Yuchengco Museum (Makati City)

Yuchengco Museum

Yuchengco Museum

This visual arts museum, opened in September 2005, houses the art collection of Ambassador Alfonso T. Yuchengco, highlighting his distinguished career as a businessman, diplomat, collector, philanthropist, patron of the arts and advocate for education in the Philippines and beyond.

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This museum, as an exhibition venue, aims to be a cultural bridge to the regional Asian and Pacific Rim communities. The museum also aims to bring out the excellent artistic and creative expressions of the Chinese Filipinos as well as look at the best attributes of the twin-heritage, namely the Chinese’s hardworking skills and craftsmanship and the Filipinos’ highly expressive and adaptive sensibility.

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Its Masters Gallery highlights three of the most celebrated Filipino visual artists: Fernando AmorsoloCarlos Francisco and Juan Luna.   Also part of the Museum’s permanent collection are key art pieces from the Yuchengco Group of Companies executive offices consisting of works by Filipino Modernists such as Anita Magsaysay Ho and by National Artists such as Napoleon AbuevaVictorio EdadesJose JoyaAng Kiukok,  Cesar LegaspiVicente Manansala, etc. The YGC Collection also has a sizeable number of works in the folk genre by Angelito AntonioManuel Baldemor, and Norma Belleza, and prints by Boy Rodriguez and Manuel Rodriguez Sr..  Some thematic exhibitions periodically presented in the museum feature these pieces.

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To promote better understanding of art and heritage, collections and creative industries, the museum regularly holds educational and extension programs (Young Curators Program; volunteer and internship programs; etc.) that link various sectors and audiences.  Art workshops on Chinese traditional painting on Shui-Mo or “ink and water” as well as calligraphy are also conducted regularly.

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Yuchengco Museum: RCBC Plaza, cor. of Ayala and Sen. Gil Puyat Ave., Makati City, Metro Manila. Open Mondays to Saturdays, 10 AM to 6 PM.  Admission: PhP100 for adults, PhP50 for students 15 years and below (with valid ID, PhP25 for accompanied children and senior citizens and free for YGC employees (with ID) and UNESCO-ICOM and media pass holders.  Group tours for children below 15 years old must be accompanied by adults and apply for special permission.  The museum also has education and extension programs that link various sectors and audiences and promote better understanding of art and heritage, corporate collections, and the creative industries.  Curator: Ms. Jeannie Javelosa.  Tel: (632) 889-1234.  Fax: (632) 887-5144.  E-mail: info@yuchengcomuseum.org. 
Website: www.yuchengcomuseum.org.

 

This museum, as an exhibition venue, aims to be a cultural bridge to the regional Asian and Pacific Rim communities. The museum also aims to bring out the excellent artistic and creative expressions of the Chinese Filipinos as well as look at the best attributes of the twin-heritage, namely the Chinese’s hardworking skills and craftsmanship and the Filipinos’ highly expressive and adaptive sensibility. 

Its Masters Gallery highlights three of the most celebrated Filipino visual artists: Fernando AmorsoloCarlos Francisco and Juan Luna  Also part of the Museum’s permanent collection are key art pieces from the Yuchengco Group of Companies executive offices consisting of works by Filipino Modernists such as Anita Magsaysay Ho and by National Artists such as Napoleon AbuevaVictorio EdadesJose Joya, Ang Kiukok,  Cesar Legaspi, Vicente Manansala, etc. The YGC Collection also has a sizeable number of works in the folk genre by Angelito AntonioManuel Baldemor, and Norma Belleza, and prints by Boy Rodriguez and Manuel Rodriguez Sr..  Some thematic exhibitions periodically presented in the museum feature these pieces.

To promote better understanding of art and heritage, collections and creative industries, the museum regularly holds educational and extension programs (Young Curators Program; volunteer and internship programs; etc.) that link various sectors and audiences.  Art workshops on Chinese traditional painting on Shui-Mo or “ink and water” as well as calligraphy are also conducted regularly.

Yuchengco Museum: RCBC Plaza, cor. of Ayala and Sen. Gil Puyat Ave., Makati City, Metro Manila. Open Mondays to Saturdays, 10 AM to 6 PM.  Admission: PhP100 for adults, PhP50 for students 15 years and below (with valid ID, PhP25 for accompanied children and senior citizens and free for YGC employees (with ID) and UNESCO-ICOM and media pass holders.  Group tours for children below 15 years old must be accompanied by adults and apply for special permission.  The museum also has education and extension programs that link various sectors and audiences and promote better understanding of art and heritage, corporate collections, and the creative industries.  Curator: Ms. Jeannie Javelosa.  Tel: (632) 889-1234.  Fax: (632) 887-5144.  E-mail: info@yuchengcomuseum.org
Website: www.yuchengcomuseum.org.

Casa Manila (Intramuros, Manila)

Casa Manila

From San Agustin Church, we again boarded our calesa and made a stopover at the 3-storey, colonial lifestyle Casa Manila. This museum, built in 1981, is a faithful, beautifully-done reproduction of a typical mid-19th century Spanish bahay na bato residence of Binondo merchant Don Severino Mendoza that once stood along Calle de Jaboneros in San Nicolas, Binondo.

The courtyard

It has a façade of balconies and a overhanging wooden gallery, a beautiful inner courtyard and antique Philippine, Oriental and European furniture and furnishings. Designed by Arch. Jose Ramon Faustmann with interiors by Martin I. Tinio, Jr., it is a window to the opulent 19th century lifestyle of the gentry.

The courtyard fountain

Though the house is just a reproduction, its exhibits aren’t.  No photography was allowed inside.  On display are antique 17th to the early 20th century jewelry, finely-crafted local, Chinese and European furniture and other items from the Intramuros Administration’s collection.  

L-R, Miguel, Mark, Matthew, Vicky and Francis

Casa Manila: Plaza San Luis Complex, Gen. Luna cor. Real St., Intramuros, Manila.  Tel: (632) 527-4084. Open Tuesdays to Sundays, 9 AM to 6 PM.  Admission: Php50 for children, students with valid ID and faculty members; and PhP75 for adults.

San Agustin Church (Manila)

Francis and Vicky Dionela, our balikbayan relatives, from Vienna, Austria, were in town  and my brother-in-law Mark and I toured them around Intramuros, availing of a calesa to do so.   Joining us were Mark’s sons Miguel and Matthew.  The first stop in our calesa tour was  the San Agustin Church.  I have been inside this church a couple of times, notably during the wedding of the former Susan O. Bilog, my wife’s first cousin, to Alfredo Azarcon on January 31, 2001.  However, this was my opportunity to explore it in detail.  During our visit, the church was again being prepared for another wedding.

San Agustin Church

Named after St. Augustine, Bishop of Hippo, San Agustin Church is the fifth church to be built in the country.  The mother church of the Augustinian Order, it is said to be the first mission constructed in Intramuros after the defeat of Rajah Sulayman by Miguel Lopez de Legaspi in 1571.  The first two churches were destroyed by fire on December 2, 1574 during invasion of Chinese pirate Limahong and by fire caused by a candle spark on February 28, 1583 during Gov.-Gen. Gonzalo Ronquillo de Penalosa‘s funeral.  Again fire damaged the church on the evening of March 30, 1586.  It was also damaged during the major earthquakes of 1645, 1754, 1852, June 3, 1863 and July 19, 1880.  During World War II, it was the only church in Intramuros (there are 7) to have survive the American bombardment during the liberation of Manila in 1945. Only the roof was destroyed.  However, the adjacent monastery was totally destroyed but rebuilt in 1970.  It is now the San Agustin Museum.  In 1994, the church was declared by the UNESCO as a World Heritage Site for Baroque Churches.

       
The adjacent San Agustin Museum

The present 67.15 m. long and 24.93 m. wide church, one of the most typical examples of the colonial Semi-Classical styles, was built between 1587 and 1604 by Juan Macias (said to be a Pampango builder) using hewn adobe stones quarried from Guadalupe, Meycauayan, San Mateo and Binangonan.  It has not undergone major change except for minor restorations and its being able to withstand 5 major earthquakes is attributed to its elliptical foundation (like the hull of the ship) and 1.5-m. thick walls.

       
Corridors leading to the San Agustin Museum

Its design shows Mexican influence.  The unassuming Neo-Classical façade has two levels.  The first level has 4 pairs of Ionic columns and statued niches filling the walls.  The second level has an equal number of Corinthian columns, semicircular arches and square windows.  Above it is a triangular pediment with a circular window.

       
TheProto-Baroque molave main door

The church interior is in the form of a Latin cross.  It has 14 side chapels. The original retablo, built in 1671 by Juan de los Santos, was replaced in 1681, coated with gold leaves in 1704, but was defaced in the British invasion in 1762.  The courtyard entrance and columned facade are guarded by granite lions (fu dogs) given by Chinese converts. 

       
The church interior

The church originally had two four-storey hexagonal bell towers, but the left one was dismantled after the 1863 earthquake.  It has an intricately carved, 24 ft. high and 16 ft. wide Proto-Baroque molavemain door with 4 panels depicting Augustinian symbols, an exquisite Baroque narra pulpit carved in 1627, tombstones on the floor and 12 side chapels (originally 14) dedicated to various saints. 

     
The tromp-l’oeil ceiling

Its vaulted tromp-l’oeil (from the French word meaning “deceives the eye”) ceiling, from which hang 16 crystal chandeliers from Paris (1879-80), was painted by Italian artists Giovanni Alberoni and Caesar Dibella in 1875.  Viewing it from below, the designs appear as 3-dimensional.

      
The pulpit

The magnificent choir loft, the only one of its kind in the country, has 68 beautifully handcrafted molaveseats with ivory encrustations supported by huge elliptical arches.  It was ordered by Fr. Miguel Serrano and brought in from Macao by Bishop Hernando Guerrero in 1614.   A crucifix here dates from the 17th century.  The big lectern has 16th and 17th century cantorals.

       
The main altar

Its 18th century pipe organ was newly-restored and inaugurated on November 1998.  Its classical tones, to which are attached renowned composers  Fr. Manuel Arostegui and Pakil (Laguna)-born Marcelo Adonay, echoed again during the 3-day Second International Music Festival  hosted by San Agustin Church.

       
A side altar

The remains of Miguel Lopez de Legaspi, Martin de Goiti, Juan de Salcedo and various early governors and archbishops are buried in a communal vault in a side chapel to the left of the main altar. Their bones were mixed up when the British desecrated their graves when they sacked Manila from October 6-7, 1762.  The reclining bronze statue of Legaspi was done by Spanish sculptor Juan Miguel Iriarte.  The remains of painter Juan Luna, and statesmen Pedro Paterno and Trinidad Pardo de Tavera are also housed in the church.


Another side altar

San Agustin Church: Cor. Gen. Luna St. and Calle Real, Intramuros, Manila.

Minor Basilica of the Black Nazarene (Quiapo, Manila)

From Binondo Church, Jandy and I had to walk some distance to make it the Minor Basilica of the Black Nazarene, more commonly known as Quiapo Church.  This church was first built with nipa and bamboo by Franciscan missionaries but was burned by Limahong in 1574.  It was founded by Franciscan Fr. Antonio de Nombella in 1588, burned in 1603, reconstructed by Gov.-Gen. Santiago de Vera in 1686, destroyed by the British in 1762 and during the June 3, 1863 earthquake, reconstructed by Fr. Eusebio de Leon in 1879 and completed under the auspices of Fr. Eusebio de Leon and Fr. Manuel E. Roxas Manio in 1889.  It was destroyed during the October 30, 1929 fire (only the belfry and scarred walls remain). 

      
Minor Basilica of the Black Nazarene

The current church, the fourth on the site, was built with plans prepared by Arch. Juan Nakpil from 1933 to 1935.  Arch. Jose Ma. Zaragosaenlarged the church and changed the design of the lateral walls in 1984, retaining the facade and the large, imposing central dome at the transept.  The church was conferred the title Basilica Minore de Nuestro Padre Jesus Nazareno in 1988.

      
Interior of the basilica

The church’s distinctive Baroque facade has twisted Corinthian columns on both levels with the second level having 1/3 of the shaft near the base twisted and the rest smooth. The triangular pediment‘s tympanum has a pair of chalice-like decorations and urn-like vases at the ends of the raking cornice.  The church has 3 4-storey bell towers with the topmost portions balustered and decorated with huge scrolls.  

Inside are a high altar of carrara marble and the Shrine of the Black Nazarene, a miraculous, life-size statue of Christ bearing the cross that was carved in dark wood by Mexican Indians and brought to Manila by galleon in 1606.  It now sports a deeper tan color darkened with age and by the constant wiping of hankerchiefs by religious devotees.  Devotees flock to the church every Friday.    The Feast of the Black Nazarene is held on January 9.  

Minor Basilica of the Black Nazarene: cor. of Plaza Miranda and Quezon Blvd., Quiapo, Manila.  Tel: (632) 733-4944 to 45.  Fax: (632) 733-4434.

Minor Basilca of San Lorenzo Ruiz (Binondo, Manila)

From the National Shrine of the Perpetual Adoration of the Blessed Sacrament in Sta. Cruz, Jandy and I walked towards Escolta and then turned right at T. Pinpin St. to get to the Minor Basilica of San Lorenzo Ruiz, more popularly known as Binondo Church.  Founded by the Dominicans in 1587, it similarly was built, just like Sta. Cruz Church, to serve Chinese converts.  Built before 1614, the original church was destroyed during the British bombardment in 1762. Its dome was constructed in 1781 by Domingo Cruz y Gonzalez.  St. Lorenzo Ruiz, after whom the basilica was named, trained in this church before leaving for Japan as a missionary. 

Minor Basilica of St. Lorenzo Ruiz


The church was slightly damaged during the June 3, 1863 earthquake and was repaired between 1946 and 1971, after severe the World War II bombing on September 22, 1944 (only the Western facade and bell tower survived), and enlarged.  The basilica’s imposing, still original (with some renovations) Italian High Renaissance facade is buttressed on the sides by pilasters terminating in urn-like decorations.  Its pediment, framed by a foliated scroll and topped by a tower at the apex, has a centrally located small circular window framed by smaller columns and pediment.  

The basilica’s interior


The original 6-storey octagonal bell tower, which suggests Chinese culture, has pedimented window openings and cantons at the angles.  Inside the church are ornate pastel-colored reredos behind the main altar and it houses the image of Nuestra Señora del Rosario (Our Lady of the Rosary).  Fronting the church is Plaza de Calderon de la Barca (or simply Plaza Binondo).  

Minor Basilica of San Lorenzo Ruiz: Plaza Binondo, Q. Paredes St., Binondo, Manila.  Tel: (632) 242-4850 and 242-4041.  Fax: (632) 241-4653

National Shrine of the Perpetual Adoration of the Blessed Sacrament (Sta. Cruz, Manila)

After lunch at a MacDonald’s outlet in Sta. Cruz, Jandy and I went on a walking tour of 3 of the churches in the vicinity.  Fittingly, the first church we visited was the nearby National Shrine of the Perpetual Adoration of the Blessed Sacrament, more popularly known as Sta. Cruz Church.  This church was founded by Jesuits in 1608 to serve Chinese converts.  Its courtyard was the scene of the formal return of Manila to Spain on May 31, 1764, after Britain’s 20-month occupation.

National Shrine of the Perpetual Adoration of the Blessed Sacrament

This church, built and administered by the Jesuits up to 1768, was damaged during the June 3, 1863 earthquake and rebuilt in 1868 by Fr. Agustin de Mendoza.  It was again damaged during the July 19, 1880 earthquake and destroyed during the fighting in 1945.  The church was rebuilt in 1957.

The church interior

The church’s characteristically Baroque façade has Ionic columns that divide the first 2 levels into 3 parts.  It also has 3 semicircular arched entrances at the first level, a centrally located rose window flanked by semicircular arched windows at the second level, and a pediment with an undulating raking cornice and a centrally located statued niche with a broken pediment.

On the church’s right is a 6-storey domed bell tower. The church’s interior has a mosaic altar background done by Elizabeth Chan.   The statue of the Nuestra Señora del Pilar (Our Lady of the Pillar) brought from Spain prior to 1768, was canonically erected in this church in 1743.

National Shrine of the Perpetual Adoration of the Blessed Sacrament: Plaza Sta. Cruz, Manila.  Tel: (632) 733-0245 to 46.  Fax: (632) 733-0239.

Church of the Holy Sacrifice (University of the Philippines, Quezon City)

After my coordination meeting at the New Day Publisher’s office (where we discussed my forthcoming book “A Tourist Guide to Notable Philippine Churches”), I proceeded to the University of the Philippines in Diliman, my college alma mater, where I had lunch at the U.P. Coop.  After lunch, I walked over to the flying saucer-shaped Church of the Holy Sacrifice to take pictures for inclusion as one of the churches featured in my book as well as in the “About the Author” section.


The Church of the Holy Sacrifice

This exemplary example of modern religious architecture is the first round chapel in the country with an altar in the middle, as well as the first to have a thin shell concrete dome.  My late uncle and National Artist (1990) Leandro V. Locsin, then a young 1953 architecture graduate of the University of Sto. Tomas, was commissioned by U.P. Jesuit chaplain Fr. John Delaney S.J. to designed the chapel. Four other National Artists also contributed their artistic talents: sculptor Napoleon Abueva (1976), painter/sculptor Arturo Luz(1997),  Ang Kiukok (2001) and the late painter Vicente Manansala (1981). Locsin experimented with new forms by using a thin concrete shell for its roof.  Its structural design was done by the late Engr. Alfredo L. Juinio, the first Dean of the U.P. College of Architecture.  
      
The cross done by Napoleon Abueva

The pillars were located at the sides of the church so that there are no supports to block the space inside.  The dome’s unique design allows for natural lighting and ventilation. At the center of the dome is a circular skylight which, in turn, supports a triangular bell tower. The bell tower extends to the interior, supporting the crucifix. The chapel’s cornerstone was laid on March 19, 1955 (St. Joseph’s Day), actual work started on May 2 and its dome was poured on August 14.    On December 20, 1955, the first mass was celebrated here. Since its completion, this church, which can easily accommodate 1,000 people,  has come to symbolize oneness with the community and the environment, an open church for an open university.  I used to hear mass here after Saturday R.O.T.C. training.  The chapel is open day or night.
      
One panel of Vicente Manasala’s Stations of the Cross

The huge, commanding double-sided crucifix hanging from the ceiling above the altar, the first of its kind in the country, was done by Abueva.  It features the two figures of Christ Crucified and Christ Resurrected.  Birds sometimes perch or fly around it.  He also did the marble altar.  The elevated altar floor of black, white and gray marble chips, running down to the sacristy and to three other equidistant entrances, was done by Luz.  It features the four “Rivers of Life” radiating outward, wider at the base and narrowing outward again.  Above the entrances and around the interior of the chapel are 15 panels representing the 14 Stations of the Cross plus a fifteenth, “The Resurrection,” all done by Manansala with the assistance of Ang Kiukok.  The centrally located altar has a communion rail encircling it.  The curved pews, also designed by Locsin, are 9 pews away from the altar and, as a result, no communicant is to far away from the officiating priest. 

On January 12, 2005, the church was recognized as a National Historical Landmark and a Cultural Treasure by the National Historical Institute and the National Museum, respectively.

Church of Our Lady of Grace (Makati City)

From the Church of St. Peter and St. Paul, I  moved on to my next destination, travelling some distance (via EDSA, making a U-turn via the cloverleaf then turning right at Bernardino St.) to get to the Church of Our Lady of Grace.  Similarly, like at the Church of St. Peter and St. Paul, a wedding was ongoing when I arrived.  This church, founded as an Augustinian mission in 1601, was completed in 1629, damaged during the 1658 earthquake, repaired from 1659 to 1662 by Fr. Alonso Quijano and again in 1706 by Fr. Juan Olarte.  It was ransacked and occupied by the British in 1762 (they made it into their headquarters) and its roof collapsed during the July 19, 1880 earthquake. 

Church of Our Lady of Grace


The church was rebuilt between 1881 and 1885 by Fr. Jose Corrugedo, served as an orphanage and trade school for victims of the 1882 cholera epidemic and was burned down  in 1898 and 1899 when Filipino revolutionaries, and later the Americans, occupied it.  During World War II, it was used as a garrison and headquarters of the Japanese.  The church was rebuilt after an agreement forged on June 29, 1970 between Cardinal Rufino J. Santos and Fr. Casimiro Garcia, O.S.A., Augustinian Vicar in the country. 

      
The church’s interior

The church houses the miraculous Nuestra Señora de Guadalupe which was saved when the church was sacked by the British in 1762.  Its semi-classical Neo-Romanesque facade has carved stonework, semicircular arched recessed main entrance decorated with floral carvings, a circular window above the main entrance and a triangular pediment with a raking cornice with crestings and floral carvings.  Inside are intricately carved interior columns.  

Church of Our Lady of Grace: 7440 Bernardino St.,Brgy. Guadalupe Viejo,  Makati City, Metro Manila. Tel: (632) 896-8444. 

Church of St. Peter and St. Paul (Makati City)

After tennis and lunch at Luk Yuen Restaurant with my good friend Leo Protacio in Makati, I decided to do some sightseeing by exploring 2 of Makati’s old churches.  Travelling to Makati’s nightlife district along Burgos St., I parked in front of an acacia-shaded plaza, across which is the Church of St. Peter and St. Paul.  This church was established as a Franciscan mission in 1578.  In 1608, its land (called Buenavista) was given by a Spanish nobleman Capt. Pedro de Britto (Regidor of Manila) to the Jesuits.  The present lovely church, built by the Jesuit Fr. Pedro de los Montes in 1620, was reconstructed in 1920 and again in 1975. 
   
Church of St. Peter and St. Paul
   
This photogenic church’s Renaissance-style facade has a semicircular arched main entrance flanked by superpositioned paired columns reaching up to the horizontal cornice, a semicircular arched window at the second level and a plain segmental pediment with a centrally located statued niche.  A 3-tiered papal tiara and keys (symbols of the Papacy, the first being St. Peter who, together with St. Paul, is the patron of the locality) dominate the façade.  The church has a rectangular, single-nave plan with an apse and sacristy.  With its beautiful, gold-plated altar and carved retablo, this church is obviously a favorite for weddings as one was about to begin when I arrived.  

The church’s interior

Church of St. Peter and St. Paul: 5539 D.M. Rivera St., Brgy. Poblacion, Makati City, Metro Manila.  Tel: (632) 890-3842.

Church of St. Joseph (Las Pinas City)

Church of St. Joseph (left) and the old Spanish convent (right)

While driving along the Alabang-Zapote Rd. in Las Pinas City with Jandy, I decided, on a whim, to revisit the Church of St. Joseph.   The church was built by Fr. Diego Cera de la Virgen del Carmen, parish priest of Las Piñas till May 15, 1832 (when he could no longer perform his duties due to severe illness) between 1792 and 1818, to replace an earlier structure of bamboo and nipa.

Facade of Church of St. Joseph

This labor of love, built with adobe stones in the “Earthquake Baroque” style was, however damaged during the 1829 (January 18, July 29 and September 30), 1863 (3 June) and 1880 (19 July) earthquakes and rebuilt again in 1883.

The statue of Fr. Diego Cera sculpted by Napoleon Abueva

The church façade and its grounds were effectively renovated, from 1971 to 1975, using the services of noted architects Francisco “Bobby” Mañosa and Ludwig Alvarez.

Historical plaque installed by the National Historical Institute (now National Historical Commission) in 1995

The major part of the restoration involved the cleaning of the exterior walls to reveal the original walls and the missing stones were replaced with similar stones to limit the use of cement.

The bell tower on the church’s left

On December 3, 1972, the new church was inaugurated.with a slightly advance middle section and a semicircular arched main entrance topped by a depressed three-centered arch. Semicircular arched windows and jambs with fluted piers flanked both. It is 34 m. (110 ft.) long, 29 m. (94 ft.) wide and has a nave width of 21 m. (70 ft.).

The church’s interior

On its left is the massive, 4-storey high square bell tower while on the right is the old Spanish convent (it now serves as an entrance).  Inside the church are stained capiz windows, narra pews, a bamboo ceiling and carriage lamps on bamboo stands.

The church’s main altar which was repositioned, during the 1971 to 1975 restoration, to face the people as required by the new Ecumenical Council guidelines

Within the church compound is a statue of Fr. Diego Cera, sculpted by National Artist for Sculpture Napoleon Abueva, and unveiled on July 27, 1995, the 200th anniversary of the Parish of St. Joseph.

Bamboo Organ

Also called the Bamboo Organ church, it houses the Bamboo Organ, a pipe organ made mostly with bamboo pipes.

Check out “Bamboo Organ

A side altar

 

NOTE: On July 15, 2013, the Church of St. Joseph was declared as a National Historic Landmark by National Historical Institute.

The original hewn stone baptismal font, discovered buried in the courtyard of the church, was cleaned by the late notable sculptor Eduardo Castrillo who also added a brass basin sculpture as his additional contribution.

The old, hewn stone baptismal font with the brass basin sculpture added by Eduardo Castrillo

Church of St. Joseph: P. Diego Cera Ave., Brgy. Daniel Fajardo, Poblacion, Las Pinas City, Metro Manila.  Tel: (632) 8820-5454, 8825-7190 and 8820-0795.