the Princes (Cappella dei Principi), a true expression of court art and a rare example in Florence of the Baroque style, was the result of collaboration among architects and family.  An idea formulated by Cosimo I in the 16th century, it was put into effect by Ferdinand I de’ Medici in the early 17th century (1604 to 1640).

Check out “Medici Chapels

The author beside the Sarcophagus of Francesco I

The chapel was designed by architect  Matteo Nigetti (1560-1649), following some sketches tendered to an informal competition of 1602 by Don Giovanni de’ Medici, the natural son of Cosimo I, Grand Duke of Tuscany who practiced architecture in a semi-professional way, which were altered in the execution by the aged Bernardo Buontalenti.

The cahpel’s altar

The huge, beautiful cupola and lavish interior of this mausoleum were conceived as monuments to the greatness of the Medici. The chapel’s tall, 59 m. (185-ft.) high dome, the distinguishing feature of the Basilica of San Lorenzo when seen from a distance, is on the same axis as the nave and chancel to which it provides the equivalent of an apsidal chapel. From the exterior, its entrance is in Piazza Madonna degli Aldobrandini and through the low vaulted crypt planned by Bernardo Buontalenti (before plans for the chapel above were made).

Sarcophagus of Cosimo I

Its sumptuous, jaw-dropping octagonal interior, conceived to hold the grand ducal tombs, is completely covered with hard stones or marble, mainly of foreign origin.  The six grand and princely sarcophagi (all empty as the Medici remains are unceremoniously laid to rest in the crypt below), with cenotaphs carved in porphyry and grey granite, are each set into a different wall and embellished with a dedicatory inscription and a grand-ducal crown.

Sarcophagus of Cosimo II

They were supposed to have bronze statues of the Grand Dukes (Cosimo I, Francesco I, Ferdinando I, Cosimo II, Ferdinando II, and Cosimo III) set into niches but only two (for Ferdinando I and Cosimo II) of the niches have portrait sculptures of Medici, both executed by Pietro Tacca (1626–42). The dado has 16 compartments with coats-of-arms of Tuscan cities under Medici control.

Sarcophagus of Cosimo III

The Opificio delle Pietre Dure (Semi-Precious Stones Workshop), the Grand Ducal hardstone workshop, was established for the execution (which lasted for three centuries) of its astonishing revetment of marbles inlaid with colored marbles and hard semi-precious stone. To form the designs of the revetment that entirely cover the walls, jig-sawn fragments of specimen stones assembled via the art of commessi, as it was called in Florence.

Sarcophagus of Ferdinando II

On account of the difficulty of obtaining such rare materials as well as difficulties of working the materials and their very high cost, the process of covering the walls, mainly carried out in the seventeenth and eighteenth centuries, was fraught with problems.

Sarcophagus of Ferdinando I

The inlay of semi-precious stones wasn’t finished until 1962. Many 18th- and 19th-century visitors disapproved of the result but, today, it has come to be appreciated for an example of the taste of its time.

Sarcophagus of Francesco I

The cupola originally should have had an internal covering of lapis lazuli but, at the end of the Medici period, was left incomplete.  In 1828, at the command of Grand Duke Leopold II of the then reigning house of Lorraine, it was frescoed, with scenes from the Old and New Testaments, by Pietro Benvenuti.

The chapel’s cupola frescoed with scenes from the Old and New Testament

Medici Chapels: Piazza Madonna degli Aldobrandini 6 (at the back of the Basilica of San Lorenzo), Florence, Italy. Open daily, 8:15 AM to 2 PM (ticket office closes at 1:20 PM). Closed on the 2nd and 4th Sunday of every month and 1st, 3rd and 5th Monday of every month as well as New Year’s Day, May 1 and Christmas.  Admission: €8,00.  Free entry for all visitors on the first Sunday of every month between October and March.

Medici Chapels – The Crypt (Florence, Italy)

Medici Chapel Crypt

The vaulted crypt, tidied up in the 19th century, now houses the tombs of the Medici grand dukes and their families, from Cosimo I, Grand Duke of Tuscany to his wife Eleanor of Toledo, Cardinal Giancarlo de’ Medici to Vittoria della Rovere to the revered Anna Maria Luisa de Medici, the last heir of the Medici dynasty, to whom Florence owes the protection of its many treasures.

Check out “Medici Chapels

Anna Maria Luisa Medici Statue and Tomb

The crypt has a low ceiling and bare walls, a far cry from the splendor one might expect when it comes to Florentine rulers as illustrious and powerful as the Medici. Their modest tombs are little more than plaques inlaid in the pavement with metal barriers that surround them serving as the only indication that they’re something worth preserving.

Some of the modest, plaque-topped Medici tombs

For example, even the tomb of young Cosimo, Grand-Prince of Tuscany, is simply tucked away between a robust pillar. The simple tombstone and statue of Ana Maria de Medici stands near the entrance.

Altar

In the center of the crypt is a permanent exhibition featuring the Treasure of San Lorenzo, consisting of reliquaries, liturgical vestments, ceremonial objects as well as various pieces related to the Medici family including effigies, medallions, jewelry, rock crystal, and semi-precious stone vases, silvers, and other precious applied art pieces.

Treasures of San Lorenzo

All great examples of Renaissance and Baroque goldsmith’s art, they were collected by the Medici throughout their time in power through purchases and donations, especially objects given by Pope Clement VII and Pope Leo X, both members of the family, and later donated to the parish.

Reliquaries

Medici Chapels: Piazza Madonna degli Aldobrandini 6 (at the back of the Basilica of San Lorenzo), Florence, Italy. Open daily, 8:15 AM to 2 PM (ticket office closes at 1:20 PM). Closed on the 2nd and 4th Sunday of every month and 1st, 3rd and 5th Monday of every month as well as New Year’s Day, May 1 and Christmas.  Admission: €8,00.  Free entry for all visitors on the first Sunday of every month between October and March.

Medici Chapels (Florence, Italy)

The Medici Chapels

From the Palazzo Medici Riccardi, it was just a short 100 m. walk, via Via Camillo Cavour and Via de’ Gori, to the Medici Chapels (Cappelle medicee).  Its two chapels form part of the  monumental complex developed over almost two centuries in close connection with adjoining Basilica of San Lorenzo (the official church of the Medici).

Check out “Palazzo Medici Riccardi

L-R: Cheska, Kyle and Grace

Dating from the 16th and 17th centuries, they were built as extensions to Brunelleschi‘s 15th-century church, with the purpose of celebrating the Medici family (who successfully ruled Florence for several centuries and lived in the neighboring palace on Via Larga, now known as the Palazzo Medici Riccardi), patrons of the church and Grand Dukes of Tuscany.

The decision to build their family mausoleum in this church dates to the 14th century.  Giovanni di’ Bicci de’ Medici (died 1429) and his wife Piccarda were buried in the Old Sacristy, on a project designed by Brunelleschi. Later, his son Cosimo the Elder, was buried in the crossing of the church.

Medici Chapels (Florence, Italy)

The Medici Chapels are one of the five museums that make up the Bargello Museums which, in 2015, were reorganized into a single institution (the others are the namesake Bargello Museum, Palazzo Davanzati, Casa Martelli and Orsanmichele). The chapels are divided into three distinct parts – the , the Cappella dei Principi (Chapel of the Princes) and the Sagrestia Nuova (New Sacristy, designed by Michelangelo). We entered through the back of the Basilica of San Lorenzo and our visit to the Medici Chapels began at the crypt.

Check out “Medici Chapels – The Crypt,” “Medici Chapels – Chapel of the Princes” and “Medici Chapels – The New Sacristy

 

Medici Chapels: Piazza Madonna degli Aldobrandini 6 (at the back of the Basilica of San Lorenzo), Florence, Italy. Open daily, 8:15 AM to 2 PM (ticket office closes at 1:20 PM). Closed on the 2nd and 4th Sunday of every month and 1st, 3rd and 5th Monday of every month as well as New Year’s Day, May 1 and Christmas.  Admission: €8,00.  Free entry for all visitors on the first Sunday of every month between October and March.

St. Peter’s Cemetery (Salzburg, Austria)

St. Peter's Cemetery

St. Peter’s Cemetery

After our tour of Hohensalzburg Castle and leaving the Funicular Railway entrance, we walked down the hill to nearby St. Peter’s Cemetery (Petersfriedhof) which, together with the burial site at Nonnberg Abbey , is the oldest cemetery in Salzburg and one of its most popular tourist attractions.   My original intention for visiting was to see for myself where the Von Trapps hid from the Nazis in “The Sound of Music” as some overenthusiastic tour guides would tell tourists visiting the place. I didn’t find it. Only later did I find out that the actual scene was just a studio set filmed in Hollywood, though its design is clearly based on St. Peter’s Cemetery.

Check out “Hohensalzburg Fortress

 

The Hollywood set of the Sound of Music

The Hollywood set of the Sound of Music based on St. Peter’s Cemetery

Still, the beautiful flower-filled cemetery of adjacent St. Peter’s Abbey (Stift St. Peter), sheltered by the Monchsberg, was still worth a visit for its rich history and carefully and lovingly tended  graves, many with flowering plants land small trees (it looks more like a garden than a cemetery).

DSC04885

It was probably laid out during the foundation of the abbey in 696 AD by St. Rupert of Salzburg. This burial ground was first mentioned in an 1139 deed  issued by Alcuin of York, an English scholar attendant, during the rule of Archbishop Conrad I.

More of a garden than a cemetery .......

More of a garden than a cemetery …….

Several tombs are located in arcades, with elegant wrought iron fences and lovely and ornate iron scrollwork crosses and grave markers, built at the foot of the Festungsberg Hill.

Arcade

Tombs located in arcades

Arcades (2)

The oldest preserved headstone is from 1288 AD. The cemetery is centered around the Late Gothic-style, stone block St Margaret’s Chapel (Margarethenkapelle), built in 1491, and the Romanesque-style Chapel of the Cross, dedicated about 1170 and refurbished as a mausoleum in 1614/15, according to plans by Santino Solari. The former contains some precious artwork inside and marble panels emblazoned on the wall.

St. Margaret's Chapel (Margarethenkapelle)

St. Margaret’s Chapel (Margarethenkapelle)

The chapel's interior

The chapel’s interior

The serene and unique cemetery grounds, probably the most peaceful stop in all of Salzburg, are also known for its underground ‘catacombs,’ a combination of natural and hand-excavated caves embedded in the limestone cliffs of Monchsberg.  Carved out of the conglomerate rocks of Festungsberg Hill, above the cemetery, they probably date back even further to 215 AD, from the Early Christian days of Severinus of Noricum during the Migration Period, serving as an Early Christian place of assembly and hermitage.  Up until 1454, only priests and monks were buried here.

Altar within the catacombs

Altar within the catacombs

Catacombs (3)

The catacombs include two chapels dedicated to St. Gertrude (Gertraudenkapelle) and Maximus (Maximuskapelle), a Christian martyr, consecrated in 1178 under the Salzburg Archbishop Conrad of Wittelsbach and dedicated to the assassinated Archbishop Thomas Becket of Canterbury.

Catacombs (2)

The cemetery was closed in 1878, slowly decaying until 1930 when the monks of St. Peter’s successfully lobbied for the admission of new burials.  Unlike most cemeteries around the world, you do not buy the plots here.  Instead, every 10 years, relatives of the dead must pay rent for the plot and must also be the caretakers.  If your family doesn’t pay your rent, they toss your body out.

Kyle, Cheska and Grace

Kyle, Cheska and Grace strolling around the cemetery grounds

Many members of Salzburg’s old blue-blooded patrician families are buried here, along with many other notable figures.  Architect Santino Solari, (1646), who designed Salzburg Cathedral, Hellbrunn Palace and the trick fountains, is buried in Crypt XXXI while Salzburg mayor Sigmund Haffner (1772), a patron of Wolfgang Amadeus Mozart who composed a symphony and named a serenade after him, is buried in Crypt XXXIX. Maria Anna Mozart (Nannerl, 1829), elder sister of Wolfgang Amadeus Mozart and an exceptionally gifted musician herself, is buried in Crypt LIV, by the catacombs, together with the torso (his head is stored in an urn in St. Peter’s Church) of composer Michael Haydn (1806), the younger brother of Joseph Haydn.

Michael Haydn Grave

Michael Haydn Grave

Other prominent people buried here include architects Clemens Holzmeister (1983), Johann Georg von Hagenauer (1835, younger brother of Wolfgang Hagenauer) and Wolfgang Hagenauer (1801); composers Heinrich Ignaz Franz Biber (1704);  Salzburg mayors Johann Christian Paurnfeind (1768), Richard Hildmann (1952) and Heinrich Ritter von Mertens (1872); Mozart librettist Ignatz Anton von Weiser, (1785); conductor Bernhard Paumgartner (1971); opera singer Richard Mayr (1935); painter Georg Pezolt (1878); historian Franz Martin (1950); artist Carl Mayr (1942, elder brother of Richard Mayr);  poet Otto Pflanzl (1943); actor Georg Schuchter (2001); politician Hans Lechner (1994); noblemen Hans Stefan, Count von Heistler (2010), Viktor Schmidt, Count von Heistler (2011), Alfred Schmidt, Count von Heistler (2011) and Wulfric Brian von Heistler (2011); and US Army Major General Harry J. Collins (1963).

View of Salzburg from the catacombs

View of Salzburg from the catacombs

We also climbed a steep set of stone-carved stairs to view several rooms with altars, faded murals and inscriptions of the fascinating catacombs. Here, we had amazing views of the city. On our way out, we passed a water wheel which runs in the cemetery.  At one time, it supplied power for industries run by the friars.

Water wheel

Water wheel

St. Peter’s Cemetery: Sankt-Peter-Bezirk 1, 5020 Salzburg, Austria. Tel: +43 662 844576. Open daily,  6:30 AM -7 PM (April-September) and 6:30 AM – 6 PM. (October-March). Admission to cemetery is free; Catacombs:  1€ (adults) and 0.60€ (children).

Nagcarlan Underground Cemetery (Laguna)

The Nagcarlan Underground Cemetery

The Nagcarlan Underground Cemetery

From the Church of St. Bartholomew, Jandy, Maricar, Violet, Lanny and I left the town proper. Just 2 kms. out of the town is the Baroque-style, 1-hectare Underground Cemetery.  The first and only one of its kind in the country, it was built in 1845 by Franciscan Fr. Vicente Velloc. This would be my second visit, having done so 15 years ago. We parked the Toyota Revo at the Shell service station across it.

Plaque installed by National Historical Institute (NHI)

Plaque installed by National Historical Institute (NHI)

The scrollwork-decorated octagonal red brick walls,  18 ft. high arch and 2 elaborate wrought iron gates were still there and remain quite impressive.  The enclosed circular garden is surrounded by 240 (120 on each side) above-ground, apartment-type niches similar to Manila’s Paco Cemetery.

The scrollwork-decorated octagonal red brick walls and 18 ft. high arch

The scrollwork-decorated octagonal red brick walls and 18 ft. high arch

Maricar, Violet and Lanny

Maricar, Violet and Lanny

The oldest niche is dated 1886 and the last interment was in 1982, nine years (August 1, 1973) after it was declared as a National Historical Landmark by virtue of Presidential Decree No. 260 (with amendments on June 11, 1978 by virtue of Administrative Order 1505). Its historical marker was only unveiled on October 24, 1981.

The above ground crypts

The above ground crypts

Underground Cemetery (9)

Traversing the red tiled walkway, we entered the dome-like cemetery chapel, used for requiem or funeral mass, which was built in a strange arabesque style and has blue and  white tiles. Inside is the Sto. Entierro, the glass bier of the dead Christ. The planked ceiling which was water-damaged during my first visit was now partially repaired.

Father and son in front of the chapel

Father and son in front of the chapel

The interior of chapel

The interior of chapel

We went down one of the two stairways leading 15 ft. down to the underground crypt which contain 36 tombs (housing the remains of Spanish friars and prominent people), arranged in 4 walls with burial plaques.   Unlike my first visit, I was now allowed to take pictures (but no flash).  Back at the chapel, we signed the customary guest book and left.

The underground crypts

The underground crypts

Underground crypt

Nagcarlan Underground Cemetery: Brgy. Bambang, Nagcarlan, Laguna.  Open Tuesdays to Sundays. Admission is free.  Donations are needed and welcomed.

Remembering the Victims of Typhoon Yolanda (Leyte)

Palo town 8 months after Typhoon Yolanda

Palo town 8 months after Typhoon Yolanda

One of the most moving highlights of my return to Leyte, 8 months after super typhoon Yolanda (international name: Haiyan) hit the province, was our visit to the town of Palo, one of the most heavily hit places.

Palo Metropolitan Cathedral

Palo Metropolitan Cathedral

Still vivid in my memory was TV footage of the town’s Cathedral of Our Lord’s Transfiguration (which underwent a US$35 million renovation a year ago) and its convent where GMA 7’s Unang Hirit reporter Ms. Lovella “Love” Anover, a native of Alang-Alang, and 500 other people sought shelter at the height of Yolanda. They all watched in horror as the full force of the winds slowly tore off the roof of the newly-renovated cathedral.  The traumatized Love later broke down in tears while reporting live on camera.

Palo Municipal Hall

Palo Municipal Hall

Of the 76 churches in the Palo Archdiocese, only six remained intact. Palo back then was celebrating its 75th anniversary (diamond jubilee) as an archdiocese. When we arrived there, a new roof had already been installed but much still has to be done as it still needs a ceiling, the main door was still unrepaired and the broken glass at its windows still have to be replaced.  A new sight awaited us – a mass grave, fenced off by white ribbon and marked by flowers, for about 100 typhoon victims.

The partially repaired cathedral interior

The partially repaired cathedral interior

This scene was repeated when we dropped by the church of Brgy. San Joaquin. At the church’s de facto plaza, once a grass yard where youth groups would practice hip-hop dances, a much larger mass grave could be found.  Here, over 400 people were laid to rest. A statue of Jesus Christ of the Sacred Heart, with one arm outstretched and the other broken off, towers over the makeshift graves. Youngsters were playfully running around the graves.

Mass grave at cathedral grounds

Mass grave at cathedral grounds

At the height of Yolanda, a tsunami-like storm surge reaching 18 ft. hit the barangay.  Many drowned in the school beside the church.  Luckily, no one was able to seek shelter within the church as the strong early morning winds prevented the opening the church doors to residents.  They would have surely drowned. However, at least 25 children lost their lives at another evacuation center. Fr. Kelvin Apurillo, the parish priest, and his 11 sacristans who were trapped in the second floor of his house beside the church, all survived. However, some sacristans lost family members in the flood.

San Joaquin Church

San Joaquin Church

Each marker, with rolls of names (numbering from 2 to 20 with others too long to fit) etched by felt-tip pens on boards fastened to sticks, tells a story. The surnames listed are often the same – spouses, children, in-laws, etc.   Beside their names are their dates of birth, many born only past the year 2000 (the most vulnerable and helpless were the babies and young kids).  Often, the date of death is not indicated anymore as everyone here knows when all these people died – November 8, 2013.

The mass grave at the grounds of San Joaquin Church

The mass grave at the grounds of San Joaquin Church

The mounds of this sudden, eerie cemetery along the highway, some shallow (the holes dug were only thigh-deep) graves containing almost entire clans  (in one, 22 died out of 25 members of the Lacandazo family), are marked with tarpaulins or simple plaques and crosses and littered with candles (some lit), keepsakes of the departed (stuffed animals, toys, watches, bracelets, portraits, etc.) and offerings to the missed (plastic or real flowers, rosaries, etc.).

Children and babies were the most vulnerable and helpless

Children and babies were the most vulnerable and helpless

Fittingly, I said a short silent prayer over this final resting place of lives cut short by the same fate.  Each one was special.  They had names, families, friends and dreams.  May the loved ones they left behind continue on living amidst the ruins of their former lives.

The tarpaulin says it all

The tarpaulin says it all

San Joaquin Cemetery (Iloilo)

From Miag-ao, we were next driven 12.5 kms. to the adjoining town of San Joaquin.  Along the National Highway, we made another short stopover at the town’s Spanish-era cemetery (Campo Santo, translated as “holy field) where we visited its iconic mortuary chapel (capilla), the grandest and best preserved in the whole of Iloilo.

The iconic mortuary chapel of Campo Santo

The iconic mortuary chapel of Campo Santo

Nestled on elevated ground a kilometer from the poblacion, it was built in 1892 with coral rock and baked brick by Augustinian Fr. Mariano Vamba, the last Spanish parish priest of the town.

Detail of rose window and brick and coralstone facade

Detail of rose window and brick and coralstone facade

It has a vaulted hexagonal chapel decorated with Classical motifs; with tufa and plaster walls; a red, pointed dome and lateral rose windows.  To reach this chapel and the cemetery compound, we had to climb a 20-step staircase flanked by twin-tiered stone balustrades.

The statue niche with Pieta replica

The statue niche with Pieta replica

Burial niches inside chapel

Burial niches inside chapel

Inside, facing the chapel entrance, is a statue niche with a small yet beautifully made sculpture replica of Michaelangelo’s renowned Pieta. Below it is the burial niche of Pedro Sarag y Saragena (September 8, 1855-October 15, 1923).  Flanking both are 2 sets of 4 burial niches topped by a cross and flanked a skull and cross bones design.

The Baroque-style gate

The Baroque-style gate

Its Baroque-style gate, with its rich stone bas relief of carved stylized flowers and leaves, has a life-size statue of Jesus Christ, with his outstretched arms, on top of its triangular pediment.  It is flanked, on each side, with two columns with angelic figures on top.  The semicircular arch entrance, adorned by egg-shaped moldings, is topped by the sculpted head of a cherub between two skull and cross bones designs representing death.

Father and son at the stairway

Father and son at the stairway

How To Get There: San Joaquin is located 53.5 kms. from Iloilo City and 12.2 kms. from Miag-ao.

Echo Valley (Sagada, Mountain Province)

After checking in to our rooms at Alapo’s View Inn, we rested for a while then assembled at the ground floor for our guided tour of the lush and picturesque Echo Valley, one of the most popular hikes in Sagada.  Though it wasn’t our first visit (Jandy and I have visited it twice before), it would be the first for most of the group. We conveniently wore shorts and slippers and brought along our jackets, water bottle and my camera.  From our inn, we all entered the compound of St. Joseph’s Resthouse and St. Joe’s Cafe, then crossed the road to the grounds of the Anglican Episcopal Church of St. Mary the Virgin, the oldest church in the Cordilleras outside of Baguio City.  Here, we already noticed the huge number of people also undertaking this introductory tour of Sagada.

Echo Valley and its famed hanging coffins

Further up the St. Mary High School gate, past the basketball court, Centennial Bell and the Sagada Cooperative Store, we climbed paved steps up to the Sagada Cemetery which has 14 Stations of the Cross and is marked with a huge cross.  I asked the guide if he knew where the burial plot of Eduardo Masferre, the famous photographer who died in 1995, was but he was just as unknowing as I was.  Well, maybe next time.  William Henry Scott, the American historian who died in 1993, is also buried here.

Sagada Cemetery
The cemetery has a fine view of the northern valley. Further up the cemetery is Calvary, the cemetery’s highest point.  From Calvary, we went down a narrow, steep dirt path to Echo Valley.  Along the way, we espied, on the left side, a 40-ft. high cliff where the Sagada rock climbing tour is conducted (PhP250/pax).  Sagada, with lots of cliffs and rock formations, is one of the few Philippine destinations that offer the fairly young sport of natural rock climbing.
 
Sagada Rock Climbing Tour
At the valley’s vantage point, some of our companions shouted out loud to hear their echo while others just admired the pleasant scenery.  From afar, we could already see 2 clusters of the town’s famed hollow-log “hanging coffins” or kuongs.
 
Aldrin and Jandy at the vantage point
From the valley, we again made a steep hike down, to the “hanging coffins” located on large limestone cliffs at the opposite side.  The few “death chairs” (sangadil) placed next to the hanging coffins were still there.
 
It was already starting to rain when we made our way back up the valley and the path was already becoming slippery.  Our jackets, made just for cold protection, was soon soaked inside and out and we were soon drenched when we arrived at the church and sought refuge inside.  Here, we waited for the rains to subside before making our way back to the inn.

A Stroll in Paco Park

After dropping off Cheska at ACTS (where  she was taking review classes for her Med Tech board exam), I decided, on my way home, to drop by historic Paco Park.  Getting there proved to be difficult for me as I had to make my way around a maze of one-way streets.  I decided to park my car just a few blocks away and walk the remaining distance.

Paco Park

Just about everybody, couch potato or not, is familiar, one way or the other, with the TV program “Paco Park Presents.” The concert was begun by Dr. Christoph Jessen (Press and Cultural Attache of the Federal Republic of Germany) with the late National Park Development Committee (NPDC) Vice-Chairman and journalist Teodoro “Doroy” Valencia on February 29, 1980 as a part of the celebration of Philippine-German Month and a gala tribute for then outgoing German ambassador Wolfgang Eger. The “Paco Park Presents” classical concert became a tradition and it now presents  chamber, traditional and pop music performed for free by the finest international and local solo artists, duets and small ensembles at an improvised outdoor stage. Truly a unique way of bringing classical music, via intimate, open-air concerts, to the masses.

Park entrance

I have been to the park a couple of times before as two of my siblings, my elder brother Frank (to the former Rosario “Cherry” Correa on December 17, 1978) and youngest sister Tellie (on December 27, 1982) as well as my good friend and fellow architect, Ed Yambao (to the former Gloria “Glo” Pagsanghan also on the same date as my sister) got married in the park’s St. Pancratius (named after a 14 year old martyr of the 4th century) Chapel. My late parents also renewed their marriage vows there during their silver wedding anniversary on the same day Frank got married.

Historical Research and Markers
Committee plaque
National Historical Shrine plaque

Why do people marry at a place that was once a home for the dead? Haven’t they heard of the often-mentioned warning that marriages made in such a place live but a short life? Couples don’t seem to mind at all even if the receptions are held besides rows of empty, gaping niches.  For me, it must be this recreational garden area’s atmosphere of peace and tranquility.  I featured this cemetery in my first book, “A Philippine Odyssey: A Collection of Featured Travel Articles” (New Day Publishers, 2005) under the heading “Presenting Paco Park.”

The Outer Cemetery

This 4,114.8 sq. m. circular park, one of the oldest landmarks of Manila, is located at Paco District, a nondescript commercial and residential area east of Taft Ave..  Formerly called San Fernando de Dilao, Paco was the Catalan nickname for Francisco and was presumably adapted by the natives to refer to the Franciscan friars who ran the parish.  The park was originally a cemetery built in 1807, through an administrative order, according to the plan of maestro de obras Nicolas Ruiz.  It was completed on April 22, 1822 under the supervision of Don Jose Coll.  The cemetery was, however, already in use two years before its completion to accommodate victims of the cholera epidemic which broke out 3 days after a strong October 1, 1820 typhoon ravaged the city.

Doves by the ticket booth

The epidemic was falsely rumored to have been caused by the poisoning of the Pasig River and the local wells by the foreign merchants, businessmen and scientists then residing in the city.  As a result, persons and property of said foreigners were attacked by violent Filipino mobs affected by this malady.  Casualties were 1 Chinese, 1 Spaniard, 12 French, 1 British captain, 1 American Marine guard, 2 Danes and 12 British and American sailors. Through energetic measures, the epidemic was under control in less than a month. Dominican friars excelled themselves in attending to the sick and, in grateful recognition of their services, 9 of the niches in the cemetery were donated to them by the city of Manila.

The Gomburza Memorial

In 1859, the cemetery was enlarged to 4,540 varas cuadradas (approximately  4,500 square yards) and enclosed with a circular stone wall by Gov.-Gen. Fernando de Norzagaray y Escudero (1856-59). A Chinese builder won the contract to build the circular stone wall of this cemetery for PhP19,700.  The cemetery used to have a chaplain (who lived across the site now occupied by the Paco Fire Station), a sacristan and 8 caretakers.

Gomburza Memorial plaque

At that time, the niches cost PhP20 for three years subject to renewal.  No one was allowed to own the niches in perpetuity.  Niches in the inner wall were reserved as exclusive burial places for prominent Spaniards.  Norzagaray’s successor, acting Gov.-Gen. Ramon Solano y Llanderal (1859-60), was buried in a now unknown site inside the mortuary chapel.

Jose Rizal Grave Site

The cemetery was the burial site of Frs. Mariano GomezJose Burgos and Jacinto Zamora, the triumvirate of Filipino priests unjustly implicated in the January 20-22, 1872 Cavite Mutiny.  They were executed by garrote (a strangulation machine) at sunrise of February 17 at the Luneta (now Rizal Park) in Bagumbayan.  All three were buried in an unmarked grave near the outer wall but the site has not been located up to now.  Instead, a memorial was installed on February 17, 1898.

Grave Site plaque

After the execution of our National Hero, Dr. Jose Rizal, also in the Luneta at dawn of December 30, 1896, the Spanish authorities, fearful of public unrest (and of his followers removing his remains and establishing a cult), secretly buried him also near the outer wall.  Rizal’s sisters fanned out in search of his remains and found them at the cemetery.  The mismarked tombstone, with the initials R.P.J., was said to have been the result of the sisters’ bribing a guardia civil veterana (who guarded the spot for 15 days) to mark the spot. Rizal’s remains were exhumed on August 17, 1898, placed in an urn made by Teodoro Romualdo de Jesus and deposited at the house of Rizal’s mother at Estraude St. in Binondo.

Elaborate niche of Margarita Miguel
de Cobarrubias (September 1, 1907)

The last burials here were in 1912 (the same year Rizal was finally laid to his rest at its present monument in Rizal Park) and the cemetery fell into disrepair, its empty, semicircular niches hollow reminders for the purpose they once served. During World War II, the park, with its thick adobe walls, was used by Japanese forces as a central supply and ammunition depot.  They dug several trenches and constructed pillboxes with 75 mm. guns. In 1948, proposals were made to convert the cemetery into a park.  Unclaimed remains were transferred to the Manila South Cemetery’s paupers’ lot. Through the guidance of Doroy Valencia, its beautification and restoration was done by renowned landscape architect Ildefonso “IP” Santos.  In 1966, it was made into a national park.

The more common semicircular niche
(Timoteo  de los Angeles, June 3, 1910, 53 years old)

The park has two concentric walls, along which are rows of niches hollowed out of aging adobe for the bones of the dead and separated by a 14.5 m. wide walkway.   The wall niches used to be 5 tiers high but only 3 tiers are visible today as its floor was raised due to flooding in some parts.  Before, Paco district was a reclaimed swampland with non-existent drainage (sewers were only installed during the early 20th century).  The cemetery then was a muddy catch basin for rainwater.  I.P Santos elevated the middle portion of the park so that the water flowed outwards.   He was sharply criticized for this.

Gate leading to the ossuary

Strolling around the outer wall, you will espy the original Rizal grave (with its white cross with the initials R.P.J.) as well as the Gomburza memorial.  At the back of the St. Pancratius Chapel is an arch with a wrought iron gate leading to the Ossorio (ossuary), an enclosed burial site for infants and babies. Flights of steps on either side of the gate lead to an interconnecting upper promenade.  There are 2 other ossorios beside it, all with walls decorated with intricate stone carvings of festoons and angels.  In spite of their otherworldly air, these places seem to be favorite tambayans (hangouts) of students.

Flight of stairs leading to upper promenade

The inner cemetery can be entered via an elaborate main stone-columned archway whose triangular pediment has a sign with the Latin inscription “Beatimortui qui in Domino Moriuntur – John in 14:13 Apoc.” (“Blessed are those who die in the Lord”).  Inside the inner courtyard, one is greeted by a romantic setting of a 3-tiered circular fountain, the small oval, domed St. Pancratius Chapel, 8 century-old, widespreading acacia trees (Samarea saman), wondrously gnarled white kalachuchi trees and pocket gardens with park benches.

Entrance to Inner Cemetery

The inner courtyard’s focal point is the St. Pancratius Chapel, now under the care of the Vincentian Fathers (who manage the nearby Adamson University). Formerly a mausoleum for Spanish elite during the first half of the 19th century, this chapel, done in the Classical style, has a stone dome, stone walls dressed in velvety growths of lichen, moss and creepers, triangular pediment from which hangs a bell and a cross.

Inner Cemetery

On each side of the main entrance, I counted 31 bays with 9 niches per bay.   My estimate is there were once 2,790 niches within the inner courtyard alone of which only 1,674 are exposed.  Fourteen of these still have their burial plaques dating from 1898 to 1913 (?).   On both flanks of chapel are two side entrances leading to the outer wall and two beautiful stairs leading to an interconnected 2-m. wide (the width is dictated by the length of the burial niche underneath) upper open terrace with stone balustrades.

St. Pancratius Chapel

Filipino eskrima (stick martial arts called arnis in the West) practitioners also hone their traditional fighting skills within the park and the Arnis Combat Kiathson System Philippines (they offer eskrima lessons) is based here.

The 3-tiered circular fountain

Paco Park: Gen. Luna St. (at the east end of Padre Faura St.), Paco District, Manila.  Open daily (except Wednesdays), 8 AM-5 PM.  Admission: PhP5. The “Concert at the Park” is held every Friday, at sunset. Schedule of masses at St. Pancratius Chapel (Sundays & holidays): 10 AM, 11 AM, 5 PM & 6 PM, also 9 AM every 12th day of the month).  Wedding arrangements at St. Vincent de Paul Parish Office, 959 San Marcelino St., Ermita, Manila.  Tel: 527-7853 7 524-2022 local 101.

How to Get There:  Take a jeepney along Taft Ave. and alight at Escoda St..  From there, you can walk towards the park.