Much of the story of its disappearance in June 1982 is unknown. All that can be said is that some time after its disappearance, the image reached a Metro Manila antique shop where it was seen and purchased by a private individual. It has remained in his home all these years. At some point, the owner heard rumors of a missing icon from Central Luzon and confronted the antique shop owner. The latter related the circumstances of its arrival, insisting that the image was in the shop legitimately. After serious consideration of known facts, the owner decided to wait for a propitious occasion or some sign, but related the story to a few friends including this writer.
Late in October 2002, architect Christina V. Turalba and I were at a business meeting and she casually mentioned that she had a project in San Isidro. It rang a bell and I asked her if she knew anything about the town’s patron saint. She in turn asked Mayor Sonia R. Lorenzo, who replied that indeed, their patron saint was gone, that the townspeople have been praying for its return and that people have attributed the town’s misfortunes over the years to their carelessness in the security of the image. The Mayor said she used to pray before the image, a Virgin that "looked sad." For a more precise description, she turned to an old sacristan, Ruperto Flores.
The sacristan’s description, in Tagalog, was a near perfect fit. The image is a painting (Mang Ruping described it as ukit) on wood panel of a kneeling Mary mourning the death of her Son – "Nuestra Señora de la Soledad," the same as that venerated in Porta Vaga in Cavite City. The painting is embellished with gold-and-silver appliqués – the Holy Spirit above, two little flying angels parting drapes at the sides, the Virgin’s gold rostrillo (rays around the face), silver lining on her cloak, metal stars around her head and on her cloak, a large boat-shaped and intricately etched silver pillow on which she kneels. The Virgin looks down in grief over the instruments of Our Lord’s Passion – crown of thorns, scourge, spear, nails, pliers. Painted at the bottom left is a galleon on a stormy sea.
The elaborate frame is solid silver, wrought full baroque style with vines, leaves and flowers. Within the frame, against the original faded crimson velvet background, are silver miniatures of an empty cross flanked by two ladders, Veronica’s cloth with three images of the face of Christ, and instruments of the crucifixion. There are also San Pedro’s rooster and key, the pillar on which Christ was scourged, a reed mockingly handed Him as kingly symbol, and a flying angel holding a chalice (to catch the crucified Christ’s blood). There are eyes at the bottom, possibly masks denoting lack of faith, or ex-votos given in thanksgiving by someone for restored eyesight. There is also a man in a priestly robe, either an ex-voto for restored good health or the donor of the image and/or the town priest at the time the image was first installed.
The painting is under glass. There is a long crack on the right side of the wood panel and four holes, possibly where studs used to be. There is some overpainting. The painting and the appliqués are in their untouched, original condition. However, some parts of the frame were missing and the whole was black with tarnish. The owner has replaced the missing parts and the whole is brightly polished – it looks better now than it did when he got it.
On confirming the image’s origin, the owner immediately offered its unconditional return. He prefers to remain anonymous, saying only that he hopes the image will receive better security and care, and that he hopes traffic in ecclesiastical objects will cease.
The Cofradia de la Inmaculada Concepcion, led by founding chairperson Imelda Ongsiako Cojuangco and 2002 hermana mayor Marietta P. Santos (both from Nueva Ecija), is honoring the image at the December 1 Grand Marian Procession in Intramuros. The return of the image is also in memory of deceased Cofradia members Alicia S. Laya and Severina de Asis (2001 hermana mayor).
On November 27, the image was brought to the Holy Family Church at Roxas District, Quezon City, where the son of San Isidro’s devoted sacristan Mang Ruping – retired Monsignor Jose E. Flores – served many years as parish priest. And on December 5, Novo Ecijanos will fetch the image and bring it back in triumph to its long empty place of honor in the church and in the hearts of the people of San Isidro.