Category Archives: Churches

Melbourne Chinatown (Australia)

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Melbourne Chinatown

Melbourne’s Chinatown, an ethnic enclave in the Central Business District (CBD), is centered at the eastern end of Little Bourke Street and extends between the corners of Swanston and Spring Streets.

Little Bourke Street

Established in the 1850s during the Victorian gold rush, it consists of numerous laneways, alleys and arcades and is still home to many Chinese restaurants, a number of Asian grocery stores, Chinese medicine and herbalist centers, cultural venues and places of worship. Today, Little Bourke Street is a bustling collection of Asian restaurants and cafes mingled with an eclectic mix of Chinese run businesses, car parks and building sites.

Another entrance arch to Chinatown. The building on the left houses the Da Fu Peking Duck Restaurant

There are also bookstores, fashion boutiques and other retail outlets in arcades such as the Village Center, The Target Centre and Paramount Plaza. A number of nineteenth and early twentieth century buildings, often with recently designed Chinoiserie facades, also still stand. Some of the older clan societies, political societies and Chinese churches are still operational.

The author with grandson Kyle

Here are some interesting trivia regarding Melbourne’s Chinatown:

  • Chinatown is the longest continuous Chinese settlement in the Western World
  • It is the oldest Chinatown in the Southern Hemisphere.
  • Its Chinese Museum is home to Dai Loong and the Millennium Dragon, the largest Chinese dragonin the world.
  • In the 1880s, Tom Roberts, one of the leading figures of Australian Impressionism, created sketches of life in Little Bourke Street.
  • Fergus Hume‘s The Mystery of a Hansom Cab(1886), one of the most famous mystery crime novels of the Victorian era, is based largely on the author’s observations of life in Little Bourke Street, including the Chinese Quarter.
  • Little Bourke Street is featured prominently in Charles Bradley‘s 1891 crime novel The Belgrave Place.
  • Elinor Mordaunt‘s 1919 novel The Ginger Jar, set in Little Bourke Street,  is about a love affair between a Chinese Australian hawker and a European woman.
  • A pivotal scene of the 1911 silent film The Double Event, directed by  J. Lincoln, takes place in Melbourne’s Chinatown.
  • The 1997 Hong Kong action film Nice Guy, starring Jackie Chan, is set in Melbourne, with several scenes shot in Chinatown.

Playing an important role in establishing the culture of Chinese immigrants in Australia, Melbourne’s Chinatown is a major tourist attraction known for its architectural heritage, annual festivals and cuisines of Chinese, Thai, Japanese, Indian, Malaysian, Vietnamese and Korean origins.

One of Chinatown’s 5 arches

Chinatown’s 5 key arches, which clearly announce the entrance to Chinatown, are an important statement of the City of Melbourne’s commitment to Chinatown.  They have been restored to their former glory with added modern touches including red neon lighting on the columns.

Chinese Museum

The Chinese Museum  or Museum of Chinese Australian History, housed in a 4-storey building built by the Cohen Bros in 1890 and used as a warehouse for the manufacture of furniture, is a history museum  established in 1985 and refurbished in 2010.  It presents the history of Australians of Chinese ancestry and, since 2010, its ground floor has also acted as a visitor centre for Melbourne’s Chinatown.

A pair of fu dogs at the museum entrance

Its extensive collection of Chinese clothing and textiles, photographs, documents and artifacts reflects the social fabric and activities of the Chinese community in Australia from the 1850s.  The museum also has a temporary exhibition space in which local and international artists can present work that engages with the Chinese culture.

Statue of Dr. Sun Yat Sen

Outside the Museum’s entrance is a memorial statue of Dr Sun Yat-sen, unveiled in 2011 in celebration of the 100th anniversary of the founding of the Republic of China. The traditional Chinese New Year Lion Dance has always ended at this spot, but will now end with a blessing of the statue.

One building of architectural and historical significance in Chinatown is the 2-storey Chinese Mission Church.  Built in 1872 by the Wesleyan Methodists, it is known today as the Chinese Parish Office of the Uniting Church.  This Gothic-style church has simple pointed arch windows and slate roof by architects Crouch and Wilson, and is an early example of polychromatic brickwork incorporating diaper work to the facade and polychromatic voussoirs to the windows.

Chinese Mission Church

Chinatown: Little Bourke St., Melbourne, Victoria 3000, Australia. Tel: +61 474 043 600.

Chinese Museum:  22 Cohen Place, Melbourne, Victoria 3000, Australia. Tel: +61 3 9662 2888

Chinese Mission Church: 196 Little Bourke Street, Melbourne City, Victoria, Australia

 

St. Paul’s Cathedral (Melbourne, Australia)

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St. Paul’s Cathedral

St. Paul’s Cathedral, an Anglican cathedral, is the cathedral church of the Diocese of Melbourne and the seat of the Archbishop of Melbourne (who is also the metropolitan archbishop of the Province of Victoria and, since June 28, 2014, the present seat of the Primate of Australia).

The cathedral’s Gothic transitional facade

Here are some interesting trivia regarding the cathedral:

  • The cathedral was designed by the English architect William Butterfield, known for his distinctive interpretation of the Gothic Revival.
  • It is one of Melbourne’s major architectural landmarks.
  • To fit the block, the cathedral was orientated in line with the central city grid, just off the north-south axis, rather than facing east, the traditional direction.
  • The location for the cathedral marks the place of the first public Christian service in Melbourne was conducted, by Dr. Alexander Thomson, in 1835.
  • In contrast to the bluestone Gothic of St Patrick’s Roman Catholic cathedral, on the eastern hill of the city, as well as other grand 19th century public buildings faced in light grey sandstone imported from other states, the cathedral’s interior stonework is  a mixture of sandstone from the Barrabool Hills and Waurn Ponds limestone, with contrasting stripes of Victorian bluestone, that gives the cathedral a warm coloring. Also, because the spires are built from Sydney sandstone and are 40 years newer, they are different and darker in color than the older parts of the building.
  • Once the Moorhouse Spire, the central spire, was completed to its full height of 95 m. (312 ft.), St Paul’s became the tallest structure in central Melbourne. With the retail heart height limit of 40 m., it has retained its dominance of the immediate area, dominating the city’s skyline when viewed from the south. For nearly 40 years, even without the spires, the cathedral presented a rather solid, horizontal mass.
  • From the southern approaches to the city, St. Paul’s Cathedral occupies a prominent and dominating location at the center of Melbourne, being situated diagonally opposite Flinders Street station (the hub of 19th-century Melbourne and an important transport center) and, immediately to its south, Federation Square (the new public heart of Melbourne). Continuing south down Swanston Street is Princes Bridge, which crosses the Yarra River, leading to St Kilda Road.
  • Besides Sunday and weekday Eucharists, the cathedral maintains the English tradition of a daily choral Evensong, being the only Australian Anglican cathedral to do so.
  • Its 2009 restoration project was acknowledged by the Australian Institute of Architects, the Victorian Chapter Heritage Architecture Award 2009 and the Lachlan Macquarie National Award for Heritage Architecture 2009.

Check out “Federation Square,” “Flinders Street Station” and “St. Patrick’s Cathedral”

Nighttime view of the cathedral

The awe-inspiring St. Paul’s Cathedral, planned in a traditional Latin cross, has a long nave, side aisles, short transepts, a tower at the crossing, with choir below, sanctuary and altar beyond, and a pair of towers framing the ceremonial main entrance.

Heritage Council of Victoria Plaques

The cathedral’s Gothic transitional architecture combines Early English and Decorative Gothic styles. Highlights include the fine polychromatic brickwork, beautifully patterned floor and wall tiles and mosaics, banded masonry stonework, exquisitely timbered roof and tiled dado walls.

The cathedral’s nave

It has played host to many prime ministers, premiers, governors, governors-general and other significant people; hosted many significant occasions in national, Commonwealth and international history; and continues to be the choice venue for many state funerals.

The north aisle

Here’s the historical timeline of the cathedral:

  • In 1880, the foundation stone was laid by the Governor of Victoria, John, Earl of Hopetoun (later Marquess of Linlithgow), in the presence of the Rt Revd Charles Perry, Bishop of Melbourne.
  • In 1884, Butterfield resigned due to disputes between him and the church authorities in Melbourne. The job was then awarded to a local architect, Joseph Reed (of the Australian firm Reed, Henderson and Smart), who completed the building generally faithfully to Butterfield’s design
  • In 1889, Reed designed the attached chapter house in a style matching Butterfield’s.
  • On November 15, 1889, the cathedral’s bells were dedicated and first rung for the departure of Sir Henry Loch (later Baron Loch), the Governor of Victoria.
  • On January 22, 1891, the cathedral (without the spires) was consecrated by the Rt Revd Field Flowers Goe, Bishop of Melbourne.
  • In 1926, construction of the spires began to a new design by John Barr of Sydney, in a more traditional Gothic Revival style and with different stone from the Sydney area. It was also much taller than Butterfield’s original design.
  • In 1929, the pipe organ was rebuilt by Hill, Norman & Beard when the action was electrified and a new console supplied.
  • In 1932, the spires reached their full height
  • On April 30, 1933 a service of thanksgiving was held for their completion.
  • The 1960s saw extensive work completed to the exterior of the cathedral
  • On November 28, 1986, on his arrival in Melbourne, Pope John Paul II paid a visit to St Paul’s Cathedral in recognition of the dialogue between the Anglican and Roman Catholic churches in Melbourne fostered by their respective former archbishops, the Most Reverend Sir Frank Woods (Anglican) and the Most Reverend Sir Frank Little (Roman Catholic).  As the Pope entered the cathedral, the choir sang “Ecce vicit Leo.” After this, the Pope prayed for Christian unity and lit a meter-long candle.
  • From 1989 – 90, the $726,000 restoration work of the organwas completed, by Harrison & Harrison Ltd, Durham, with the help of a major National Trust The façade pipe stenciling was done by Marc Nobel, Christine Holmes and John Dale after a design by Lyon, Cottier, Wells & Company.
  • On November 28, 2007, a carol service called Carols from St Paul’s Cathedral Melbourne featuring the cathedral choir, was recorded by the Australian Broadcasting Corporation and broadcast Australia-wide on Christmas Eve.
  • In 2009, the A$18 million, seven-year major restoration works, under the guidance of Falkinger Andronas Architects and Heritage Consultants (now Andronas Conservation Architecture) and undertaken by Cathedral Stone, were completed. Significant repairs were done to restore the spires. Stone heads of the former dean David Richardson and the philanthropist Dame Elisabeth Murdoch, created by Melbourne sculptor Smiley Williams and carved by stonemason Daryl Gilbert, were added to the spires.  Also installed were the colored glass “Eighth Day” lantern, in the Moorhouse Tower, and  new dalle de verre colored glass doors, created by Janusz and Magda Kuszbicki, and a glass walled airlock for the west Great West door.

The south aisle

The interior, compared to the exterior, feature rich colors and strident color contrasts, characteristic of Butterfield’s work, with all the stonework constructed using Waurn Ponds limestone, its stripes contrasting with the very dark-colored local bluestone.

Chancel and High Altar

The dado (created with patterned glazed tiles), floor (entirely paved with encaustic tile imported from the English firm of Maw & Co., featuring both patterned layouts and patterns within the tiles), high altar and reredos (made from Devonshire marble, alabaster and glittering Venetian glass mosaics) are outstanding examples of High Victorian Gothic polychromy.

The narthex

In Persian tile, on the rear wall of the narthex, is a replica of an 8-pointed star found in two churches of the Anglican Diocese of Iran (the church of St. Simon the Zealot in Shiraz and St. Luke’s Church in Isfahan).  There are two baptismal fonts – a round font of Harcourt granite (installed when the cathedral was first built) and a cruciform immersion font (built in 1912 in memory of Field Flowers Goe, third Bishop of Melbourne). One of the carved figures on the pulpit is said to be the image of a daughter, who died in infancy, of the former Mayor of Melbourne.

Baptismal Font (South Aisle)

The Chapel of Unity, a memorial chapel, commemorates the historic visit of Pope John Paul II: only the third time in four centuries when a reigning Pope had made an official visit to an Anglican cathedral.

Immersion Font

The pipe organ, commissioned from English builder T. C. Lewis and Co  (one of the most prominent organ builders of the 19th century) of Brixton, England, cost over 6,500 pounds for its construction, shipping and installation before it was played at the cathedral’s 1891 inaugural service .

Interior from the south aisle

Since then, various modifications and maintenance works have been carried out. After the 1989 -90 restoration, the organ, housed in the cathedral’s south transept behind newly stenciled façade pipes, now has four manuals and pedals with 53 stops, all with electro-pneumatic action.

Commemorative plaques along the wall

St. Paul’s ring of 13 bells, a gift from Thomas Dyer Edwardes and all cast by Mears & Stainbank of Whitechapel Bell Foundry in 1889, consists of 12 bells set for change ringing in the key of C♯, plus an extra bell to allow different subsets of the full number to be rung still to a diatonic scale.  The tenor originally weighed 31 cwt but, after the whole set was sent to Taylor’s Bell Foundry in 1963 for retuning, it now weighs 29cwt.

One of the cathedral’s stained glass windows

St. Paul’s Cathedral : 198 -206 Flinders Street cor. Swanston Street, Melbourne, Victoria 3000, Australia. Tel: 9653 4333. E-mail: welcome@stpaulscathedral.org.au. Website: www.stpaulscathedral.org.au. Open Mondays to Fridays, 8 AM – 6 PM; Saturdays, 9 AM – 4 PM and Sundays, 7:30 AM – 7:30 PM.  Masses: Sundays (8 AM, 9 AM, 10.30 AM, 6 PM), Mondays to Saturdays (12.15 PM).

St. Patrick’s Cathedral (Melbourne, Australia)

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St. Patrick’s Cathedral

The first and only mass we attended in Melbourne was, fittingly, at the Cathedral Church and Minor Basilica of St. Patrick (colloquially St. Patrick’s Cathedral), near Fitzroy Park, located on Eastern Hill, in an area bounded by Albert Street, Gisborne Street, Lansdowne Street and Cathedral Place. Just to the east, across Gisborne Street is St Peter’s Church, the Anglican parish church of Melbourne constructed from 1846 to 1848.

Check out “Fitzroy Park”

Here are some interesting trivia regarding the cathedral:

  • Although its 103.6-m. (340 ft.) length is marginally shorter than that of St Mary’s Cathedral (Sydney), St Patrick’s has the distinction of being both the tallest and, overall, the largest church building in Australia.
  • It the cathedral church of the Roman Catholic Archdiocese of Melbourne and seat of its archbishop (currently Peter Comensoli).
  • Since the Catholic community of Melbourne was, at the time of it construction, almost entirely Irish, the cathedral was dedicated to St Patrick, the patron saint of Ireland.
  • William Wardell, Melbourne’s foremost ecclesiastical architect, was commissioned to prepare plans for the cathedral. A remarkably ambitious and capable architect, he went on to design the second St Mary’s Cathedral, Sydney in a similar style, even larger than St Patrick’s, but with a completely English square East End.
  • St Patrick’s Cathedral was one of the two largest churches (the other is St Patrick’s Cathedral, New York, United States) brought to substantial completion anywhere in the world in the 19th century.
  • The bells of the cathedral are unusual in that they were cast unturned (they ring anti-clockwise instead of clockwise) and are thought to be the only ring of eight bells cast by John Murphy of Dublin which are still in operation today.
  • The 1992 – 1997 restoration works were awarded the Royal Australian Institute of Architects (Victorian Chapter) John George Knight Award for Heritage Architecture 1996.
  • One of the gargoyles, restored by the masonry team, was modeled on the then-Premier of Victoria, Jeff Kennett as the previous gargoyle apparently had striking similarities.

Check out “St. Patrick’s Cathedral (New York City)”

The Geometric Decorated Gothic-style facade

The cathedral, planned is in the style of a Latin cross, is built on a traditional east–west axis, with the altar at the eastern end (symbolizing belief in the resurrection of Christ).

The cathedral interior

It consists of a nave with side aisles, transepts with side aisles, seven chapels grouped in a semicircle around the central sanctuary, and sacristies. It was built in stages, between 1858 and 1940.

Apse: Its ceiling, vaulted in timber, has a Latin quotation from the book of Revelations carved around the base

Here is the historical timeline of the cathedral:

  • In 1848, negotiations with the colonial government for the grant of five acres of land for a church in the Eastern Hill area began.
  • On April 1, 1851, only 16 years after the foundation of Melbourne, the Colonial Secretary of Victoria finally granted the site to the Roman Catholic Church. Augustinian friar James Goold, the first bishop of Melbourne and the fourth bishop in Australia (after Sydney, Hobart and Adelaide) decided to build his cathedral on the Eastern Hill site.
  • In 1851-1852, when Bishop Goold visited Europe, he bought a peal of eight bells for £500 (with some records showing that it cost £700) for the cathedral.
  • In 1853, the bells arrived in Australia
  • On December 8, 1858, William Wardell was commissioned to plan the cathedral and that same year, its foundation stone was laid and building commenced. An earlier building, by stonemason David Mitchell (father of operatic soprano Nellie Melba and later partner of John Monash), was demolished for the cathedral.
  • On November 29,1868, the bells, hung in a low frame at ground level in the western aisle, were consecrated by Bishop Goold in a service attended by around 5,000 people. The bells were eventually hung at the south-eastern tower.
  • Before 1868, the original front entrance, with a double-arched doorway and a pillar dividing it, was removed.
  • In 1869, the nave and aisles were opened.
  • In 1871, the ringers of St Patrick’s began the custom of ringing in the New Year.
  • By the 1880s, St Patrick’s Cathedral became the leading tower for Australian change ringing.
  • In 1891, a severe depression which hit Melbourne further delayed the construction.
  • On May 30, 1891, the statue of Catholic emancipator Daniel O’Connell (1775-1847) by sculptor Sir Thomas Brock, was erected by public subscription and unveiled.
  • In 1897, under the leadership of Archbishop Thomas Carr, the remainder of the cathedral itself and the sacristy were completed and consecrated.
  • In 1914, the bells were rung for the requiem mass of Pope Pius X
  • In the late 1930s, Daniel Mannix (Archbishop of Melbourne in 1917) oversaw the addition of the spires and other elements.
  • From 1936-40, the spires (higher than Wardell originally intended) and confessional were added and the west door rebuilt.
  • In 1939, the building was officially completed.
  • By 1959, the belfry fell into disrepair and the bells became unringable.
  • In 1974, Pope Paul VI conferred the title and dignity of minor basilica on it.
  • In 1986, Pope John Paul II visited the cathedral and addressed clergy during his Papal Visit.
  • In 1988, as the major Victorian project among Bicentennial bell restorations, the cathedral’s peal was sent to Eayre and Smith Bell foundry in England.
  • On December 8,1988, the peals and an added ninth bell (Angelus bell), was consecrated. An electronic chiming mechanism was also installed, at this time, for all the bells with the original manual method retained in order to replicate how the bells would have sounded if they were rung by hand.
  • From 1992 till 1997 (the centenary of its consecration), the cathedral was closed and significant restoration and conservation works were undertaken under the guidance of Falkinger Andronas Architects and Heritage Consultants. Funds were contributed by the federal and Victorian governments, corporate and philanthropic donors and the community of Melbourne. Nothing was added to the main building.
  • From 1996-97, the organ was refurbished for the centenary of the cathedral.
  • In March 1999, the statue of Dr. Daniel Mannix (long-serving former Catholic Archbishop of Melbourne) by English sculptor Nigel Boonham, was unveiled.

Central Sanctuary

The cathedral, designed specifically in the Geometric Decorated Gothic style, in response to the revival of Gothic architecture (as promoted by Augustus Welby Pugin and others as the most appropriate for the building of churches), was based on the great medieval cathedrals of England.

West Wall

This style is at its most complex in the large west window of the nave.

South Transept

North Transept: its north wall shows four of the Stations of the Cross

The eastern arm, with its chevet of radiating chapels in the French manner, is still principally in the English Gothic style of the late Thirteenth Century (giving the most complete essay attempted in that style during the Nineteenth Century).

Blessed Sacrament Chapel: located closest to the North Transept, its altar reredos has two mosaics depicting the “Sacrifice of Abraham and Isaac” and of “Abraham and Melchisedech.” The tabernacle, made in 1900, features a pelican ( a symbol of Christ) motif, representing the Eucharist.

Sacred Heart Chapel: Originally designated to be the organ and choir gallery, this chapel, dedicated to the Sacred Heart of Jesus (after the arrival of a Sacred Heart statue from Germany in 1874), has a Sacred Heart statue in the center of reredos and surrounded by relief carvings of the Nativity and the Last Supper. Below are carvings of “The Crowning with Thorns” and “The Agony in the Garden” and a carved inscription “Cor Jesus, Thronus Misericordiae” (Heart of Jesus, Throne of Mercy). The altar is made of alabaster. Its frontal features carvings of Jesus before Pilate and the scourging at the pillar. The tabernacle door is inscribed with the words ‘Cor Jesus, Salue in Te sperantium’ (Heart of Jesus, Salvation of those who hope in Thee).

The massive cathedral, made with bluestone (sourced from basalt deposits in nearby Footscray) and sandstone, is 103.6 m. (340 ft.) long on its long axis, 56.4 m. (185 ft.) wide across the transepts and 25.3 m. (83 ft.) wide across the nave.

South Aisle

The nave and transepts are 28.9 m. (95 ft.) high, the central spire 105 m. (344 ft.) high and the flanking towers and spires 61.9 m. (203 ft.) high.

St. Brigid and the Irish Saints Chapel: originally called the Chapel of the Irish Saints but later became known as the Children’s Chapel dedicated to St Brigid, children contributed to the cost of the chapel’s completion. On the archway over the chapel is inscribed a text from the 44th Psalm. The altar is constructed of alabaster, its frontal panel features small mosaics of St. Patrick and St. Columbanus. A marble statue of St. Brigid is located in the niche of the reredos. Carved images of four Irish saints (St. Dympna, St. Reyna, St. Ita and St. Bees), from the sixth and seventh centuries, are also represented in the reredos.

St. Thomas Aquinas Chapel

The 4.87 m. high and 3.65 m. wide front door has three columns, recessed and carved jambs with a Gothic arch crowned by a paneled, molded and carved gable finished with a carved cross.

Entrance doorway

Buttresses support the gables and these are topped with carved pinnacles and quatrefoil-paneled side parapets.  In 1974, the original gable was replaced by a carving of the Papal Coat of Arms when Pope Paul VI conferred the title and dignity of Minor Basilica on the Cathedral.

Icon of Madonna and Child

The archway, filled with a bronze tracery grill, features St. Patrick, with St. Brigid and St. Columba on either side. In the space between and above are the monograms of the Holy Name (IHS) and of the Blessed Virgin Mary (BVM).

Archbishop’s Memorial: located in the northern transept, plaques here commemorating Melbourne’s Archbishops, James Alpha Goold (1848 –1866), Thomas Joseph Carr (1886–1917), Daniel Mannix (1917–1963), Justin Daniel Simonds (1963–1967) and James Cardinal Knox (1967–1974). Archbishops Mannix and Simmonds and Cardinal Knox are buried in the vault beneath the floor of this transept.

It also features four angels and eight shields bearing symbols of the Old and the New Testaments: Noah’s Ark, the brazen serpent and the instruments of the Passion, the chalice and host, and Christ as the Lamb.

Statue of St. Mary MacKillop

The Lady Chapel: located directly behind the high altar, its foundation stone was laid by Archbishop Goold on September 8, 1879. Made of English red and white alabaster, its altar is 4.11 m. high and 2.36 m. wide and its front has three ornamented panels, in the center, a mosaic of the monogram of Our Lady with slightly smaller mosaic of Star of the Sea and of the Tower of David, titles given to Our Lady, on either side. The reredos have a molded canopied niche that features a marble statue of Our Lady with the title of Regina Coeli (“Queen of Heaven”). The panels, on either side of the reredos, have mosaics depicting the “Nativity of Our Lord” and “The Coronation of the Blessed Virgin.” Above the reredos are the words: “Mater Salvatoris, ora pro nobis” (“Mother of the Savior pray for us”).

On the panels of the gates of the grill are the coats of arms of Pope Pius XII (who was the reigning pontiff when the additions were installed) and of the first three archbishops of Melbourne.

Holy Soul’s Chapel: Originally known as the Mortuary Chapel, this chapel was dedicated to the memory of Archbishop Goold (who laid the first stone in 1880) who is buried beneath the chapel (a brass memorial plaque marks his resting place). On June 9, 1888, the first Mass in the newly finished chapel was offered by Archbishop Carr for the repose of the soul of his predecessor.

The majority of stained glass in the cathedral was done by Hardman of Birmingham, with two windows by Mayer of Munich and one by Montgomery.

Stained Glass Windows: Located in the Blessed Sacrament Chapel, they depict “The Sacrifice of Melchizedech” and “The Last Supper.” Made in Munich for the 1881 Melbourne International Exhibition, they were purchased by Archbishop Goold.

The stenciling and painting of the sanctuary was done by Charles Firth, the carved altars by Farmer and Brindley, and the throne, credence tables, bishop’s chair and confessionals carved by C N Bell. The intended wall mosaics and paintings were not completed.

Painting of St. Ambrose: Aurelius Ambrosius, better known in English as St. Ambrose, was one of the four original doctors of the Church. He was born in Trier in 337 AD and died in Milan in 397 AD. St. Ambrose was an archbishop of Milan who became one of the most influential ecclesiastical figures of the 4th century.

Painting of St. Augustine: On a column near the baptistery, this painting shows St Augustine with quill in hand.

The cathedral’s original pipe organ, built in the late 1870s by Robert Mackenzie to serve the liturgical needs of the cathedral (the organ is also occasionally used for recitals and recordings), was completed in 1880 by George Fincham.

Pipe Organ: built by George Fincham & Sons, Melbourne in 1962-64, it incorporates a substantial part of the instrument built in the west gallery of the cathedral in the late 1870s by Robert Mackenzie and completed in 1880 by George Fincham. Refurbished with additions by Australian Pipe Organs, Melbourne in 1996-97, it is used for occasional recitals and recordings, as well as serving the regular liturgical needs of the cathedral. The organ has 76 speaking stops involving almost 5000 pipes, 24 Spanish trumpets, and a four manual console.

The current installation in the west gallery of the cathedral, built by George Fincham & Sons, Melbourne, from 1962 – 1964, incorporates a substantial part of the original.  It comprises 81 speaking stops (some dated to 1880 or 1896, when the instrument was enlarged) spread over four manuals and pedals.

Baptismal Font: located in the northwest corner of the nave, it is made of soapstone and features symbolic representations of graces received through baptism. At the foot of the font are various grotesques, representing the devils cast out by baptism. A 17th century painting of “The Finding of the Child Jesus in the Temple” forms a backdrop.

The peal of eight bells, all cast by John Murphy of Dublin in 1852 and bearing the coat of arms of Bishop Goold, are in F natural, with the tenor weighing 12 long cwt 1 qr 10 lb (1,382 lbs. or 627 kgs.) and the treble 4 long cwt 12 qr 14 lb (798 lbs. or 362 kgs.). The peal set weights around 3,556 kgs. (7,840 lbs.).

Statue of Archbishop Daniel Mannix: this larger-than-life statue, sculpted by Nigel Bonnham, watches over the area in front of the cathedral’s main west entrance. It was during the his reign that the cathedral was finished. The three towers and spires were enlarged and completed in 1939, to the design of Conolly and Vanheems, to commemorate the centenary of Catholicism in Melbourne.

Statue of Daniel O’Connell: located around the north side, O’Connell is often referred to as The Liberator or The Emancipator, and was an Irish political leader in the first half of the 19th century. He campaigned for Catholic Emancipation, including the right for Catholics to sit in the Westminster Parliament, denied for over 100 years, and repeal of the Act of Union which combined Great Britain and Ireland.

The Cathedral Shop, located adjacent to the Presbytery Office, offers a wide range of souvenirs, gifts, CDs, handcrafted items, rosary beads, fine cards and more.

Bust of Fr. George Preca. St. George Preca (1880 – 1962) was a Maltese Roamn Catholic priest and the founder of the Society of Christian Doctrine as well as a Third Order Carmelite. He is known as “Dun Ġorġ” in Maltese and Pope John Paul II dubbed him as the “Second Apostle of Malta.” Pope Pius XII, in 1952, titled him as a Monsignor despite his uneasiness about it. He had assumed the religious name of “Franco” after becoming a Secular Carmelite.

St. Patrick’s Pilgrim Path, a wide path to the south transept door on the southern approach to the cathedral, is divided by a delightful flow of water over a sequence of small drops. Created by Green and Dale Landscape Architects, its central concept is that of flowing water which cascades down the channel that divides the two sides of the stepped pathways that progress up the incline.

Gospel of St. John 4.14

Psalms of David 23

Salutary selections of quotations, cut with gold inlays into a number of blue stone structures, features quotations from James McAuley (one of Australia’s great poets), Gospel of St. John 4.14 (1st Century AD) and from Psalms of David 23.

Quotation from James McAuley

A giant bronze bowl, the origin of the water supply, contains a submerged golden image of “The Lamb.” Water here cascades in three directions onto the seven-stepped structure below. Around the bowl’s rim are inscribed verses from the Book of Apocalypse.

Bronze bowl with submerged image of The Lamb

Verses from the Book of Apocalype

Around the path are statues of St. Francis of Assisi (c 1181-1226) and St. Catherine of Siena (1347 – 1380), both sculpted by Louis Lauman, a Melbourne based artist.

Statue of St. Catherine of Siena: Located opposite the statue of St Francis, it depicts Catherine of Siena (1347 – 1380) holding up a crown of thorns. Sculpted by the Melbourne – based artist Louis Lauman.

Statue of St. Francis of Assisi: this Italian Catholic friar and preacher founded the men’s Order of Friars Minor, the women’s Order of St. Clare, and the Third Order of Saint Francis for men and women not able to live the lives of itinerant preachers followed by the early members of the Order of Friars Minor or the monastic lives of the Poor Clares. Though he was never ordained to the Catholic priesthood, St. Francis is one of the most venerated religious figures in history.

These were blessed and dedicated by Archbishop George Pell on December 17, 2000 in the presence of Sir James Gobbo, the Governor of Victoria, and his wife, Lady Gobbo.

Jandy and Grace at the Pilgrim Path

Cathedral Church and Minor Basilica of St. Patrick:  1 Cathedral Place, East Melbourne, Victoria 3002, Australia. Tel: 9662 2332.  E-mail: cathedral@cam.org.au.  Open Mondays to Fridays, 9 AM – 5 PM. Masses: Saturday – 8 AM, 6 PM (Vigil), Sundays – 8 AM, 9.30 AM, 11 AM (Solemn Mass), 6.30 PM, Weekdays – 7 AM, 1 PM. The Cathedral Shop is open Mondays to Fridays, 9.30 AM to 4.30 PM, and Sundays, 8.30 AM to 1 PM.

St. Peter’s Anglican Church (Melbourne, Australia)

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St. Peter’s Anglican Church

St. Peter’s Church, an Anglican parish church on Eastern Hill in the Anglican Diocese of Melbourne, is located opposite St Patrick’s Cathedral, the Roman Catholic cathedral, and the Eastern Hill Fire Station. The parish is well known as belonging to the Anglo-Catholic or High Church tradition.

Check out “St. Patrick’s Cathedral“

Here’s the historical timeline of the church:

  • On June 18, 1846, the foundation stone of the church was laid by Charles La Trobe, Superintendent of the Port Phillip District.
  • In 1847, the building was first used for services even though the first part was not completed.
  • On February 13, 1848, the letters patent of Queen Victoria declaring the city status of Melbourne were read on the steps of St Peter’s.
  • On August 6, 1848, the church was formally opened. The initial church constructed was brick, with stone facings, and had a shingled roof.
  • In 1854, the building was enlarged to designs by architect Charles Vickers, with the nave increased in length (to bring its seating capacity up to 1050), the transepts with galleries and a chancel added, and the shingles roof replaced with slate.
  • In 1876, Leonard Terry carried out alterations including an enlarged chancel, an added vestry, and a baptistery, with the new chancel opened on June 29, 1876.
  • In December 1876, work continued with five stained glass windows by Ferguson and Urie added to the chancel.
  • In 1897, repairs and alterations were carried out by Walter Butler of Butler and Inskip which included installation of gas lines and Tobin tubes for ventilation, removal of the transept galleries, and a new layout of pews to include a central and two side aisles.
  • From 1927-29, further alterations took place including installation of timber paneling in the transepts and chancel, and installation of a choir screen by Louis Williams.
  • In 1945, a stained glass window, designed by Napier Waller to commemorate the New Guinea mission (and the eleven Anglican martyrs) and to mark the centenary, was installed in the north transept. A second Waller window in the south transept was subsequently added.
  • In March 1974, the current organ (the church’s third) was constructed and completed by George Fincham and Son Pty Ltd.

St Peter’s is the oldest Anglican church standing on its original site in the inner city area. St. Peter’s Eastern Hill precinct is also of architectural significance for its association with a successive number of prominent Melbourne architects who contributed to the development of the church precinct: Charles Laing (designed tower and brick and stucco section), Charles Vickers, Leonard Terry, William Pitt, Walter Butler, Louis Williams, and Alexander North. The group of buildings forms a picturesque precinct.

The substantially intact vicarage and school are early examples of William Pitt’s work while St. Peter’s Hall is the first work in Victoria of Tasmanian émigré architect Alexander North who specialized in church architecture. The New Guinea windows, in the north transept, are of historical significance for their representation of the eleven Anglican martyrs.

As a schoolgirl, the opera singer Nellie Melba had organ lessons at the church while the novelist Henry Handel Richardson worshiped at St Peter’s and fictionalized this part of her life in an episode in “The Getting of Wisdom.”

Historical plaque of church

St Peter’s is also renowned for the quality of its music. The Choir of St Peter’s Eastern Hill, a volunteer mixed choir (that leads the church’s liturgical music every Sunday as well as for weekday feasts), is conducted by Andrew Raiskums.

Opposite the church is the Cross of Sacrifice, a 6 ft. high bronze statue of a crucified Christ on a sandstone pedestal which commemorates the 366 young men and women from the Anglican Church of St. Peter who served in World War I.

Cross of Sacrifice

It was unveiled On March 16, 1924 by the Governor-General Lord Forster and blessed by the Archbishop Lees (Anglican Archbishop of Melbourne).

Plaque of cross

St. Peter’s Church: corner of Albert and Gisborne Sts., Melbourne, Victoria,

National Shrine of St. Michael and the Archangels (Manila)

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National Shrine of St. Michael and the Archangels

The century-old National Shrine of St. Michael and the Archangels, also known as San Miguel Church or Malacañang Church (as it adjoins the Malacañang Palace complex, the official residence of the President of the Republic of the Philippines), is located on the former site of La Fábrica de Cerveza de San Miguel (now San Miguel Brewery).

The church’s Neo-Classical facade

This Catholic church of the Latin Rite is dedicated to the seven archangels who fought against the Lucifer, the fallen angel who rebelled against God – Saint Michael, Saint Gabriel, Saint Raphael, Saint Uriel, Saint Selatiel, Saint Jhudiel, and Saint Barachiel.

An archangel is supposedly assigned to a person depending on the day he is born – St. Gabriel for Monday, St. Raphael for Tuesday, St. Uriel for Wednesday, St. Sealtiel for Thursday, St. Jhudiel for Friday, St. Barachiel for Saturday and St. Michael for Sunday.

Historical plaque

Here are some interesting trivia regarding this church:

  • It is the only shrine in the whole world dedicated to the aforementioned seven archangels
  • As it almost next door to the most important address in the country, a number of presidents have heard Mass at the shrine – Carlos P. García, Gloria Macapagal-Arroyo (usually accompanied by her husband Mike Arroyo) and Fidel V. Ramos (who is not even Catholic but Protestant). Then-Ilocos Norte Representative (and later President) Ferdinand E. Marcos also married then-beauty queen Imelda Romuáldez in the shrine (at that time a pro-cathedral) on May 1, 1954. Their wedding, tagged as the “Wedding of the Year,” followed almost two weeks of courtship.  President Ramon Magsaysay stood as Principal Sponsor.
  • Unlike most Catholic churches in the country that are usually overflowing with parishioners on Sundays, the prominent location of this church seems not to entice parishioners to hear Mass here. St. Michael only has about 1,500 parishioners, some of whom are descended from old-rich families (who were the benefactors of the church) in San Miguel District (most of these families, however, left this district during Marcos’ time).  One reason churchgoers might be staying away is the abundance of checkpoints all over the Malacañang Complex.
  • It only holds three Masses on Sundays – two in the morning and only one in the evening.
  • The national shrine is also, notably, the only Catholic church in the country where priests (instead of bishops) are canonically permitted to administer the sacrament of Confirmation twice a week (on Thursdays and Sundays).
  • A few blocks away is the National Shrine of St. Jude Thaddeus, the patron saint of desperate cases
  • Among those buried in San Miguel are Don Enrique M. Barreto (founder of San Miguel Brewery) and Don Domingo Roxas (patriarch of the Zóbel-de Ayala-Roxas-Soriano clans). Archbishop Gabriel M. Reyes, the Archdiocese of Manila’s first Filipino ordinary (served from 1949 to 1952), was initially buried in the shrine before his remains were transferred to the crypt of Manila Cathedral.

The church has a Neo-Classical façade with a semicircular arched main entrance and windows, a rose window at the second level and flanking, symmetrical bell towers with melon-shaped domes topped by turrets.

The church’s interior

Here is the historical timeline of the church:

  • In 1637, San Miguel Church was first built in stone by the Jesuits, along the left bank of the Pasig river (where the Tabacalera,  Mirador Hotel and the old PCSO office are now located) in Paco, Manila (formerly known as Dilao).
  • During the 1645 Luzon earthquake, the church was damaged.
  • In 1779, a provisional church, along the north bank of the Pasig River, was started by Fr. Malo de Molina.
  • In 1783, it was transferred to its present site and placed under the jurisdiction of the Quiapo Parish.
  • In 1835, the first church on this site was built by Franciscan Fr. Esteban Mena
  • In 1852, after an earthquake, Fr. Francisco Febres repaired the church and rebuilt the destroyed bell tower.
  • During the July 19, 1880 earthquake, the church was destroyed.
  • In 1886, the church and its bell towers were repaired by Fr. Emilio Gago.
  • In 1913, the church was rebuilt by Fr. Hipolito Arce (parish priest from 1900 – 1940), through the generous assistance of Doña Margarita Róxas de Ayala, on its present site and inaugurated on September 29, 1913.
  • From 1946 till December 8, 1958, following the city’s destruction in World War II, the church was designated as the pro-cathedral of the Archdiocese of Manila by Monsigñor Michael O’Doherty while Manila Cathedral was being rebuilt.
  • On February 22, 1986, the church was elevated to the rank of National Shrine by the Catholic Bishops’ Conference of the Philippines (CBCP), with Ricardo Cardinal Vidal of the Archdiocese of Cebu and Papal Nuncio Bruno Torgigliani in attendance.  The CBCP made the decision via de jure, citing the church’s rich history.

Its main altar, built with fine wood and stately marble and designed by Fr. Ramon Dodero, an Opus Dei priest, in 1985, is a replica of the old altar built in 1800.  It has a statue of St. Michael crushing the enemy, in the center, with the other six archangels flanking him.

In front of the church is the beautiful 12-ft. high bronze statue of St. Michael in his traditional pose, triumphantly looming over a dragon (Satan). Done by renowned Filipino sculptor Florante “Boy” Caedo, it was blessed in September 29, 1984 by Papal Nuncio Bruno Torpigliani with His Eminence Jaime Cardinal L. Sin, D.D. and Col. Antonio Cabangon Chuas as unveilers.

Bronze statue of St. Michael the Archangel

National Shrine of St. Michael and the Archangels: 1000 Jose Laurel St. cor. General Solano St., San Miguel district, Manila, Metro Manila.  Tel: (632) 735-1611 and 734-1271.  Fax: (632) 736-1105.

Diocesan Shrine of the Divine Mercy (Sindangan, Zamboanga del Norte)

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Diocesan Shrine of the Divine Mercy

We still had extra time for some sightseeing prior to our Cebu Pacific flight back to Manila so, on our drive to Dipolog Airport from Sindangan, we made a short stopover at the Diocesan Shrine of the Divine Mercy.  Before we drove up the hill, we already espied the Statue of the Virgin Mary along the highway.

Entering the chapel

The interior of the chapel

Stairs lead to the foot of the Statue of the Virgin Mary, located on another mountain below the Divine Mercy Shrine, while another flight of stairs lead directly to the Divine Mercy Shrine.  An arch along the highway marked the entrance to the shrine. The shrine, administered by Rev. Fr. Danilo Alpuerto, was declared as one of the pilgrim spot for the 2015-2016 Jubilee Year of Mercy.

Statue of the Virgin Mary

The shrine has a whitewashed chapel with the words “Jesus I Trust in You,” “Jesus Misalig Ako Kanimo” (Cebuano translation) and “Jesu Ufam Tobie” (Polish translation) painted into the upper façade. To the left of the chapel is a tower with a square base and octagonal upper storeys with a cross on top of the pointed roof.

The tower on the chapel’s left

Inside the chapel are walls of clear glass panels, which afford a scenic view of the ocean, while above them are stained glass windows. On the flanks of the chapel are outdoor shrines, with boxes for petitions or prayers, dedicated to the Divine Mercy and Sister Maria Faustina Kowalska, Polish nun who inspired the Roman Catholic devotion to the Divine Mercy and earned her the title of “Secretary of Divine Mercy.” There is also a statue of the St. Michael the Archangel and the Virgin Mary on a boat.

Outdoor shrine dedicated to Sister Faustina Kowalska

Outdoor shrine dedicated to the Divine Mercy

A flight of stairs lead to the chapel’s roof deck with railings where the huge statue of the Divine Mercy is located.

Statue of the Divine Mercy

The deck has a panoramic view of the expanse of mountains at the rear and the verdant lowlands and blue ocean in front.

Panoramic view of the verdant lowlands and ocean

There’s also a “Healing Walk,” leading down from the shrine, where you are required to observe silence and remove your footwear to enter.  A sign quotes Exodus 3:5 – “Do not come any closer,” God said. “Take off your sandals, for the place where you are standing is holy ground.”

The Healing Walk

Along the way are rows of statues of 30+ saints and the Gethsemane Garden with its statue of a kneeling Jesus Christ.

Alcove with statues of saints

Also within the shrine is a candle gallery, the shrine office, a souvenir shop and public toilets. 

Statue of a kneeling Jesus Christ at the Gethsemane Garden

Diocesan Divine Mercy Shrine: Siari Hills, Brgy. Siari, Regional Highway Dipolog – Sindangan, Bayan ng Sindangan, 7112 Zamboanga del Norte. Admission is free.  There is a dress code in the shrine.  No wearing of short pants (as well as long pants for females) and sleeveless shirts or blouses.

How to Get There: Buses and vans going to Ipil and Zamboanga City from Dipolog, and vice versa, pass by the Regional Highway. Under the shrine’s entrance arch are habal-habal drivers who charge P20-50 for a one way trip to the Shrine.

Church of St. James the Greater (Dapitan City, Zamboanga del Norte)

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Church of St. James The Greater

The last destination in our tour of Dapitan, prior to our trip to Sindangan, was the Church of St. James the Greater.  As we arrived just 5 days before their patron saint’s feast day (July 25), small, colorful flag-shaped banners were strung up all over the plaza and the church.

The Dapitan parish was established in 1631 by Jesuit Fr. Pedro Gutierres.  The present church, a 5 minute walk from the foot of Ilihan Hill, was originally built with galvanized iron walls and wooden floors in 1871 under Fr. Juan Gelabert, S.J. .

The church’s simple Gothic-style facade

 During his exile from July 17, 1892 to July 31, 1896, national hero Jose Rizal painted a backdrop, inspired by a church in Barcelona, for the church altar. However, the painting was later destroyed by fire.  A marker here, near the entrance, also marks the spot where Rizal usually stood when he heard Mass every Sunday. He could not go near the altar during Mass because of his excommunication from the Catholic Church.

Spot where Rizal stood during mass

National Historical Commission (NHC) plaque

From 1904 to 1909, the church was repaired and renovated under the guidance of Fr. Antonio Obach, S.J.  The original galvanized iron wall was replaced with the present solid masonry and the wooden floor changed to mortar. In 1915, the floor was concreted and the sanctuary was remodeled in 1921 by Fr. Eliseo Gil, S.J..

Historical plaque

For about five days in 1944, Japanese soldiers used the church as a resting/sleeping area. Through the years, it has undergone several reconstructions including a major renovation in 1964 when the whole structure was almost completely reconstructed with reinforced concrete by Fr. Antonio Hamak.  The new church was inaugurated on July 23, 1967.

The church interior

It’s simple Gothic-style façade, devoid of much decoration, is flanked by twin square bell towers with pyramidal roofs and semicircular arched openings.  The protruding central portion at the lower level is flanked by lancet windows and rounded pilasters. The Gothic arch main entrance, above which is a lancet window, is flanked by rounded pilasters and is topped by a triangular pediment with a centrally located oculus.

The beautiful church ceiling

Inside the church is its beautifully designed ceiling of interlocking orange and white rectangles forming a swirling pattern around the dome and arches, creating an optical illusion of depth and motion. As a whole, it drowns the audience far below in dizzying disarray.

View of interior from choir loft

At the choir loft is a German made manual pipe organ, with European pipes and a manual pump, that bears the year 1827. It was brought to Dapitan in 1864 by the Augustinian Recollect fathers.

Church of St. James the Greater: Fr. Francisco Paula de Sanchez St., Potol, Dapitan City, Zamboanga del Norte 7101.  Tel: (065) 212-6202. Email Address: dapitanparish1631@gmail.com. Feast of St. James the Greater: July 25.

How to Get There: Dapitan City is located 15 kms. from Dipolog City. GPS Coordinates: 8.654734,123.42465

Church of St. Peter, Martyr of Varona (Hermosa, Bataan)

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Church of St. Peter, Martyr of Varona

The seventh and last pilgrim church we visited in our visita iglesia was the Church of St. Peter, Martyr of Verona in the town of Hermosa.  It was just about dusk when we arrived at the church and, as it was Holy Saturday, outside the church the Easter fire was being prepared to be kindled.

PHC Historical Marker

This church, established in 1717 and built in stone by Dominican friars, was destroyed by fire several times but was renovated in 1869.  In 1901, the church was handed over to the Filipino clergy.

The present church measures 58 m. long and 18 m. wide.  Old adobe walls were cut, sliced and re-used for its interior and exterior wall finishing.

Interior of the church

AUTHOR’S NOTES:

The church’s generally Baroque facade, with a projecting central portion, has first level with a semicircular arched main entrance flanked by coupled and single superpositioned  pilasters that rise up to the second level.

The second level has three statued niches.  The undulating pediment, carried down to large scrolls, has a centrally located circular rose window and is topped by a  square bell tower with semicircular arched openings. The whole facade is flanked by massive square piers topped by urn-like finials.

The main altar and its retablo

Church of St. Peter, Martyr of Varona: National Road, Hermosa, Bataan. Tel: (047) 491-1526. Feast of St. Peter, Martyr of Varona: May 3.

How to Get There: Hermosa is located 106.5 kms. (a 2.5-hr. drive) from Manila and 31.9 kms. (a 45-min. drive) north of Balanga City.

Church of Our Lady of the Most Holy Rosary (Orani, Bataan)

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Church of Our Lady of the Most Holy Rosary

The sixth pilgrim church we visited in our visita iglesia was the Church of Our Lady of the Most Holy Rosary in the town of Orani. The town’s present church and convent is one of the best in the province.  Both were repaired by Dominican friars in 1792.

The right side of the church

Badly damaged during the September 16, 1852 earthquake, both were improved by Dominican Frs. Bartolome Alvarez del Manzano, O.P., in 1868 and Fermin Perez San Julian in 1891.

The left side of the church

Repaired in 1936, both were destroyed by the fire of March 16, 1938 and reconstructed on September 1938.  In 1939, a historical marker at the façade of the church was installed by the Philippines Historical Committee, classifying it as a House of Worship with Level II status.

PHC Historical Marker

On August 15, 1945, the church was rehabilitated by Fr. Elias Calimbas. Its construction was finished in 1982 by Fr. Simplicio Fernandez and Msgr. Emilano Santos. On April 18, 1959, the image of the Nuestra Señora del Rosario was canonically crowned in a solemn ceremony headed by the Archbishop of San Fernando and the Apostolic Nuncio to the Philippines.

The four-storey bell tower on the right

From 1987 to October 6, 1991, the church was renovated Frs. Antonio Dumaual and Camilo Pacanza and, on October 6, 1991, the new altar ( which replaced the former Neoclassic altar which was demolished in the late 1980s) was blessed by Bishop Celso N. Guevarra.

A right side entrance doorway

In 2002, the church and convent were repaired and improved and, on August 22, 2004, it was declared as a Pilgrimage Shrine (Shrines to the Virgin Mary or “Dambana ng Paglalakbay”) by then Bishop of Balanga and later Archbishop of Lingayen Socrates B. Villegas.

The church interior

On April 18, 2009, the 50th Golden Anniversary of the Virgin’s Canonical Coronation was celebrated with the presence of Gaudencio Cardinal Rosales.On September 25, 2012, the church was granted a perpetual spiritual affinity bond by Pope Benedict XVI with the Basilica of St. Mary Major in Rome.

The church’s three-level Baroque and Neoclassical facade has regularly spaced paired columns alternating with pedimented windows at the second level and topped by a pediment decorated with huge flowing scrolls.

The main altar

It is separated from the second level by a triglyph-decorated horizontal cornice.  On the church’s right is its four-storey bell tower.   Its old 1806 bell was installed in front of the church on June 7, 1998. The Church has four portals – the Gate of Heaven, the Gate of Saints, the Gate of Angels and the Gate of Paradise.

The dome above the altar

Beside the church is the Museo ng Mahal na Birheng Maria, a repository of Marian relics and artifacts such as the numerous vestments and crowns of the Lady of the Most Holy Rosary.

Museo ng Mahal na Birhen Maria

In front of the church is the historic bell of the church, dedicated and first used during the tenure of Frs. Juan José de Acuña and Esteban de Sta. María in 1806 and installed on June 7, 1998.

The Bell of Orani

Church of Our Lady of the Most Holy Rosary: National Highway, Poblacion. Tel: (047) 481-1095 and (047) 333-7252. Feast of Our Lady of the Most Holy Rosary: Second Sunday of October.

How to Get There: Orani is located 104.9 kms. (a 2.5-hr. drive) from Manila and 16.6 kms. (a 15-min. drive) north of Balanga City.

Church of St. Catherine of Sienna (Samal, Bataan)

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Church of St. Catherine of Sienna

The fifth pilgrim church we visited in our visita iglesia was the Church of St. Catherine of Sienna in the town of Samal.  The town’s first church was destroyed during the Dutch attack in 1647 and was rebuilt by Dominican Fr. Jeronimo Belen and again by Fr. Juan Zubelsu in the later half of the 17th century.

The 5-storey hexagonal bell tower

It was burned in 1836 and its roof repaired with galvanized sheets by Fr. Miguel Portell (who also built the convent).  In 1898, the church was burned by Katipuneros to drive out their enemies in the convent. Fr. Justo Quesada rebuilt the present church and convent from 1903 to 1905.

The convent

The church’s three-level, High Renaissance facade has semicircular arched main entrance with recessed door jamb and flanked by segmented arched windows and superimposed pilasters topped by pinnacles.

Church interior

Main altar and retablo

The second level has a semicircular arched window flanked by two smaller semicircular arched windows (above which are small triangular pediments).

Historical marker installed by the Philippine Historical Committee in 1939

Its balustered pediment has a blind circular window at the tympanum, above which is a small statued niche.  On the church’s right is its five-storey, hexagonal bell tower, with blind and open semicircular arch fenestration, and topped by a dome.

Right side altar

Left side altar

Church of St. Catherine of Sienna: Guttieres St., Brgy. San Roque, Samal.  Tel: (047) 451-1101. Feast of St. Catherine of Sienna: April 30.

How to Get There: Samal is located 111.3 kms. (a 2.5-hr. drive) from Manila and 14.6 kms. (a 25-min. drive) north of Balanga City.