XXX. SS-Files: Ang Pagkarapâ, Part Two – “The Young Escultor and the Old Encarnador”

After I put out the advert for it, there were a fair number of polite inquiries about the Vecin Workshop's Tercera Caida for sale, but given its not inconsiderable scale (and consequent cost no doubt), it just wasn't going to be snapped up in a jiffy.  Fortunately, a local entrepreneur had decided that he wanted to participate in the famed Makati Poblacion Holy Week processions with a Fall of Christ.   Which, surprisingly, was not yet in the processional line-up of what is probably the most beautiful, most traditional, and most devotional of the Holy Week processions in Metro Manila.

His plan was to join the processions for Holy Week 2007 with just the fallen Christ figure, and with the supporting characters (including perhaps our discarded trumpeter / standard-bearer and drummer) to follow in the future.

So that's one Fall of Christ down.  Time to work on ours now.

- - - - -

By mid-September, or shortly before I put out the advert, the new fallen Christ was ready for inspection.  Being modeled on the Salzillo, it was radically different from either of the two Christs from a few months earlier.

Over the next few months, the supporting characters started to take shape too.  The Roman Captain, based on antique examples from other Tercera Caida tableaux and from a figure in Kiko Vecin's own collection, came out with left hand on waist and right index finger pointing, not too different from its traditional conception from earlier in the year. 

The two Jewish temple guards were coming along nicely too.

And the Simon of Cyrene was looking quite exceptional, almost like, shouldn't we use this for the image of a saint instead?

His head was finely and most compassionately carved.

But I guess nothing could still beat the head of the Christ, carved by Kiko Vecin's young apprentice sculptor over many weeks and months of evening discussions and quiet reflection in the Vecin Workshop premises. 

After a few more months of air drying, the individual figures could be configured more closely to their target positions. 

And the whole ensemble was thus ready for preliminary staging just three days after Christmas 2006.

After a week-long holiday break, the Vecin Workshop staff got back to work.  The obvious next step was to paint the figures. And Kiko's long-time encarnador (painter of religious images) had presumably the most difficult challenge with the head of Christ.

We need to remember that the encarnador's objective was not really to slavishly copy the Salzillo Cristo, but simply (what an understatement) to be inspired by it enough to somehow bring out a truly devotional image from what his young escultor colleague had already carved.  Separately, we had also expressed a preference for a not-too-bloodied or -bruised head of Christ, unlike the Cristos of most Tercera Caida tableaux in the Philippines.

We thus eagerly awaited to see how the encarnador would respond to all these explicit artistic challenges, and some other implicit ones, not all of which were even perfectly consistent with each other.

By the end of January 2007, here's what we had: 

I don't know about you, but I confess that I have not yet seen any other Christ image face-to-face that met the aforementioned artistic objectives as well as this one had.  Not even close.  And if those shots above didn't get you, what about this one:

The more pious and fragile amongst us might break down and cry in the presence of such an image.  Or start putting ashes on one's head and wearing a hair shirt.

Now here's the inside story.  This accomplishment is especially significant because the old encarnador, now in his mid-seventies, was ill, had a variety of lingering illnesses, and had in fact just gotten out of the hospital when he painted this Christ.  Upon seeing this image, another of the Vecin Workshop's regular clients remarked, Nakuha pa niyang gumawa nang ganyan?!? (You mean, he still managed to create something that exceptional [despite his severely deteriorated health]?!?).  We all smiled and wondered what else the old artist might have been able to accomplish if he were younger and in better health.

The next few weeks also saw the supporting figures being painted. Separately, the Vecin Workshop's maker of garments also managed to complete all the needed clothing.  In just a month later, or by early March, everything was complete.  Simon of Cyrene was looking quite spiffy:

And so were a temple guard and the Roman Captain:

This meant that we were ready to go for another test-staging:

The only adjustment we deemed necessary was to fasten the guard's rope around Christ's head, like a noose, thereby shamelessly copying Salzillo's staging.

All throughout this, the Christ was a solid model of stoicism, silent grace, and acquiescence with the Father's will.

Another inside story coming up. It was at this point as well that a curious feature of this figure of Christ became clearly evident. Just as with Salzillo's La Caida Cristo, the form and pose of the image seemed to change depending on which angle it was viewed from.  No doubt this is because unlike other more conventional straight-standing processional images that essentially operate in only one or two dimensions of space, this twisted figure of Christ was active in three planes, and appeared to move into a fourth, depending on how one cast his gaze at it.

The Christ didn't move, nor did He avert His gaze momentarily. It was my camera and I who did.

By mid-March, the final component was ready to roll, quite literally.  This was the custom-made carroza, also from the Vecin Workshop, of some obscure but non-endangered variety of hardwood found in the mountains south of Manila.  With an overall height of over six feet, and the top floor measuring five feet wide by ten feet long, it conformed exactly to Kiko Vecin's design specifications to ensure that it would serve as a worthy "theatrical stage" for this tableau.

Given its size and mass, double solid steel wheels were specified throughout, mated to a rigid solid metal chassis with coil-spring suspension.  And the design and carvings on its body, on all four sides, were certainly nothing to be sniffed at either.

And so with Holy Week just a week away, we were all set. Almost.

- - - - -

Post script: The other Christ head that had by now been earmarked for Makati Poblacion was also painted quite nicely by the Vecin Workshop's long-time encarnador, immediately after he had painted our Christ.

Not bad at all, but I'm not conceding anything. Would you?

[Continued.]

- - - - -

Originally published on 17 April 2007.  All text and photos copyright ©2007 Leo D Cloma. The moral right of Leo D Cloma to be identified as the author of this work has been asserted.

Original comments:

nsconsolacionycorrea wrote on Apr 18, '07 The Cristo is wonderful!!!!!

coolkiko wrote on Apr 18, '07 very cool... dude,,, you can view my lent in the province album maybe it will interest you also. the mater dolorosa's caro is made out of silver.. one of only two known in our province

arcastro57 wrote on Apr 18, '07 Wonderful documentation.."The Making Of Our Family's Tercera Caida"! Like watching a movie unfold...

alvinjay2000 wrote on Apr 18, '07 I agree Alex, Im all inspired na tuloy na magpagawa uli ng santo! This is what all of us serious santeros wanted to have as your paso or santos, that they should be made of high degree of quality and envokes a feeling of awe and inspiration for other people to see.

robbyandharry wrote on Apr 19, '07 you really documented your Tercera Caida well... cheers Leo!

XXIX. SS-Files (The Semana Santa Files): Ang Pagkarapâ, Part One – “A Pandora’s Box”

Today, we begin a new Akyat-Bahay sub-series on Semana Santa (Holy Week) processions and related artefacts and stories.

- - - - -

We start this off with a follow-through on an article published here in September last year, wherein I advertised, quite cryptically, that a seven-figure, full-sized (five-foot-scale) processional tableau of “La Tercera Caida” (The Third Fall of Christ) was then being made by the renowned Francisco Vecin Workshop of religious art in Makati City, for completion in time for Holy Week 2007.  As it would be unlikely that any artist or craftsman would simply initiate the creation of such a large work without a specific commission, it might have led some readers to wonder what the real circumstances were behind the advertised sale.  With Holy Week recently over, now the full story can be told.

- - - - -

In April 2006, shortly after Holy Week, I had, on my family’s behalf, commissioned a “Third Fall of Christ” processional tableau from the Vecin Workshop.  Our plan was to use this to participate in the Holy Week processions in our ancestral home’s newly-spun-off parish in Caingin, San Rafael, Bulacan.  The family would offer it in memory of my late grandmother, who died in October 2004 at the age of ninety-two.  (She was quite legendary throughout her long life, mainly because she had been a first-grade teacher in the public school right across the church for more than four decades, and therefore just about everyone who had ever lived for miles around had been her pupil at one time or another.)  This would also be a sort of culminating project following the completion of the two-year renovation of our ancestral home.

Let me digress a bit now.  Ever since I was very young (but old enough to walk), I had keenly participated in the Holy Week processions in our parish in Barasoain Malolos with my grandfather, and, after he died in 1980, with my father.  We would follow either the Valenzuela family’s “Agony in the Garden” or the much grander (with brass band in tow) “Tercera Caida” of the Bernardo family.  

The latter must have made quite an impression on me, because when I had to choose what tableau my family would commission for our ancestral home, there was no doubt in my mind that it had to only be the “Fall of Christ.”  Also, I was mindful that there was an unspoken notion amongst “aficionados” of Holy Week processions in the Philippines that a key performance indicator of the degree of a parish’s development was the presence of a Tercera Caida in its processional line-up, and the quality of such a tableau if present.  It certainly behoved my family and me to at least help the parish achieve this KPI as soon as possible, for whatever it was worth.

In our early discussions that summer, Mr. Vecin and I had agreed that this tableau would be modelled on the best of the “Tercera Caida” examples in the Philippines.  In addition to the aforementioned Barasoain example, there was also the one in Malolos Poblacion, originally commissioned by the leader of Rizal’s “Women of Malolos,” Alberta Uitangcoy Santos, early in the 20^th century.

There was also the famous “Tercera Caida” of the Potenciano family in Biñan, Laguna.

And then there was the equally elaborate “Tercera Caida” of the Hagonoy, Bulacan-based Cruz family.

Kiko Vecin had kindly lent me the above pictures from his extensive photographic collection of Holy Week processional tableaux, so that we could come to a consensus on the key design elements.  After some thought, and after examining these antique examples carefully, we agreed that we would emulate these models in having seven figures: Christ, Simon of Cyrene, two Jewish temple guards, a drummer, a trumpeter-cum-standard bearer, and a Roman Captain directing the whole show from the rear.

We did not know it at that time, but recent photographic research through some very knowledgeable and especially generous online contacts revealed other outstanding “Tercera Caida” examples in other places such as Meycauayan in Bulacan and Santa Rita and Porac in Pampanga.  The latter two were remarkable in that not only did they have silver-plated or solid silver carrozas, but they also had their Roman Captains mounted on handsome white horses from the Roman cavalry.  I’m sure that if we had seen these photos at that time, Kiko and I would have endeavoured to put our Roman Captain on horseback as well.

Santa Rita, Pampanga (Images from online search)

Porac, Pampanga (Images from online search)

As this was to be a large tableau of seven figures and a large bulky cross and therefore a large (mainly long) carroza, it was imperative that the Vecin workshop’s artists and craftsmen got to work immediately.  And so they did, carving the Christ straight away.  By mid-May 2006, the following figure of the fallen Christ was ready for my inspection.

For some reason, Kiko was unhappy with this figure, though I couldn’t really see why – I thought that it was superb and could already imagine in my mind the painted and dressed image that would result from it.  But he had already anyway made another Christ image, which was the one he preferred to work on for our tableau.

The figures of the Roman soldiers, Jewish temple guards, and Roman Captain (standing and horseless) were also started to be carved simultaneously.  Steady progress was being made on all of these for several weeks all the way to the middle of 2006.

Meanwhile in July, through the recommendation of a friend and fellow client of the Vecin Workshop, I had joined a couple of web-based discussion groups devoted to Holy Week processional images.  (That’s how specialized everything seems to have become in today’s fully-wired – or indeed wireless – world.)  One of my first discoveries there was a heretofore unknown to me 18^th century Spanish sculptor of religious images named Francisco Salzillo (1707-1783), who was active in the city of Murcia in south-east Spain.  He was extremely prolific and despite the destruction of many of his works during the Spanish Civil War in the 1930’s, several of his Holy Week processional images and tableaux continue to be processed to this day in Murcia.  By far, the most striking and noteworthy of these has to be his “La Caida,” made in 1752.

Seeing pictures  and even a processional video of this tableau on various websites (whose links were provided by other members of the two discussion groups) inexplicably made me feel weak and numb, like I was drugged or something.  The two-hundred-fifty-year-old tableau was really the finest “Fall of Christ” that I had ever seen, bar none.  Indeed, it was quite possibly the finest Holy Week processional tableau of any scene that I had ever seen. It had no drummer, no trumpeter, and no standard-bearer, but with a minimum of supporting characters, together with an unusually-posed Christ, it seemed to convey the import of the scene much better than anything else ever devised.  One would have to be an atheist to not be moved to devotion and reflection.

I thought, Kiko must see this.  So with laptop in hand, I visit his workshop and show him the video and a slide show of the photographs that I had managed to download from the web.

Fortunately, I was not as naïve and impressionable as I had feared I might be. The pictures and video WERE awe-inspiring.  Even Kiko was dumbstruck after seeing Salzillo’s “La Caida.”

He had even rummaged through his files to show me an old postcard, which he said he had picked up in a Madrid flea market many years ago.  Referring to it as "The Second Fall of Christ," he opined that it had definitely been heavily based on the Salzillo Caida.

(I had subsequently discovered from trawling on the web that this was actually a photograph from the catalogue of a Spanish workshop offering religious images for sale, and that this processional tableau of "La Caida" was being sold by them in the typically Spanish material pasta madera [wood paste].)

Pablo Peinado Caida (Image credit)

And in both our minds, we were thinking – drat! – back to the drawing board for my family’s “Tercera Caida.”  The drummer and trumpeter-standard bearer have to go – they were an unnecessary distraction in the scene.  A few adjustments have to be made to the temple guards – they have to be more dynamic than how they’re usually depicted in the Philippines.  And most significantly, the Christ has to be completely reconceived from scratch.  For how could either of the Vecin Workshop’s just-carved fallen Christs, no matter how well-painted and –clothed they might eventually be, hope to compare with Salzillo’s exceptional and unique Cristo?

It was at this stage that one really comes to value a close relationship with one’s santero.  Conceivably, any other artist or craftsman might have said, “Look, sir, we agreed that you would purchase a seven-figure “Tercera Caida,” modeled on those photographs of other Philippine examples that we looked at a few months ago.  Well, that’s what you’re getting, that’s what you’re going to have to pay me for, and that’s that.  Or I’ll see you in court.”

Instead, Kiko Vecin’s own life-long passion for, and interest in, Holy Week processional images as devotional objects, enabled him to go beyond simply being a supplier of products to clients, and allowed him to realize, even before I did, that he had no choice but to rethink the whole project.  If religious art was created primarily for devotional purposes, it was simply inconceivable that, after one had seen the Salzillo, one would not be inspired by it and not use it as a model.  To ignore it would be both an artistic and a devotional cop-out.

So for most of the rest of that third quarter of 2006, Kiko must have spent considerable time and brain cells examining the Salzillo in detail via photographs, and thinking about how he could, perhaps not really copy, for that would not be the honorable artistic approach, but be inspired by it to create something different for my family and me.

Which left us with at least two unneeded Roman soldiers and two sidetracked fallen Christ figures.  Which is why, before the quarter was over, I had posted the “Fall of Christ” advertisement on this website.  It was really the least I could do, after I had opened the Pandora’s box and given its contents to Kiko Vecin and his workshop.

Thanks to Alex Castro for suggesting the title of this sub-series.

- - - - - 

Originally published on 16 April 2007.  All text and photos (except as otherwise indicated) copyright ©2007 by Leo D Cloma. The moral right of Leo D Cloma to be identified as the author of this work has been asserted.

Original comments:

victorancheta wrote on Apr 16, '07 Congratulations Leo! Your family's Tercera Caida is a real treasure! Future generations of santo addicts will surely love it. Also, I've shown Alex another handsome Spanish Caida. I think you'll like it too. It's from Zamora. Although of course, Salzillo's is still the best.

rally65 wrote on Apr 16, '07 Victor, hold your horses, the story's just begun -- let me finish writing it! Ha ha. Where is that Zamora Caida? Can you send it to me too?

pkalabaw wrote on Apr 16, '07, edited on Apr 16, '07 A very inspiring story of a devotee and a devoted religious artist, an exact representation of how religious images/tableau is planned, conceptualized and made into reality, not only as images of devotion but as impressive works of art. You met Mr. Vecin and he met you. I can't wait to read the continuation. By the way, your recommendation of having Mr. Vecin, his desire not only to profit from his trade but also to help devotees realize their dreams, is a priority if the plans will push through regarding the restoration of a silver plated carozza, reconstruction of Calvario and the making of a marian image here in our parish. Thank you as always, wencam of cavite (SSF)

rally65 wrote on Apr 16, '07 Wencam -- Thanks for visiting. Good luck too on all your projects, and God bless.

nsconsolacionycorrea wrote on Apr 17, '07 For me, the best Semana Santa scenes were the dramatic ones like Tercera Caida, La Encuentro Doloroso and etc. I saw a Tercera Caida tableau in Seville (Hermandad de Triana, Madrugada de Viernes Santo); one soldier there was riding in a beautiful horse. Each parish should have a Tercera Caida tableau ..haha!!.

rally65 wrote on Apr 17, '07 So Nikki, why don't you commission a "Tercera Caida" now? ;-) The ones in Porac and Santa Rita, Pampanga, also have horses in the cast. Can you send me photos of the one in Seville?

nsconsolacionycorrea wrote on Apr 17, '07, edited on Apr 17, '07 Here it is You can notice at the back of Christ the weeping women of Jerusalem were there.

rally65 wrote on Apr 17, '07 Wow, a left-handed Cristo for a "starboard" side-oriented tableau! Do please post these in the SSF thread as well if you haven't yet, Nikki.

nsconsolacionycorrea wrote on Apr 17, '07 Okay....as you wish

jvlian wrote on Apr 17, '07 wow i'm looking forward for part 2!

alvinjay2000 wrote on Apr 18, '07 The story is inspiring cant wait for the continuation.

chris1958 wrote on Jul 1, '07 This was great...Thanks for the pics. Made me feel as I was there.

japett wrote on Feb 14, '08 please help me naman . anyone n amayroon contact pewrson sa paete laguna, mag papa ukit kc kme ng dolorosa pls email me or contact me kubijr07@yahoo.com 0922-8890243

paekiss wrote on Apr 29, '10 very nice 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jellocubelo wrote on Oct 7, '10 Fascinating. I have a copy of the estampita of this that Sir Louie distributed. =)

rally65 wrote on Oct 7, '10 Good to know that the stampita got that far!