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IT is
the Benedictine Monk’s Church. It is also called Our
Lady of Montserrat Church and even has a third name: the
San Beda College Chapel.
On
Mendiola Street near Malacañang, just beyond the small
Chino Roces Bridge,
where many a violent confrontation has taken place, “a
Neo-Gothic façade with twin towers and slender spires
announces the presence of a church,” writes Dom Bernardo
Ma. Perez, OSB. Informally, he likes to call it “a
Gothic Revival-Survival structure.”
Under
the auspices of the Filipino Heritage Festival
celebrated the entire month of May, Father Bobby toured
a group through what has to be one of the loveliest
churches in the
Philippines.
Akin to
viewing large paintings in an old museum, every bit of
the nave’s upper walls and ceiling is covered with the
amazing work of Father Lesmes Lopez, OSB, a Spanish
Benedictine monk who came to the Philippines expressly
to paint religious art in the church. Assisted by
another Spanish Benedictine monk, Dom Salvador Alberich,
who rendered the decorations around the paintings, the
two worked from 1931.
Father
Lopez composed 16 Allegories, one on each panel starting
with Peace, completed three months later. Then followed
Innocence, Meekness and Penance, then Prudence,
Temperance, Justice and Fortitude, Faith, Hope, Charity
and Religion, and Theology, Mystical Theology, The
Church and Heaven and Hell.
Adorning
the sanctuary’s ceiling is the Apotheosis of the Holy
Name of Jesus. Based on Philippians 2:10 in the
Bible—“At the name of Jesus every knee must bend in the
heavens, on the earth and under the earth”—the heavenly
court with God the Father and the Virgin Mary, angels
and saints are depicted on the upper section.
The
lower left section represents races from various
nations, including the Maori (Father Lopez had painted
murals in a monastery in Western Australia, as well as
others in Montserrat, Samos and Monfort in Spain), and
hell’s flames, dragons and tormented souls on the lower
right. Encircled in the middle are Jesus’s name in
Greek, JHS.
“The
totality of space, color and light suggest a double
movement, downward and upward,” Father Bobby said: “The
life of heaven flowing down to earth and humankind,
represented by worshippers, and life on earth gathered
and lifted up to the glory of eternity.”
Completed in 1925, the church was designed by Swedish
architect George Asp, who also designed the earliest
buildings of Holy Spirit College and Saint Theresa’s
College on San Marcelino (now
Adamson University).
Enshrined on the main altar are the images of the Santo
Niño de Praga carved by Maximo Vicente Sr. in 1903,
which occupies the chief place in the center, and the
founders of the Benedictine Order, the twins Saint
Benedict and Saint Scholastica. Our Lady of Montserrat
occupies her own spot left of the altar. Sanctuary
panels depict the eight events in the child-life of Our
Lord.
Completing the artistic sweep of the church, 14
additional paintings around the sides of the main altar
depict incidents in the Lord’s Way of the Cross,
probably rendered from 1937 to 1939. A choir loft wraps
the interior of the church on all three sides.
Father
Lesmes Lopez remained in
Manila
and died in 1943. His bones rest in the cemetery beside
the apse of the church. Dom Salvador Alberich returned
to Spain in 1939 and died there in 1956.
“This
lovely church is certainly one of
Manila’s
best-kept secrets—one Filipinos may take great pride in
by visiting it,” Anna Maria Harper, the festival
director said.
For his
part, Father Bobby, whose full name is Rodrigo Perez
III, and his religious name is Dom Bernardo, is himself
a living heritage—one of three authors of the book Folk
Architecture, a famous journalist in the ’50s and ’60s
writing about and reviewing cultural events, the stage
manager of the Bayanihan’s first New York performances
in the Winter Garden in 1959, a former trustee of the
Cultural Center of the Philippines, and a former rector
of San Beda College.
The
Filipino Heritage Festival is sponsored by the National
Commission on Culture and the Arts and the Department of
Tourism. |