HISTORY OF BASILICA MINORE DE STO.

NINO CEBU : ICONIC SHRINE OF FAITH

ARCHITECTURE 4B

FLORES, REVEE
SANTOS, LANDER
TALAG, JACK DANIEL
 HISTORY OF BASILICA MINORE DE STO. NINO CEBU : ICONIC SHRINE
OF FAITH

I.​ INTRODUCTION

According to Camus (2024) The Basílica Menor del Santo Niño de

Cebú is a significant historical and religious landmark located in Cebu City,
Philippines. It is the oldest Roman Catholic church in the country and is
known for its rich history and cultural significance. The basilica is dedicated to
the Santo Niño de Cebú, a revered image of the Child Jesus. It is a popular
pilgrimage site and a symbol of faith for Filipinos. The church has undergone
various architectural changes and restoration efforts over the years to
preserve its structural integrity and beauty. Visitors can explore the basilica
complex, including its museum and attend daily rites and offerings. The
Basílica Menor del Santo Niño de Cebú is not only a place of worship but also
a testament to the enduring faith and devotion of the Filipino people. In
addition, The Sto Nino Church’s role in the religious and cultural history of the
Philippines can’t be overstated. Its presence has shaped the faith and
traditions of the Filipino people for centuries, making it a symbol of resilience
and devotion. As a Catholic church with such esteemed accolades, its
historical importance reverberates not only in Cebu but throughout the entire
Philippines, standing as a testament to the enduring legacy of faith and
culture. (Southpole Central hotel, 2024).
The Basilica Minore de Sto. Nino plays a vital role in spirituality as the
church that birthed christianity in the Philippines, gathering devotees
throughout the Philippines to visit and lay down their beliefs, vows and wishes
to the Sto. Nino, not only that the church has an influential role in the
formation of the culture and lives of people making it an integral part of their
lives something that cannot be without one thus it being the Iconic shrine of
faith that has traversed throughout the time alongside its believers and
followers.
II.​ HISTORICAL BACKGROUND

​ The church was first known as San Agustin Church which was later on
changed when the church was elevated into a Basilica according to Old
Churches (N.d) In 1965, Pope Paul VI elevated its status to a minor basilica.
On April 28 of the same year the icon was canonically crowned, joining the list
of holy icons granted similar pontifical coronations such as Nuestra Señora
del Patrocinio, Our Lady of Guadalupe de Cebu, and Nuestra Señora De Regla.
Known as the oldest church in the Philippines, the founding and
construction of the Basilica Minore de Sto Nino dates back to the Spanish
colonial era. According to Camus (2024) The Basilica Minore del Santo Niño
de Cebú has sacred foundations deeply rooted in history. It was founded on
April 28, 1565, by Fray Andrés de Urdaneta and Fray Diego de Herrera, two
Augustinian priests. The basilica’s founding is closely tied to the discovery of
the image of the Santo Niño de Cebú.
The details on how the Image of Sto Nino came to be on the church
dates back onto when Magellan first came on the Philippines According to
PhiLife (2017) On September 20, 1519, a fleet of five galleons under the
command of Portuguese Navigator Ferdinand Magellan at the service of the
king and queen of Spain set sail from San Lucar de Barrameda in search of
the Spice Islands. Their journey took them to Limasawa, a small island south
of Leyte in the central region of The Philippines. Magellan took possession of
the islands and named it The Philipines after King Philip of Spain. Magellans
expedition then moved on towards Cebu. Magellan found the island to be very
hospitable, which motivated him to make the island his base for exploration,
Christianization and conquest. King Humabon and Queen Juana of Cebu
gave him a warm reception as well as embracing the teachings of Christianity.
Magellan gave to Queen Juana a gift during the baptism of King Humabon
and his wife Queen Juana on April 14, 1521; this gift is believed to be the
statue of the Santo Niño housed in The Basilica Minor del Santo Niño today.
As gratitude for their hospitality, Magellan agreed to fight along side King
Humabon who was at war with the neighbouring tribe in Mactan island.
Magellan was killed in the battle. His men then returned to Spain, which
happened to be the expedition which set the record as the first to
circumnavigate the earth. Spain sent another expedition into the South East
Asian Region. An Augustinian priest, named Andres Urdaneta, a world-known
cosmographer who lived inside the monastic walls of the Augustinian
monastery in Mexico along with Miguel Lopez de Legaspi, Basque-Spanish
navigator and a governor, was summoned to lead the expedition. On
November 21, a memorable expedition left Mexico for the Philippines and
arrived in Cebu on April 27, 1565. Cebuanos held suspicion that the
Spaniard’s return was about bringing retribution to Magellan’s death, another
battle broke out. But heavy artilleries and huge cannons forced the natives to
flee to the mountain leaving behind their villages burnt to the ground. As
Spanish soldiers surveyed the debris of the village, a soldier, Juan Camus
found an image of the Child Jesus under the pile of ashes unscathed inside a
wooden box. The burned wooden box left behind during the 1521 Magellan
expedition had preserved the Holy Child carving. Thus where the image was
founded was where the church was built upon.

Figure 1. Devotees seeing the image of Sto Nino

During the establishment of the church it has faced numerous

reconstructions According to augustinianchurches (2012) First Church: On
April 28, 1565, the First convent was founded. The convent was built out of
wood and nipa on the site where the image was found. Diego de Hererra
headed the construction of the convent but the church was by Fray Andres de
 Urdaneta, OSA. It was burned in 1566. Second Church: Fr. Pedro Torres built
again, another church out of wood and nipa from 1605 to 1626 but was
destroyed because of fire in 1628. Third Church: In 1628, Fr. Juan Medina,
OSA re-built the church finally not anymore out of wood and nipa but with
stone and bricks. Fourth Church: In 1731 Fr. Jose Bosqued suggested the
need to demolish the building of the Sto. Niño which was in ruins. And,
eventually built another church on the same site. Fifth Church and final: In
1735, (February 29), the present foundations of the Church was built through
the collaborative efforts of Fr. Provincial Bergaño, Governor-General
Fernando Valdes, Bishop Manuel Antonio Decio y Ocampo of Cebu and Juan
de Albarran. The stones used for the construction of the present church were
quarried from Capiz and Panay by an army of bancas. The church was
finished in 1739. There were no recorded or documented photos of the
churches first to fourth reconstructions.

​ ​

Figure 2. Current state of Basilica Minore de Sto Nino

The only recorded reconstruction of the church was when a 7.2

magnitude earthquake during October 15, 2013 hit Cebu and damaged the
bellfry of the church. According to Camaya (2016) Reconstruction was
completed by March 2016 under the guidance of the National Historical
Commission of the Philippines.
Figure 3. Comparison of the belfry before it was damaged by the earthquake

Figure 4. Reconstruction in 2014 Figure 5. Finished reconstruction in 2016

III.​ ARCHITECTURAL AND ARTISTIC FEATURES

According to Basilica Minore del Santo Niño. (n.d.), The style of the
Church’s facade is a blending of Muslim, Romanesque and neo-classical
features all set in what has otherwise been described as a high degree of
integration. The façade is preserved in its original stone texture and natural
color, conveying an air of simplicity of line and elegance. Bell tower or belfry
serves as a counterbalance to the convent located on the opposite far end. It
has two blind and open windows alternating in shape, ending up in triangular
pinnacles with a circular disc crowned by balusters and a bulbous dome of
Muslim influence. Center section the focus of attention. The arched main
entrance is balanced by the side rectangular corners. A double-edged
triangular pediment crowns the facade. In 1773, the whole interior of the
church was painted.

Figure 6. Facade of the Basilica Minore de Sto. Nino

 Native touches of old geometric design tiles such as corn cobs
designed into the cornices in the main church. Hand carved stairs and church
pews featured some Chinese lions on the banisters (Market Manila. 2007,
February 22)

Figure 7. Chinese Lion Banisters Figure 8. old geometric design

According to Camus (2024) The interior of the basilica is equally

awe-inspiring, with its soaring ceilings, ornate altars, and beautiful stained
glass windows. Each detail has been meticulously crafted to create a serene
and sacred space for worship and reflection.

Figure 9 Interior of the Basilica Minore De Sto Nino

●​ Construction Materials and Techniques

The stones were quarried from Capiz and Panay by an army of

bancas. The molave wood came from the mountains of Talisay and Pitalo and
was transported in bancas hired in Argao and Carcar. Fr. Albarran confessed
that there was much difficulty in quarrying the stones. Despite the seemingly
impossible task, Fr. Albarran was not discouraged. He used white stones to
make the lime, with one banca transporting some 400 pieces of stones. There
was also another obstacle: the lack of chief craftsmen and officers which
forced Fr. Albarran to acquire some knowledge of architecture The church
was finished not later than 1739. According to an author named Vela, “the
church has all the characteristics of a solid construction to withstand all the
earthquakes…” And true enough, the church withstood all earthquakes.
(Basilica Minore del Santo Niño. (n.d.).

Figure 10. White Stones finish quarried from capiz

 ●​ Comparison with Other UNESCO Heritage Churches in the Philippines

Feature Basilica San Agustin Paoay Santa Maria Miag-ao

Minore Del Church Church Church Church
Santo Niño
(Cebu) (Manila) (Ilocos (Ilocos Sur) (iloilo)
Norte)

Architect Muslim, Spanish Baroque Baroque Baroque-Roma

ural Romanesque Baroque, and and Gothic nesque
influence , and Mexican
neo-classical

Materials White Adobe stone, Coral Coral Stone, Limestone, and

Stone/coral and bricks Stone, and And Bricks Coral Stone
Stone Bricks

Structural Design For Thick walls Massive Built on hill Thick wall, and
Tropical and buttresses Buttresses
Climate buttresses

Element Santo Niño Decorated Buttresses Elevated Ornate facade

(oldest Interior with
Religious Carvings
Relic in the
Philippines)

Religious Oldest Oldest Stone Earthquake Fortress Christianity

Significan Catholic Church in the Baroque Church Symbol in
ce Church in the Philippines Visayas
Philippines

UNESCO Not part UNESCO UNESCO UNESCO UNESCO listed

Heritage World listed by its listed by its by its mixed
Status Heritage Site Massive fortress-like European and
since 1993 buttresses element local Influences
element

Images
 IV.​ CULTURAL AND RELIGIOUS SIGNIFICANCES

●​ Role in the local community

Augustinian is known for its unwavering commitment in maintaining,

preservation, and commitment to take care of the Basilica Minore del Sto. Niño De
Cebu. In addition to the responsibilities they made within the Basilica, they are also
actively engage with the local community. Reaching out through socio-pastoral
efforts to uplift the lives of those in need. They organize outreach programs, provide
educational support, and participate in volunteering activities that promote social
justice and compassion (Sinaunang Panahon, n.d.). This includes Basilica del Sto.
Niño Children’s Welfare Foundation, Inc., Sunday Feeding Program, Kan-anan ni
Nino (a soup kitchen program), kinatarcan Island Apostolate, Balay bao Housing
project, Monthly Blood Donation, and Seasonal Socio-pastora Apostolates. As
custodians of the Basilica Minore del Sto. Niño de Cebu, the Augustinian friars
exemplify the spirit of selfless service and dedication, ensuring that the basilica
remains a place of spiritual solace and pilgrimage for all who seek divine grace
(Sinaunang Panahon, n.d.)

●​ Role in the Filipino Faith

​ The Basilica Minore del Sto. Niño de Cebu serves an important role in the
Filipino people as it became a physical representation of our faith. It is not only a
place of worship but also a spiritual center that fosters devotion and religious
practices. The reverence and religious significance that the basilica holds make it a
symbol of deep-rooted faith and cultural identity in the Philippines (Sinaunang
Panahon, n.d.).

​ In addition, the basilica plays an important role as a destination of faith where

thousands of believers come here from all over the Philippines. It serves as a way to
deepen their spiritual relationship with God, ask for blessings, and to express
gratitude for all the abundance and goodness they receive in life. Lastly, it
strengthens the sense of community and Unity among Catholic believers as one
believer of the divine and for everyone who seeks the right path of spiritual journey,
reflection, and renewal of faith.

●​ Declared a UNESCO World Heritage Site

The Basilica Minore del Santo Niño is more than just a historical monument; it
is a living testament to the enduring faith and cultural heritage of the Filipino people.
(Asian Itinerary, n.d.). The Baroque Churches of the Philippines of the ‘Peripheral
Baroque Style’ have maintained its authentic features and admirable building
technology that is reflective of church architecture of 16th-18th centuries Spanish
colonial period. A potential threat to the property is the possible reconstruction of
portions of some of the churches’ original ensemble which were not present during
inscription, in the effort to ensure that the churches continue to function to best serve
their congregations. The efforts by the government geared towards responsible
restoration and conservation have resulted in the retention of the original materials
and substantial features of the baroque churches. The use of the Baroque churches
as permanent sacred places devoted to acts of divine worship of the Catholic faith
continues (UNESCO, n.d.). Although Basilica Minore del Santo Niño is not part of the
UNESCO heritage Site for baroque churches, it deserves to be the one as it
becomes the oldest and historical church in the Philippines.

●​ Religious Festivals and Celebrations

The festivals of Sto. Niño

​ The Basilica Minore Del Sto. Nino de Cebu is deeply connected with the rich
and meaningful cultural heritage in Cebu. The religious traditions associated with the
basilica are joyously celebrated through two prominent festivals: Sinulog and Kaplag.
These festivals not only showcase the rich cultural tapestry of the Sto. Niño devotion
but also highlight the profound significance of these religious events. (Sinaunang
Panahon, n.d.). ​
Sinulog Festival: The Dance of Worship

Sinulog is often referred to as the “Dance Worship”. The said festival is

celebrated annually in Cebu City, Philippines. Participants wearing colorful costumes
while doing dance performances. The festival features street processions, music,
and traditional rituals, creating an electrifying atmosphere of devotion and cultural
pride. (Sinaunang Panahon, n.d.). This image of the Child Jesus dates to Magellan's
time and is now the centrepiece of Sinulog Festival (Asia Tours. n.d.).

According to history, Queen Juana, Rajah Humabon's wife, enthusiastically

danced while clutching the Santo Niño statue. Inspired by her performance, the other
indigenous joined in, resulting in what is considered the first Sinulog dance. This
moment inspired the dance that is being done at the festival today. The word
"Sinulog" is derived from the Cebuano term "sulog," which means "like the
movement of water currents." This reflects the Sinulog dance's trademark
forward-and-backward steps, which represent the gentle flow of a river. The Grand
Street Parade is the highlight of the Sinulog Festival, which takes place on the third
Sunday of January and usually begins at 8 or 9 a.m (Guide to the Philippines, n.d.)

Figure 11. Sinulog Festival

Kaplag: Finding of the Holy Child

​ The kaplag Festival commemorates the historical discovery of the Santo Nino
(the holy Child image) in 1565 by the Spanish explorers. The word “kaplag” means
“finding” if translated. It is celebrated annually with enthusiasm and passion, labeling
an important milestone of the Christian history in the Philippines. Kaplag festival
features reenactments, processions, and spiritual gatherings honoring the historical
significance of finding and miraculous discovery of the Santo Nino (the Holy Child).

Figure 12. Kaplag Festival

 V.​ PRESENT DAY STATUS AND PRESERVATION EFFORTS

Current Condition: Restoration and Conservation Efforts

Figure 13. and 14. Damages after the 7.2 magnitude earthquake in October 2013

The basilica has undergone several restoration works because of the effects
of natural disasters. A strong earthquake with a Richter scale magnitude of 7.2 in
October 2013 caused substantial damage to its structural integrity, especially the fall
of its iconic belfry (Miasco, 2016). Accordingly, the National Historical Commission of
the Philippines (NHCP) launched extensive restoration works, where all interventions
strictly adhered to historical preservation codes. Priority was given to structural
reinforcement of the basilica, conservation of materials, and architectural
rehabilitation to ensure the basilica's original aesthetic value and structural integrity.
The restoration work was finished in 2016, and the belfry was rebuilt to perfectly
reflect its original design (Basilica Minore del Santo Niño de Cebu Official Website,
n.d.). Conservation works on a regular basis include structural monitoring, preventive
maintenance, and the use of state-of-the-art technology to ensure the stability of the
basilica.
 Figure 15. Restoration after the earthquake

Tourism and Economic Impact

Figure 16. Sinulog Festival

The Basilica Minore del Santo Niño de Cebu is an important contributor to the
local economy, especially in tourism. Being among the most toured religious
destinations in the Philippines, it draws local pilgrims as well as global tourists. One
major event that contributes to its cultural and economic significance is the Sinulog
Festival, which occurs every January. The Santo Niño Festival is a celebration in
honor of the Santo Niño, and it involves big processions, street dancing, and
religious ceremonies that attract millions of tourists to Cebu. The tourists visiting
Cebu during this time bring business revenue to the local hotels, restaurants,
transportation services, and souvenir shops. Additionally, the cultural value of the
basilica stimulates heritage tourism, and there are efforts to conserve and market
Cebu's heritage sites.

Challenges and Future Prospects

Although conservation efforts have been extensive, the basilica also has
several threats to its lifespan. Natural catastrophes such as earthquakes and
typhoons are of top concern, for which it will be necessary to adopt new,
sophisticated engineering strategies to improve its strength (Miasco, 2016).
Urbanization and tourism have the potential to endanger it further by causing
overcrowding, pollution, and degradation of historical material. To combat such
threats, conservation plans should include sustainable tourism principles. This
involves managing visitor numbers, imposing stricter conservation measures, and
implementing periodic heritage awareness programs to inform the public about the
need to conserve historical sites (Basilica Minore del Santo Niño de Cebu Official
Website, n.d.).

The Basilica Minore del Santo Niño de Cebu is not just a place of worship; it is
a cultural gem that reflects Philippine identity and heritage. Although restoration has
been undertaken, ongoing conservation efforts are needed to preserve its structural
integrity and historical authenticity. Future preservation plans will need to include
government officials, heritage preservation specialists, local residents, and religious
communities in working together to implement policies that measure tourism
development against sustainable preservation. By combining advanced conservation
methods with traditional architectural craftsmanship, the basilica will be able to
continue inspiring devotion and cultural appreciation for generations.
VI.​ CONCLUSION
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