11 hours Ago By Grace M. Avanzado
If you are a frequent visitor of the south of Cebu, one of the most scenic spots in that direction is the bend that gives a sweeping view of the sea on one side and the famous Boljoon Church on the other. The rich history of this church complex can trace its roots to 1599 when a small chapel — probably made of wood and nipa — was built here. It was dedicated to the patronage of the Virgin Mary.
It took over 90 years for Boljoon to become an independent parish, but after the Moro raid of 1782, the church was completely burned. It took over 10 years to build a new, sturdier one that focused more on stability rather than elegance in its design. At present, even after being restored twice, its façade remains classically sedate.
Its interiors, however, belie the simplicity of its exterior — from the ceiling paintings created by local artist Miguel Villareal to the often mentioned massive 28 pillars made of mortar and lime. Its three laver retablo (centrepiece behind the altar) looks even more spectacular when lit up in the evening and at the opposite end, the choir loft with its ancient bamboo organ is also worthy of one’s admiration. The Augustinian friars were its original gatekeepers; they turned over its care to the Jesuits when they left in 1737.
After more than 200 years, in 1949, the Jesuits transferred responsibility of this church to the Archdiocese of Cebu. In 1599, Fr. Bartolome de Gracia brought the original statue of Our Lady from Spain.
It has survived through the years — from humble chapel beginnings to the revered shrine it now is. This image was granted a pontifical decree of canonical coronation in 2022, in line with the concluding ceremonies in celebration of 500 years of Christianity in the Philippines. In the side chapel, one can see on display various ornate dresses the Virgin has worn on special occasions.
The Boljoon Parish Museum, which is adjacent to the church, itself holds many treasures that prove just how valuable this whole area is in our country’s religious and cultural heritage. The National Historical Commission of the Philippines declared the Boljoon Church as a national historical landmark in 1999; and in the year 2001, it was also declared a national cultural treasure by the National Museum of the Philippines. It is also listed as a tentative extension to the Unesco Heritage Listed Baroque Churches of the Philippines in 2006 along four other churches in our country namely: Church of La Inmaculada Concepcion in Guian, Church Complex of San Pedro Apostol in Loboc, Church Complex of San Isidro Labrador in Lazi and Church of San Mattias in Tumayini.
In early 2024, some exciting news about this church’s holy relics made headlines that sent the local government and the church into a bit of a frenzy. Orland James Romarate, a former Boljoon tour guide, was enrolled in a diploma course on Cebuano Heritage Studies and Conservation Management and his studies brought him to a link on ANC News showing how antiques are auctioned. His quick eye was drawn to four religious panels that appeared to be the ones missing from his beloved church.
In the early 1980s, five of these panels were either stolen or were illegally sold by a priest and up until he noticed them — when 40 years had passed — no one knew what happened to them. After informing the proper people and with further clarification, it was confirmed that the four panels were in the hands of a private collector, acquired through legitimate means, so negotiations began on how the panels could find their way home. This private collector decided to donate the panels to the National Museum of the Philippines as a “Gift to the Nation” so the four wooden relief images of St.
Thomas of Villanueva, St. Ambrose of Milan, St. Gregory the Great and St.
Augustine of Hippo are in their care. One of the panels with the image of St. Leo the Great (the only one left in the church) is kept in the Boljoon Church Museum.
There is still one image unaccounted for — that of St. Cyril of Jerusalem. On May 8, the National Museum Board of Trustees ruled in favor of returning the four panels to the church, after they undergo restoration by expert hands.
The ownership however remains with the National Museum, its possession with the Boljoon Church..
