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CHAPTER I THE FOUNDATIONS OF FILIPINO CHRISTIAN LIVING INTRODUCTION “In the beginning was the Word, and the Word was with God, and the Word was God. He was in the beginning with God. All things came to be through him, and without...

CHAPTER I THE FOUNDATIONS OF FILIPINO CHRISTIAN LIVING INTRODUCTION “In the beginning was the Word, and the Word was with God, and the Word was God. He was in the beginning with God. All things came to be through him, and without him nothing came to be. What came to be through him was life, and this life was the light of the human race; the light shines in the darkness, and the darkness has not overcome it.” (Jn 1:1-5) “And the Word became flesh and made his dwelling among us, and we saw his glory, the glory as of the Father's only Son, full of grace and truth. John testified to him and cried out, saying, "This was he of whom I said, 'The one who is coming after me ranks ahead of me because he existed before me.'" From his fullness we have all received, grace in place of grace, because while the law was given through Moses, grace and truth came through Jesus Christ.” (Jn 1:14-18) This Chapter sets the foundation of Filipino Christian Living (FCL). It provides the paradigm by which the course is structured. Such paradigm also serves a guide for evaluation. The students who have taken the course on Filipino Christian Living The University of Perpetual Help System (UPHS), basically a young University, takes pride in being one of the Universities with the greatest number of student population all over the Philippines. It takes pride in being the prime University in the South of Luzon. For almost thirty years, the University has produced graduates who have contributed to the development of the Philippines and countries around the world. What makes a Perpetualite different from all the other students of other universities? The foundation of Filipino Christian Living provides the source of identity of a true and full blooded Perpetualite. A. THE FCL PARADIGM 1. The Cross a. The Cross stands for Filipino Christian Living as Christ-centered. The life of Christ as spelled out in the Gospels is the life that we want to emulate. b. The four corners of the cross represent the four pillars of Filipino Christian Living, namely: CHRISTIAN IN LIVING, CATHOLIC IN DOCTRINE, FILIPINO CHARACTER and PERPETUALITE IN VIRTUE. These principles serve as the basic foundations of the course. They will also provide the basis for evaluation whether the course objectives of the course have been achieved. c. The vertical beam of the cross stands for the relationship between God and the Perpetualite. FCL should, therefore, be Christian in Living and Catholic in Doctrine. d. The horizontal beam of the cross stands for the relationship between the Perpetualite and others: persons and the environment. FCL should, therefore, be Filipino in Character and Perpetualite in Virtue. 2. The Equilateral Triangle  a. The equilateral triangle stands for the Trinity. The Filipino Christian Living is Trinitarian. It is grounded in its belief in God the Father, God the Son and God the Holy Spirit. b. The equilateral triangle also stands for the Holy Family. One of the cornerstones of the Filipino Christian Living is the family. This is clearly mirrored by the UPHS as a family institution. The UPHS is not only a family corporation but treats each member as a member of the Family. Dr. Jose G. Tamayo talks fondly his family which consists not only of his twelve biological children but also of his thirteenth child which is the University of Perpetual help System c. The three equal right angles of the triangle stand for the three human dimensions of the Perpetualite which FCL aims to address to bring about an integral Perpetualite formation, namely: the HEAD, the HEART and the HAND. d. The right angle pointing upwards reminds the Perpetualite that the prime objective of FCL is to bring every Perpetualite to the knowledge, love and service of God. e. The two right angles on the side stand for the incarnational aspect of FCL. The experience of God’s love serves as the driving force to love one’s neighbor. 3. The Circle a. The circle stands for God, the Alpha and the Omega, the center of our lives. b. Inside the circle are the words: “CHARACTER BUILDING IS NATION BUILDING”. This is the core, the motto, the mission of FCL. The UPHS strives to form Perpetualites who serve as instruments for nation building marked with an integral character. This is the brand of a true Perpetualite. 4. The UPHS Logo a. The UPH Logo stands for the UPHS family which includes the students, the faculty, the non-teaching personnel, and the administration. b. The heart of the course is to form individuals who are truly endowed with the Perpetualite identity. B. THE FCL PILLARS 1. CHRISTIAN IN LIVING a. FCL is rooted in the life of Christ. Christ is the source, the reason and the meaning of the life of a Perpetualite. A Perpetualite, thus, adheres to the cross-spirituality. b. FCL is incarnational. It is an encounter with Christ who brings about redemption, empowerment, salvation and mission. c. FCL is relational. It is an encounter not only with Christ but with others. Such encounter brings about opportunities for self-fulfillment and service to others. d. FCL is communitarian. It aims to build a communion of persons united and living according to the teachings of Christ. 2. CATHOLIC IN DOCTRINE a. The founders, Dr. Jose and Dra. Josefina, were devout and active members of the Roman Catholic Church. The founders themselves account the success of the University from their strong faith in Christ and in the Church. b. The UPHS is Marian. The name of the University is taken from the deep devotion of the founders to Our Mother of Perpetual Help. This devotion turned out to be their mission: to “perpetually help” individuals, communities and the country. c. FCL is ecumenical. Though Catholic in doctrine, the University is open to all kinds of faith. It respects and values their dynamism, vibrancy and richness. As a non- sectarian institution, it enjoys the privilege of being the home of persons who witness and share their faith as one community of believers. 3. FILIPINO IN CHARACTER a. FCL takes pride in the Filipino as a people and as a nation. It is for this reason that the UPHS wants to contribute to Nation building through Character building.  b. FCL aims to awaken the Filipino spirit among the students and harness the good Filipino traits in them. c. FCL is inculturated. It aims to live Christ’s life in a Filipino way. d. UPHS though Pilipino also caters to international students. The Filipino is not isolated but aims at communion and provides service to foreign students. e. UPHS also takes pride in being a Filipino institution which provides Filipino health education to foreign students in a foreign country. The UPHS Learning Center in Los Angeles, California, USA has been established in 2004. 4. PERPATUALITE IN VIRTUE a. The main sources of the Perpetualite virtues are the founders themselves: Dr. Jose and Dra. Josefina L. Tamayo. During their sojourn on earth, they exemplified the real Perpetualite identity. b. The secondary sources of the Perpetualite virtues are the twelve children. They were the primary witnesses to the Perpetualite identity lived by their parents. c. The goal of FCL is to form the students of the University to exemplify the virtues of the founders and the twelve children who are the true-blooded Perpetualites. d. Virtues such as family-centeredness, service, love of fellowmen, civic-mindedness, helpfulness, generosity, patriotism, discipline, hope, respect for nature and love of God are some of the core virtues of a Perpetualite. C. THE DIMENSIONS or COMPONENTS OF INTEGRAL FORMATION 1. The Three H’s a. The HEAD: FCL educates the intellect. The cognitive domain involves knowledge and the development of intellectual skills. This includes the recall or recognition of specific facts, procedural patterns, and concepts that serve in the development of intellectual abilities and skills. A Perpetualite is expected to know the basic concepts of FCL. The formation of the HEAD also refers to the categories such as Knowledge, Cognition, Mind, Self- discovery, Doctrine, Education and Prophetic character. b. The HEART: FCL inspires the heart. This domain includes the manner in which we deal with things emotionally, such as feelings, values, appreciation, enthusiasms, motivations, and attitudes. A Perpetualite is expected to bring his knowledge to the level of the heart. He/She is able to defend and stand for what he/she believes. The formation of the HEART also refers to the categories such as Attitudes, Affection, Soul, Intimacy, Personal Integration, Worship and Priestly character. c. The HAND: FCL moves to action The psychomotor domain includes physical movement, coordination, and use of the motor-skill areas. Development of these skills requires practice and is measured in terms of speed, precision, distance, procedures, or techniques in execution. A Perpetualite is able to apply his knowledge and beliefs to everyday living. His/Her acquired knowledge will be in vain if it does manifest in the day to day life of a Perpetualite. Knowledge gained should be expressed in concrete actions. The formation of the HAND also refers to the categories such as Skills, Motor, Body, Service, Pastoral Training, Service and Kingly character. 2. The Mirror’s of the Three H’s The three H’s also refers similarly to the following dimensions or components in education. HEAD HEART HAND Knowledge Attitudes Skills Cognitive Affective Motor  Mind Soul Body Self-discovery Intimacy Service Doctrinal Formation Personal Integration Pastoral Tooling Education Worship Service Prophetic Priestly Kingly 3. The Three H’s Model DR. JOSE G. TAMAYO (THE PERPETUALITE) JONELTA DALTA HEAD HEART HAND Scriptures Self Good Manners Christology Affection Leadership Skills Morals Spirituality Management Skills Ecclesiology/ Community Social Health Building Doctrine Facilitating Sacraments Skills INTEGRAL FORMATION  DR. JOSE G. TAMAYO (THE PERPETUALITE) JONELTA DALTA HEAD HEART HAND INTEGRAL FORMATION D. THE ICON OF OUR MOTHER OF PERPETUAL HELP Look at the copy of the picture. Frightened by the vision of two angels showing Him the instruments of the Passion, the Christ Child has run to His Mother, almost losing, in His haste, one of the tiny sandals. Mary holds Him in her arms reassuringly, lovingly. But notice her eyes. They look not at Jesus, but at us. Is this not a touch of genius? How better express Our Lady's plea to us to avoid sin and love her Son? Christ's little Hands, too, are pressed into Mary's as a reminder to us that, just as on earth He placed Himself entirely in her hands for protection, so now in Heaven He has given into her hands all graces, to distribute to those who ask Her. This is the principal message of the picture. A Byzantine icon, however, it is replete with other symbols. Here are some of them.  APPENDIX I Star on Our Lady's veil. Golden Crown placed on She is the Star Of the Sea.. the original picture by order Greek Initials for "Mother of God". who brought the light of of the Holy See in 1867 It is Christ to the darkened a token of the many world... the star that leads miracles wrought by Our us to the safe port of Lady invoked under the Heaven. title of "Perpetual Help." Greek Initial for St. Greek Initial for "St. Michael the Archangel " He Gabriel the Archangel." He is depicted holding the holds the Cross and the lance and gall-sop of nails. Christ's Passion Mary's Mouth is small for silent recollection. She Mary's Eyes are large for speaks little. all our troubles They are turned toward us always. Red Tunic the color worn by virgins at the time of Christ. Greek Initials for "Jesus Christ." Mary's Left Hand Dark Blue Mantle the supporting Christ color worn by mothers in possessively: She is his Palestine. Mary is both Mother. It is a comforting Virgin and Mother. hand for everyone who calls on Her. Christ's Hands turned Falling Sandal Perhaps, palms down into His the symbol of a soul Mother's indicate that the clinging to Christ by one Graces of Redemption are last thread -- devotion to in Her keeping Mary. STORY OF THE ICON OF PERPETUAL HELP (Rev. John V. McGuire, C.SS.R.) "HOLY MARY OF PERPETUAL HELP" is the title which, according to an ancient document, the Blessed Virgin herself used in bringing her picture into the devotional life of Rome in the closing days of the fifteenth century. This, the Perpetual Help story is the story of a picture of Mary and her Divine Son, our Redeemer, and of the devotion to them which developed around it. Jesus is seen as preoccupied even from his tenderest years with the price he would one day pay in his Passion for our salvation, and Mary is seen as his compassionate Mother. Historically, the story of Perpetual Help is a story of people: an unknown artist who painted the picture on the island of Crete, a merchant who for some reason brought the picture to Rome in 1499, a friend of the merchant to whom he gave the picture and whose wife had visions of Mary, telling her she wanted the picture enshrined for public veneration in a little Roman church (of St. Matthew) between the two great basilicas of St. Mary Major and St. John Lateran. The next people in the story were the men of the religious community of St. Augustine at St. Matthew's who received the picture with joy and soon found that it aroused great devotion among the faithful. There were many liturgical services, impressive conversions, even miracles, so much so that the picture came to be called the miraculous image of Perpetual Help. Then, in 1799, all came to a grinding halt. The people this time were Napoleon and his general in Rome, François Massena. Besides carrying off the Pope into exile, they ordered the destruction of some thirty churches. Among these was St. Matthew's. The Augustinians moved to other monasteries and the miraculous picture went with them into obscurity. In time, the memory of the glorious days was all but forgotten. But not quite. Two new people enter the story. An old Augustinian Brother named Augustino Orsetti had a favorite altar boy, named Michael Marchi, who came to serve Mass at the monastery of Our Lady in Posterula. There, the brother, who had once been at St. Matthew's, often pointed to a picture in the sacristy and told Michael that it was the famous Madonna, made homeless by the army of Napoleon. "Remember, Michael," he would say. Michael remembered. He grew up, became a priest in the community of the Redemptorists (the next people of the story), who had just bought property in Rome (1855) and built a church in honor of their recently canonized founder, St. Alphonsus Maria de Liguori. In tracing the history of their property, the Redemptorists soon came upon the startling discovery that they had taken the place of old St. Matthew's and their church was now the "little church between the two great basilicas"-the very spot chosen by "Mary of Perpetual Help." Now, if only they could find the missing Madonna. And, wonder of wonders, there was among them Father Michael Marchi, erstwhile altar- boy, who had the answer. After a year of prayers, Father Nicholas Mauron, Redemptorist Superior General, petitioned Pope Pius IX for permission to have the miraculous picture enshrined in their church of Sant' Alfonso. The Holy Father was so pleased that he wrote the directive there and then to the Augustinians to arrange for the transfer of the picture from St. Mary's in Posterula to Sant' Alfonso. Later, when the picture had been duly enshrined, the Pope went to pray before it. It is said that it brought tears to his eyes. "How beautiful she is. Make her known," he said. Taking the pope's wish as a pious command, the Redemptorists began at once, and continue to this day to make her known. And this is where the story of Perpetual Help really becomes the story of the people; the thousands of Redemptorists and their disciples who have promoted devotion to Mary of Perpetual Help and the missions who have come to know and love her as their perpetual help. Among these thousands of preachers and millions of devotees, we are pleased and grateful to number ourselves in this parish of Our Lady of Perpetual Help. Since November 20, 1894, we have had our copy of the Miraculous Picture, first in the original little church and then in the great lower church, sometimes raised above the high altar, and sometimes in a side altar shrine. And in the upper church, Mary has her golden alcove, built with funds derived from the sale of parishioners' jewelry, lovingly donated to the loving Mother and her Son. From the beginning, also, we have had special devotions, prayers to her at Wednesday blessings of the sick and since the 20's, and the perpetual Wednesday novena. Memories crowd in on us of the ebb and flow of attendance at the novenas, of the intentions prayed for, of the priests, brothers, sisters and lay folk who have prayed and sung together on so many Wednesdays. Through Mary's intercession, may God grant that the prayers and singing will go on for many years to come. DEVOTION TO OUR LADY OF PERPERTUAL HELP According to the tradition when hading over the Icon to the Redemptorist in 1866, Pope Plus IX expressed the desire that they should make her known to the world. From that time until present day, devotion to the Mother of Perpetual help has spread all over the world. Thousand of copies of the Picture have been dispatched throughout the world and there are many shrines where copies of the original Icon are venerated and regarded as miraculous. Among the best known shrine are those in Boston and New York (USA), Haiti, where Our Lady of Perpetual Help is the Patroness of the country; Santiago in Chile, Curitiba, Belem and Manaus in Brazil, Tequisquiapan in Mexico; Belfast and Limerick in Ireland; Bussolengo in Italy; Torun and Cracow in Poland; Singapore and the most famous of all in Manila (Philippines). The Perpetual Novena which began in St. Louis (USA) in 1927, has made a notable contribution to the spread of this devotion. The Novena has been called ‘Perpetual’, because it is held on a fixed day each week of the year. During the Novena devotions, the faithful not only say the traditional prayer, but they also present written petitions and thanksgiving for favors received. There is also a meditation on some aspect of the spiritual life. Each year in the month of June, in preparation for the feast of Our Lady of Perpetual Help, there is a Solemn Novena, nine days of prayer and reflection on the Christian life. THE MESSAGE OF THE PICTURE The picture of the Mother of Perpetual Help is an Icon, from the ‘eikon’ which means image. An Icon is not a simple representation of saints. It is rather a type of portrait which makes present the person represented in a spiritual way. When praying before an Icon, painted according to specific theological and technical norms, we can deepen our knowledge of the reality of the mystery of Christ, of Our Lady and the Angels and enter into spiritual contact with them. The Icon of Our Lady of Perpetual Help measures 54 x 41.5 centimeters. It is one of the Passion Icons of Our Lady and depicts Our Lady with the Child, with an angel on each side holding the instruments of the Passion. The Child’s hands grasp the hands of his Mother as the sandals falls from His foot revealing the sole. The Greek letters which appear on the Icon indicate the names of the four figures; Jesus Christ, Mother of God, Archangel Gabriel (right) and Archangel Michael (left) The unknown artist of the Icon of Our Lady of Perpetual Help seems to have wished to portray the anguish of Christ as He, contemplating the vision of His future Passion, represented by the instruments carried by the angels, in an abrupt movement lets fall a sandal. These elements of the composition show the reality of the suffering and the Passion of Christ. At the same time the Picture gives evidence of the triumph of Christ over suffering and death. This is depicted by the golden background, which is a sign of the Resurrection and in the manner in which the angels hold the instruments of the Passion. These appear not so much as threats of destruction, but rather as the trophies of victory, taken from Calvary on Easter morning. It can therefore be said that the main theme of the Picture is the mystery of the Passion, Death and Resurrection of Christ. The focal point of the picture is to be found in the clasping of the hands of the Mother and the Child. The right hand of the Mother welcomes the Son, thus stressing the humanity of Christ. The reality of the Incarnation can be seen, as well, in the gesture of the Child, showing of the sole of His foot and clinging to His Mother, as if seeking the comfort of Mary. The hand of the Virgin, however, indicates at the same time the Son of God, highlighting the divine nature of Jesus. Mary, therefore, is represented as the Hodighitria, she who guides us to the Redeemer, to Him who is the ‘the Way, the Truth and the Life’. And she is our Help, who intercedes for us with her Son, who sacrificed His life for us on the Cross of Calvary. The star on the forehead of Our Lady accentuates the role which she has in the plan of our salvation: to be the Mother of God and Mother of all humanity. As we contemplate the Icon of Perpetual Help, so rich in matter for meditation, we can grasp the sense of the Mystery of Christ and deepen our relationship with Him under the guidance of the Mother of the Redeemer. THE CHURCH OF SAINT ALPHONSUS ON THE ESQUILINE The Church situated, on the Esquiline hill between the two basilicas of St. Mary Major and St. John Lateran is one of the rare examples of neo-gothic architecture in Rome. Although dedicated to the Most Redeemer, it was erected in honor of Saint Alphonsus Liguori, the founder of the Redemptorist Congregation and thus bears his name. It was built in 1855-59, according to the plans of the Scottish architect. George Wigley, in the grounds of the Villa Caseria a property acquired by the Redemptorists from the Caetaria family. The Church measures 42 x 14 meters and was consecrated in 1859 by Cardinal Costantino Patrizi. Tradition tells that, while excavating the foundations of the church, there was a gold coin bearing effigy of the Redeemer, this being seen as a good omen. Three doors in gothic style lead to the vestibule of the church. The tympanum over the central door is decorated with a beautiful polychrome mosaic of Our Lady Perpetual Help. Over the tympana of the side doors are two bas-reliefs on the gold mosaic backgrounds, by Antonio della Bitta, depicting on the left Saint Alphonsus and on the right the Redemptorist saint Clement Hofbauer. On the apex of the arch above the central door a stands a statue in carrara marble of the Holy Redeemer. High above this is a magnificent rose window honor of our Lady of Perpetual Help, flanked by two small circular windows. The pediment supports a Celtic cross restored in 1964. One enters by the church by mounting the flight of 24 wide steps, constructed 1932. Inside, the columns of colored marble separate the large central nave from two side aisles. One will note that the architect Wigley did not follow exactly the rules of Transalpine gothic but was seeking a modem interpretation. The nave, separated from the side aisles by wide transversal arches, typical of the neo-gothic of Southern Italy, presents a reach spectacle of polychrome marble. The side aisles contain six small chapels, erected between 1932 and 1939 dedicated to St Theresa of Avila, St Joseph, The Holy Family, St Francis of Assisi, Our Lady of Immaculate and St Alphonsus. The confessionals constructed at the beginning of the twentieth century in florid gothic, following the design of Gerald Knockaert, are the two work of the Redemptorist Brother, Gerardo Uriati, a noted cabinet maker.  The stained glass of the rose window and that of the windows in the side aisles is of French origin and the work of the Dominican Brother, Marcellino Leforestier. During the years 1898-1900, two Redemptorist, the Belgian architect Gerald Knockaert (1845-1928) and the Bavarian painter, Maximilian Schmalzl (1850-1930) dedicated themselves to the embellishment of the church and to maximizing its available space. The painting in the chapels and on the arches of the central nave the work of Schmalzl all date from this time as well as those on the nave through a series of three-mullioned windows. At the end of the nave on the triumphal arch above the entrance to the sanctuary one is struck by the early twentieth century painting, by Eugenio Cisterna, depicting the Coronation of the Virgin with the Angels and Saints of the Redemptorist Congregation. Underneath is the inscription in Latin: “The Holy Mother is exalted above the choirs of angels to the heavenly king-wisdom”. Cisterna is also responsible for the painted roundels of Apostles and Saints to be found above the arches of the side aisles. On the arch of the apse there is another Latin inscription: “You have redeemed us by thy blood and have made us a kingdom to our God”. High above the sanctuary there is a large painted Cross on a gold background, with on either side the coats of arms of Pope Paul VI and the late Cardinal Ritter of Saint Louis, USA. The splendid mosaic in the apse, depicting “The Redeemer enthroned between the adoring Virgin and St. Joseph”, was created in 1964 and superimposed on an earlier fresco by Rodhen. Finally, in 1995 the picture of Our Lady of Perpetual Help (original of XIV century) underwent restoration and was re-exposed for public veneration in a new simpler selling of bronze and glass. This and the restructuring of the sanctuary was carried out under the direction of Fr. Antonio Marrazzo. HISTORY OF TE ICON OF OUR LADY OF PERPETUAL HELP The Church of St. Alphonsus on the Esquiline is an important centre of Christian spirituality and contains the original Picture of Our Lady of Perpetual Help. According to popular tradition the Picture was stolen on the Island of Crete by a merchant who shipped it to Rome in the XV century. It is said that during the voyage a terrible storm threatened the lives of the passengers and that thanks to the intercession of Our Lady all were saved. A short time before his death the merchant decided to entrust the Picture to a friend so that it might be given to a city Church. The friend however, retained the Picture until he was at the point of death. Then the Virgin appeared in a dream to his little daughter and expressed the desire to be venerated in a Church between the Basilicas of St. Mary Major and St. John Lateran. His wife finally consigned the Picture to the Church of St. Matthew. For three centuries it was the centre of devotion on the Esquiline, but after the destruction of the Church of St. Matthew by Napoleon’s troops, it was transferred to the Church of St. Mary in…almost seventy years until the Redemptorist came to Rome. They were building the Church of St. Alphonsus on the former site of St. Matthew and became interested in the Picture. It was rediscovered thanks to a happy coincidence. Fr. Michael Marchi, a Redemptorist …it when he was an altar server, in one of the chapels of St. Mary in Posterula. In 1866, after the Picture had been restored by a polish artist, Leopold Nawotny, Pope Pius IX officially entrusted it to the Redemptorists. A year later when it was being carried in solemn procession through Rione Monti, Our Lady worked a miracle by curing a child a child. This is recalled by a copy of the Picture which can be seen at Via Merulana…276 Since 26 April 1866 the original picture has been preserved in the Church of St. Alphonsus which is today an important Marian Shrine. Pilgrims come there in great numbers from every part of the world and find in the Shrine of Our Lady of Perpetual Help an oasis of prayer, a rich center of spirituality and human friendliness. Everything helps to facilitate an encounter with the Mother…