The Museum of Christian Art (MOCA) has been very much in the news over the last week and unfortunately there has been an extent of misinformation/incorrect statements appearing in the media. The objective of this note is to set the records right.

Three years prior to the inauguration of the Museum in 1994, Prof. Teotonio R. De Sousa, then Director, Xavier Center of Historical Research had been entrusted to prepare an inventory of the art objects in the churches and main chapels of Goa, which he did so painstakingly with field assistance of Mr Fausto Colaco and Mr Felix Ferrao. Based on this inventory, Ms. Maria Helena Mendes Pinto (Curator of Arte Antiga, Lisbon) and Ms. M.da Conceicao Borges (also of the same Museum) after a round through the churches and chapels made a final selection of the art objects to be displayed in the Museum. It is unfortunate that a few volumes of this inventory have disappeared from the Museum when at Rachol. Mr. Victor Hugo Gomes a Graduate in Fine Arts, not Museology, was appointed as Junior Curator. His main task was to collect the selected objects from the churches and the chapels. He left the services of the Museum around 4 months after the inauguration of the Museum.

We can justifiably say that the Museum has one of the finest catalogues of items on display, in India. The inputs to the catalogue have been culled from the inventory painstakingly produced by qualified Museologists from Gulbenkian and the MOCA and with the support of professional photographers. To say that the Museum has no inventory is displaying total ignorance of fact or deliberate attempt to malign.

Providing security cover for a Museum involves providing security guards and electronic surveillance and the extent of coverage by both depends on the budget available. MOCA had been sanctioned an initial budget of Rs 3 lakhs (or Rs. 25000/- p.m.) by the State Government for meeting the costs of security guards, subsequently increased to Rs 4.5 lakhs in recent years. Within this limited budget only four guards (from a reputable Mumbai security contractor who has several industrial and commercial clients in Goa) could be paid for doing duty at the Museum on a 24-hour basis. It is unfortunate that there was only one guard at the time around the change of shift on the evening of 25th January, a lapse on the part of the security contractor for which explanation has been sought, as our contract with them stipulates that at any given time there would be 2 guards at the Museum.

For the other systems that were put in place the MOCA had to find its own funds. It was able to do so but only to the extent of a CCTV system and a burglar alarm system. The CCTV system was used mainly for surveillance of visitors and it did not have a recording system. Frequent power outages and severe voltage surges often caused damage to the Museum equipment and frequently resulted in erratic functioning and false alarms from the alarm system. Because of this and the risk of a short circuit resulting in fire, a set of keys were kept with the security in charge. Security at the MOCA was provided to prevent theft and burglary. What took place at the MOCA on 25th January was dacoity i.e. armed forceful entry. The cost of provision of armed guards would have been outside our budget.

With regard to insurance cover, it may be noted that when MOCA tried to insure the Museum and its objects, we were informed that there were no schemes in India to insure Museums because of the high and indeterminable antiquity value of the objects and even if it were possible the premium involved would have been extremely high. We were also informed that Government owned and sponsored Museums are not insured but usually function under a sovereign guarantee.

MOCA had no role to play in either receiving or disbursing of funds for setting up the Museum. The Gulbenkian Foundation and INTACH who funded the project handled this between them and on completion handed the Museum to the Museum of Christian Art Society. No funds were provided by either The Gulbenkian Foundation or INTACH to the Museum for its operation. This was solely the responsibility of the Museum of Christian Art Society. A fund collecting arm of the Museum, ‘Amigos de Rachol’ under the chairmanship of Bal Mundkur set out to collect funds through donations for the Museum and advertisements for a souvenir brochure. The ambitious target of collection was not met and we were told by ‘Amigos de Rachol’ that this was because expenses incurred were high. The Museum finally received a sum of Rs 1.6 lakh towards the Corpus fund and copies of the brochure for sale through the museum shop.

In hindsight, it has become clear that the security systems in place were inadequate for this kind of armed assault on the Museum which has resulted in the loss of life of a guard and the loss of 5 precious items of gold. Subsequently the Museum has already taken steps to enhance security in all respects to prevent any repeat attempt at dacoity in its premises.

We appeal to all Heritage lovers to volunteer with funds and services towards the protection of the precious items in the Museum and come forward with constructive suggestions as opposed to virulent attacks on the Committee members who are giving a lot of their time and energy, with no personal gain, for the preservation of Goa’s heritage.

Fr. Avinash Rebelo
President
Museum of Christian Art
Santa Monica Convent – Old Goa

The Museum of Christian Art at Old Goa (MOCA) recently celebrated Museum Week from the 15^th-22^nd of May 2011 around International Museum Day.

On this occasion a collection of Holy Pictures and religious memorabilia belonging to the Late Amalia Aida de Santa Rita Vas, and photographs of all the Parish Churches of Goa from the book by Jose Lourenco were on display throughout the week from 15th-22nd May at MOCA.

On 15th May amateur and professional collectors displayed their collections on Collectors’ Day – from 4.00 to 6.00 pm. Daniel D’Souza, Dan Driscoll, Ana Maria Goswami, Karishma Alvares, Earl Lourenco, Mia Marie Lourenco, Kirk Lourenco, Linnet Serrao, Tagore Gracias, Prita and Sunil Sardesai exhibited their ceramic landscapes, religious icons and articles, bronze curios, currency notes, stamps, coins, pencils, frogs souvenirs, spoons, perfume bottles and miniature bottles. The matchbox collection of Late Fernando Carmo de Santa Rita Vas was also displayed. The afternoon was spent interacting with the Collectors and learning about their collections.  This was followed by a Musical Evening at 6.15 pm by Joanne Fernandes – Kingfisher Voice of Goa 2009 who enthralled those present with her Gospel songs.

On 18th May (International Museum Day) MOCA in collaboration with Bookworm hosted full day activity for children. The morning started with the activity ‘Cholta Cholta’ – walking into the past at Holy Hill, Old Goa. The children learnt about architectural styles, art, and history and sketched while they walked. The afternoon was spent listening to a story of a reliquary box in the Museum and then children crafted their own recycled memory boxes to take back home.

The Museum Week concluded on 22^nd May with SEQC’s ‘Matters of the Art’ a quiz on Art & Culture conducted by Aniruddha Sen Gupta.

Amalia Aida de Santa Rita Vas (1916 – 1988) lived her life quietly and richly. She couldn’t sing a tune, so she whistled hymns like a songbird; she was not married and had no children, so she loved every child she met and welcomed every person she knew; she couldn’t make history, so she made mouthwatering cakes and pancakes; she used no make-up, so her skin was like silk; she was to us, her nephews and nieces and neighbours, a most beautiful and Godly Creature. These ‘holy pictures’ (estampas or santinhos) were to be found in her dog-eared prayer books; but her prayer transcended books and twinkled on us unendingly.

Isabel de Santa Rita Vas

The 159 Parish Churches of Goa are a remarkable showcase of architecture. The style of their façades ranges from Neo-Roman Mannerism and Baroque to Art Deco and Modernism. The quest for these photographs shot over the period 2004-05 by engineer-writer José Lourenço and photographer Pantaleao Fernandes took them over hills and rivers, travelling by motorcycle over 3000 km of roads winding through the Goan countryside.

“It wasn’t easy. Sometimes after reaching a church, we would find the paint in bad condition or a feast pandal covering half the facade or some repairs going on. And we had to figure out which was the best time of the year and the day, to get a brightly lit facade. But it was a very fulfilling, educative and glorious experience,” says Lourenço.

These church photos stand as a record of our times, to inspire us with their beauty and strength and to remind us that we are guardians of this heritage that must be preserved for generations to come.

Jose Lourenco

Earl Lourenco is studying in the Xth standard at Loyola High School. He began collecting currency notes from the age of seven. He has notes from Sri Lanka, Turkey, Cambodia, Vietnam, Trinidad & Tobago, Seychelles, USA, India, Singapore, Oman, Kuwait, Jordan, UAE, Egypt, Poland, Hungary, Peru, Argentina, Brazil, Mexico, Venezuela, Chile, Guatemala and other countries.

When he was seven, Earl went with his mother to a teashop in Margao. The shop counter had a number of old currency notes under its glass top. Earl was fascinated by this little collection of currency notes that had been given to the shopkeeper by various visitors and decided to start collecting notes too. It helps to learn more about other countries, he says, their culture is shown in the images on the back of the note.

Mia Marie Lourenco (aged 12) collects coins from all over the world. Kirk Lourenco (aged 13) collects stamps. Their parents and grandparents tell them of a time when one could buy stuff with a few paise, and when stamped envelopes were important carriers of information and love between family members. Times have changed, but teenagers like Mia and Kirk are still fascinated by these bits of metal and paper.

Jose Lourenco

About two hundred years ago Staffordshire earthenware potters pioneered the transfer printing of decorative designs which opened up a vast new market for reasonably priced dinner and tea – services. Landscape drawn from Italian – near Eastern and Indian sources were popular motifs initially as a result of the Grand tour and British ties with India. In the early nineteen century the British Landscape began to provide a rich source of decoration derived from engraved and printed scenes in topographical volumes. Domestic waves were exported to N. America in vast quantities. Soldiers, administrators and traders were establishing British influence in India and wrote home about the Hindu palaces and temples and the Muslim mosques. For some years therefore the prints on dinner waves were of Italian, near Eastern or Indian scenes.

Originally dark blue, gradually sepia, pink and green prints were introduced. Today landscape wares produced in the first half of the nineteenth century are keenly collected both for their topographical interest (many of the building depicted have disappeared or been altered) and as works of art these scenic illustrations offers a check list of bygone era which have been engulfed by urban sprawl.

Daniel D’Souza is a landscape designer, by profession. He has done his B.Sc (Botany / Horticulture and Gardening) further he went on to do M.Sc (Research) from the Bombay University. He is the pioneer to introduce the Ancient Art of Bonsai in Goa. He was chiefly responsible of the beautification of Panjim City in 2004 – 2007 with beautiful garden, traffic, island, medians etc. He played a major role in the campaign together for Panjim.

Daniel is a serious collector of rare plants, Ceramic landscape ware, British India Coins, stamps, oil lamps, iron keys of Goan houses, nut crackers from Goa and its neighboring states, decanters, hand painted tea pots – milk and sugar pots and mouth blown bottles.

Daniel will be displaying around 20 plates from Indian British scenes depicting Ruins, mosque, battles, monograms and seals, floral and rural life. He will showcase few pieces for the very first time on 15th May – Collector’s Day at MOCA. Be there to get a glimpse of a serious collector’s hobby.

Exhibition of Holy Pictures – 15^th – 22nd May 2011

(Collection of Late Amalia Aida de Santa Rita Vas)

Exhibition of Parish Churches of Goa – 15^th – 22nd May 2011

Collection of Jose Lourenco

Collector’s Day – 15^th May

Time: 4.00 pm – 6.00 pm

Do you have a unique collection of shells, maps, postcards, dolls, stamps, dry flowers…that you would like to display?

MOCA, gives you an opportunity to showcase your unique collection on Collector’s Day

Contact MOCA on or before 10^th May to register

Museum Day – 18^th May

Open to all, entry free

Activity for Children -18^th May

Cholta Cholta – Art and Story – Creating and Crafting Memories – Sketching

Time: 9.30 am – 4.00 pm.

Participation: ages 7 and above

Contact Bookworm or MOCA, to register.

SEQC ‘s Art & Culture Quiz – 22^nd May

Time: 5.00 pm

Quizmaster: Aniruddha Sen Gupta

Venue: MOCA

Participation: Open to all, entry free

MOCA contact details:

Ph: 0832 2285299

Mobile: +91 9890031510, +91 9923298699

Email: museumofchristianart@gmail.com

Website: www.museumofchristianart.com

26 members of St. Andrew’s parish Vasco visited the Museum of Christian Art on Sunday 22^nd August 2010.

The Group got a glimpse of Goa’s rich Christian artistic and cultural heritage that is showcased in the Museum. Some of the artifacts on display at the Museum are no longer seen or in use in Goa’s Churches and it made the group nostalgic.

The group was particularly impressd with the Palanquin used by priests in the earlier centuries, richly embroidered vestments and the Pelican Tabernacle cum Monstrance.

They also visited the soon to be restored Chapel of the Weeping Cross where some of them  shared their childhood memories of having visited  the place.

The hour long visit ended with the treasurer of the group making a generous donation of Rs. 1000/- to the Museum.

Natasha Fernandes

Curator

Museum of Christian Art, Old Goa

In 1999 Japan celebrated 450 years of St. Francis Xavier’s historic visit to Kagoshima. He set foot in Japan soil as a Christian missionary on August 15, 1549. Six years before, the Portuguese had landed in Japan and had introduced the rifle to the Japanese.

The Portuguese are remembered today in Japan for exposing them to the power of the gun and power of the cross of Christ as well.

Given the importance of the encounter of the two cultures, then, an international exhibition was held at six different prefectures for six months called “St. Francis Xavier – His Life and Times”. Among other countries that participated, India too was represented contributing a few exhibits. The Museum of Christian Art (Goa) loaned four priceless items of their collection for this exhibition.

St Francis Xavier dreamt of winning over Japan and other lands of the Far East soon after he landed in Goa on May 6, 1542. Goa was a platform from where he launched his missionary journeys. His dynamic personality, his intense love of God, his vision, courage, and determination has left an indelible mark and an undeniable influence on the people to who he preached Christ. He still inspires and strengthens Christianity in Asia. The respect, love and veneration of the people led to deep religious devotions to the Saint, popularly known by Goans as Goencho Saib. This title is indicative of the roots he has taken in the hearts of his devotees.

I rejoice at the opportunity to guide you now, dear reader to a brief visit to the Museum of Christian Art, situated in the Convent of Santa Monica, Old Goa. A few of the items there speak vividly of the Saint. They will help you to understand how and why St. Francis has been immortalized by his devotees down the centuries. Read the rest of this entry »

The Museum of Christian Art, Goa, will soon commence the work of repairs and restoration of the Chapel of the Weeping Cross within the Convent of Santa Monica, Old Goa.

The work of repairs and restoration of the chapel which has been made possible by a grant from the State Government through the Department of Archives and Archaeology

includes repairs and restoration of the structure and restoration of the artworks, especially the wooden altars, paintings, sculptures and the pulpit.

Historical importance of the Chapel

The Convent of Santa Monica, located on the Holy Hill or Monte Santo in Old Goa is of considerable architectural and historical importance. It was Asia’s first and largest nunnery, whose construction commenced in 1607 and was completed in1627.

The Chapel of the Weeping Cross is an integral part of the Convent of Santa Monica and occupies the southern part of the complex and has a massive height across three stories of the convent. The chapel has four altars. The main altar is dedicated to St. Monica (the mother of St. Augustine, whose monastery located next to the convent now lies in ruins). The two side altars are dedicated to the Bom Jesus (Good Jesus) and Immaculate Mary. There is also an altar dedicated to the Crucified Christ popularly known as the Weeping Cross.

It is stated that on the 8^th February 1636, the image of Christ opened its eyes and from its wounds blood appeared to flow as though it were living. The miracle is said to have occurred again on the 12 of the same month, in the presence of the Viceroy, Bishop, as well as many other people. The image was from then onwards declared miraculous and held in great veneration.

Historically the nave was clearly separated from the chapel altar with a grand archway and had a large choir floor from where female inmates used to attend the services, shielded from the presence of priests in the chapel. The choir floor no longer exists albeit for the massive pillars which then supported it and the nave has been presently converted to house the Museum of Christian Art.