The Front Stairway
Devout pilgrims to Rome climb up on their knees an uncommon staircase, called Scala Sancta (Holy Stairs), believed to be stepped on by Christ on his way to trial before Pilate. This is the inspiration behind our Santuario’s front stairway with balusters at its railings and granite tiles for its steps. Through this the faithful come in and go out; the place of welcoming and commissioning, that embraces them who come to partake of the Eucharist and sends them off in the manner of committed missionaries to spread the Good News in their own way.
Thirteen steps make up the stairway, a numerological symbolism of the 13 Stations of the Cross.
The Main Portals
At the landing of the stairway are bronze portals etched like triptych by young yet celebrated sculptor, Michael Cacnio. Its design, a fusion of two biblical events, displays the actors present at Ascension and Pentecost, and renders in brass via a linear figurative portrayal of Jesus on top and Blessed Virgin Mary with the Apostles below. Above is a rosette of stained glass bursting trapezoidal rays in yellow and red representing God the Father, and along the outer circle are tongues of fire to symbolize the Holy Spirit. Relatively, the event of Ascension when Christ, before going back to his Father, bade the disciples to evangelize the whole world, plays great influence in the life of St. Vincent de Paúl and his missionaries.
The rays of the rosette spill out to the half-lunettes thus connecting the two side doors to the central portals. Once inside, having passed through the portals, one could follow the right corridor that leads to the Chapel of the Sacrament.
The Chapel of the Sacrament
Tucked in the right corner of the Santuario is a thirty square-meter station for the reservation of the Blessed Sacrament. It is an unpretentious chapel where an eclectic assemblage of stone, glass, wood and brass creates a soft ethereal ambience that makes being and communing with the Lord in his Eucharistic presence very intimate and personal. The chapel’s lofty dome ceiling, covered with clear glass, affords a view of the heavens above. Its tabernacle will also serve as the Santuario’s repository for the reservation of the Blessed Sacrament.
The Chapel of Our Lady of the Miraculous Medal
The apse of the chapel is a well-thought-out retablo with three panels depicting the apparitions of Our Lady to St. Catherine Laboure, DC, in Paris, France, in 1830. The left panel of the retablo holds a high relief that portrays the first apparition (18 July 1830) where the Blessed Mother forewarns St. Catherine of her special mission from God. The second apparition is depicted at the right panel, also on high relief, narrating what happened in the evening of 27 November 1830 when Our Lady appeared, standing on a globe, holding a small globe in her hands and wearing rings with precious stones emitting dazzling rays of light from her fingers. The rays of light, Our Lady explains to Catherine, symbolize graces that are bestowed on all who asked for them. At the center of the retablo is the third apparition in full, free standing image: Our Lady standing on a globe has her hands outstretched downward with the rays of graces coming from the rings on her fingers. The rays are extended so that devotees can reach out and touch them while praying to the Blessed Virgin. On top of this image is the inscription “O Mary conceived without sin, pray for us who have recourse to thee” in Latin. Above the inscription is the reversed side of the Medal: the letter M surmounted with a Cross and below it are the two hearts of Jesus and Mary, its oval frame surrounded by 12 stars. At the foot of each panel are engraved the words of Our Lady to St. Catherine during the three different apparitions. This medal is very significant since it is Mary herself who designed it and commanded its propagation.
The Anterior Columbary
Outside the central portals, one finds two side staircases that descend to the Columbary beneath the Santuario. At the spacious portico of the Columbary two free-standing walls holding an array of niches with colored glass doors welcome the visitor. An abstract graphic, designed by resurging artist, Raul Agner, shows emerald migrating seagulls backlit by melodramatic colors of the setting sun. The V-formation of 8 migrating seagulls is revealed when viewed from the center of the lobby. The numerical 8 symbolizes Sunday, the small Easter, the Day of the Lord who appeared to his disciples on the eighth day after the Resurrection.
Seagulls follow this flying formation to increase aerodynamic efficiency of the flock which is an apt metaphor for solidarity during times of bereavement. The sunset limns the eschatological character of the Columbary, a temporary place to set in while waiting for the coming of the ultimate sunrise to finally rest in the bosom of the Father.
Inch by inch, rises our church revealing unhurriedly an elegant tribute to the splendid beauty of our Creator. Behind this is an array of artistic minds and skillful hands that converge under the creative eyes and meticulous baton of Architect Froilan L. Hong.
