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Minor Basilica of San Sebastian (Manila)

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Minor Basilica of San Sebastian

The earthquake-proof Minor Basilica of San Sebastian (better known as San Sebastian Church), an example of the Gothic Revival architecture in the Philippines, is the first and only steel building in the Philippines and in Asia, the second in the world after the Eiffel Tower of Paris and probably the first prefabricated building in the world.

The basilica complex

It is the church of the Parish of San Sebastian and also a Shrine of Our Lady of Mount Carmel (Nuestra Senora del Monte Carmelo) and is under the care of the Order of Augustinian Recollects (who also operate the San Sebastian College-Recoletos adjacent to the basilica).

The author with son Jandy

This church was originally founded by Fr. Rodrigo de San Miguel as a nipa and bamboo church in 1621 (on land donated by Bernardino Castillo, a generous patron and a devotee of the 3rd-century Roman martyr Saint Sebastian). The original structure, made of wood, burned in 1651 during a Chinese Filipino uprising and rebuilt with bricks with a single tower. Succeeding structures, which were built of brick, were destroyed by fire and earthquakes in 1859, June 3, 1863 and July 19, 1880.

The Neo-Gothic facade

In the 1880s, Fr. Esteban Martínez, the parish priest of the ruined church, proposed construction of a new church and approached Spanish Engineer Genaro Palacios y Guerra to build a church that will withstand the earthquakes. Planning to build a fire and earthquake-resistant structure made entirely of steel, Palacios completed a design that fused Earthquake Baroque with the Neo-Gothic style.

Augustinian Recollect Fr. Jesús Pastor Paloma noted that the bottom part of the church was designed to resemble a ship’s hull, so that it would sway during an earthquake.  Palacio’s final design was said to have been inspired by the famed 14th century Gothic Burgos Cathedral in Burgos, Spain.

Side entrance

It has long been reputed that Gustave Gustave Eiffel, the French engineer behind the Eiffel Tower and the steel structure within the Statue of Liberty, was himself also rumored to have been involved in the design and construction of San Sebastián, but this was never confirmed.

One of the twin openwork bell towers with pyramidal spires

However, later on it was confirmed that Eiffel was involved in designing and supplying the metal framework for San Ignacio Church in Intramuros, thus confirming the contribution of Eiffel in Philippine church architecture, if not in the Minor Basilica of San Sebastián.

The church was started by Fr. Gregorio Serma while the 52 metric tons (51 long tons; 57 short tons) of prefabricated steel sections manufactured in Binche, Belgium were ordered from the Societe anonyme des Enterprises de Travaux Publiques in Brussels by Fr. Toribio Minguella, imported, piece by piece, in eight separate shipments (total load: 50,000 tons) from Antwerp to Manila.

In 1888, the first shipment arrived and Belgian engineers supervised the assembly of the church, the first column of which was erected on September 11, 1890 under the supervision of Fr. Bernardo Muros.   To achieve greater stability and regulate the church’s exterior temperature, the walls were filled with mixed sand, gravel and cement.

Historical Reasearch and Landmarks Committee plaque installed in 1934

According to Fr. Paloma, the church was also supposed to have a prefabricated retablo (reredos) altar.  However, it was lost at sea when the ship carrying it from Belgium capsized in a storm so a wooden altar was made locally in its stead. The foundation was done by a French contractor, construction was supervised by a British foreman while the floors were done by Chinese craftsmen.

Plaque installed by the National Museum in 2011 declaring the basilica as a National Cultural Treasure Plaque

The church was finally completed by Fr. Francisco Moreno. On June 24, 1890, it was granted minor basilica status by Pope Leo XIII and, on August 16, 1891, the Basílica Menor de San Sebastián was blessed by Bernardino Nozaleda y Villa , OP, the 25th Archbishop of Manila.

Rust – the number one enemy of steel

Sitting on a 704 sq. m. site, it has central nave 12 m. (39 ft.) from the floor to the springing dome and 32 m. (105 ft.) to the tip of the spires.  The basilica has two openwork towers with pyramidal spires and steel vaulting. The interior, incorporating groined vaults in the Gothic architecture style (permitting very ample illumination from lateral windows), was repainted to make it appear like faux marble.

To give the appearance of marble and jasper, the steel columns, walls and ceiling were painstakingly painted by Lorenzo Rocha (multi-awarded portraitist and royal court painter) and turn-of-the-century artists Isabelo Tampingco and Félix Martínez.

The trompe-l’œil paintings of saints, angels, evangelists and martyrs were done by the students of the Academia de Dibujo, Pintura y Arte headed by Lorenzo Rocha. True to the Gothic revival spirit of the church, the confessionals, pulpit, altars and five retablos were designed by Lorenzo Guerrero and Rocha. The statues of holy men and women were carved by sculptor Eusebio Garcia while the six holy water fonts were each crafted from marble obtained from Romblon.

The beautiful stained glass windows, depicting the life and story of Jesus Christ, were imported from the Heinrich Oidtmann Company, a German stained glass firm (local artisans assisted in applying the finishing touches).

The basilica interior

Inside, on a prominent place above the main altar, is the image of Our Lady of Mount Carmel (Nuestra Señora del Carmen).  A gift of the Discalced Carmelite Sisters from San Jose Monastery in Mexico City, it was brought here in 1617 by Recollect Reverend Fr. Provincial Rodrigo de San Miguel.  The image survived all the earthquakes and fires which had destroyed previous incarnations of San Sebastian Church but, unfortunately, its original ivory head was stolen in 1975.

The main altar with the image of Our Lady of Mount Carmel. At the back you can see the scaffolding used for the Phase 1 restoration

Devotion of this image (feast day on July 16) was propagated in conjunction with the wearing of the scapular which promised the wearer quick deliverance from the suffering of purgatory. During the translacion of the annual Feast of the Black Nazarene in January, the image of Our Lady meets the Black Nazarene in the so-called dungaw.

On August 1, 1973, through Presidential Decree No. 260, it was declared a National Historical Landmark by President Ferdinand Marcos. On August 15, 2011, with the unveiling of the marker on January 20, 2012, the church was declared a National Cultural Treasure by the National Museum of the Philippines.

The vaulted ceiling

On May 16, 2006, on account of its architectural and historical heritage, the Minor Basilica of San Sebastian was included by the National Historical Institute (now the National Historical Commission of the Philippines) in the Philippines’ Tentative List for possible designation as a World Heritage Site. As of 2017, the church is no longer included in the Tentative List.

The intricately designed rose window above the choir loft

In recent years, the steel structure has encountered threats to its structural integrity in the form of rust and corrosion due to sea breezes from nearby Manila Bay. In 1982, when state funding was accorded to the church through the National Historical Institute, restoration was undertaken. Likewise, the Augustinian Recollect community has expended funds for the church’s maintenance and restoration.

During the 2000 and 2010 World Monuments Watch (a global program of the World Monuments Fund), it was placed, along with the Rice Terraces of the Philippine Cordilleras and Santa Maria Church, on the biennial watch list of the 100 Most Endangered Sites. In 2011, after the passage of the National Cultural Heritage Act, all of the sites were taken off the list.

The pulpit designed by Lorenzo Guerrero and Lorenzo Rocha

It used to be in the UNESCO tentative list but, in 2015, was removed due to structural decay. To re-establish the site’s integrity and re-inclusion in the tentative list, the basilica will have to undergo another massive restoration program.

The basilica’s pipe organ which was constructed as a pure pneumatical organ by Walcker in 1914.  After World War II, a new console was added.

After an exhaustive two-and-a-half year diagnostic study (funded by a 2012 grant from the Ambassadors Fund for Cultural Preservation, made possible by the U.S. State Department), using state-of-the-at equipment and science, it was found that there were 300 leaks in the building with up to 3 m. of rainwater collected in the church’s hollow columns.

The Gothic-inspired confessionals also designed by Lorenzo Guerrero and Lorenzo Rocha

Some of the leaks have already been taken care of by a team of hired graduates from Escuela Taller, a craft school for economically challenged youth.  Advanced stages of corrosion have also caused parts of the basilica (around 40 kgs. of steel) to literally fall off.

Scaled model of the basilica

With regards the stained glass windows, some soiling, sagging, missing panes and a few cracked frames were noted.  Talks are ongoing with the Heinrich Oidtmann Company, the German firm that supplied the stained glass, to convince the studio to run a training program to teach Filipinos how to make the colored glass.

Stained glass window depicting scenes from the life of Jesus Christ

The trompe-l’œil ceiling is another concern as corrosion has caused the delicate oil-based paintings on the steel canvas to flake. A varnish treatment on one of the panels done 20 years ago may delay the deterioration of both the panel and its painting.

The San Sebastian Basilica Conservation and Development Foundation is looking to a complete and comprehensive restoration in a little over 10 years. Phase 1 (repairs to the dome and roof), from 2022 to 2026, is now ongoing with some areas sealed off beginning 2021.

Scene depicting Jesus carrying his cross

A 24-m. high, custom-made scaffolding has been installed, allowing assessment and repair of the dome columns and its surrounding area (dome crockets, stained glass windows and original paintings).  Phase 2 is projected for 2027 to 2029 while Phase 3 is scheduled for 2030 to 2033.

Another greater threat looms over the horizon.  On October 1, 2018, it was revealed that Summithome Realty Corporation was planning to construct University Home Recto, a 31-storey residential high rise building beside the historic church.  As the area around the church is integral to the site as a “buffer zone,” it would negatively affect the site’s possible re-inclusion in the UNESCO tentative list.

Check out  my Business Mirror article “Seriously Saving San Sebastian”

With the looming threat of the high-rise building, the site’s inclusion in the UNESCO tentative list is bleak as, without the site managers being initially informed, Summithome was able to acquire a barangay clearance supporting their application for a building permit from the barangay chairman.

Minor Basilica of San Sebastian: Pasaje del Carmen St., Plaza del Carmen (at the eastern end of C.M. Recto Avenue), Quiapo, 1001 Manila.  Tel: (632) 734-8908, 734-8931, 742-3510 and 742-3331.  Fax: (632) 736-1185.  E-mail: sansebastianparish@gmail.com. Coordinates: 14°35′59″N 120°59′21″E.

Hike from Camp A to Camp B (Fresno Agro-Forestry and Eco-Tourist Campsite, Tanay, Rizal)

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The author, Jandy and Mon at the summit of Sambong Peak (629 MASL)

On our second day at Fresno Agro Forestry and Eco Tourist Campsite, we woke up before 6 AM to witness an equally fiery sunrise.  At the restaurant, we hadr a filling breakfast of hot coffee, corned beef omelet and garlic fried rice prepared by the staff from our leftover rice the night before.

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Dawn at Mount Kulis

After breakfast, we met up with Mr. Edong Penamante, the katutubo head of the 200-strong Fresno Tour Guide Association (about 90% of which are also katutubo) who was to be our mandatory guide for our 5-hour tour of Camp A and Camp B.

Our guide Edong Penamante

Posing at the summit of Mount Kulis. Mon and I are wearing our Don Bosco Makit batch 1975 T-shirts

After a preliminary briefing by Edong, we all went down Mount Kulis, via a cleared dirt trail (the sides of which have been leveled to accommodate more tents), to the giant Spider Web, a favorite of most trekkers which (just like Noah’s Ark), on weekends, has a long queue of visitors wanting to try it out and take Instagram-worthy shots.

View of the Spider Web and kubos from the dirt trail

The giant Spider Web. On weekends, it has a long queue of visitors wanting to try it out and take Instagram-worthy shots. As we visited on a week day, we only had to wait a little while for this previous group to finish. Their guide, high up on a perch,, directs his group to create star-like configurations before taking their photos.

We only had to wait a little while for a previous group to finish. Getting on board was tricky and we had to crawl to make it to the center of the “web” (made with nylon ropes).  Once in place, Edong, high up on a perch, directed us to create star-like configurations before taking our photos.

As directed by Edong, we created a star-like configuration….

Getting back to solid ground was difficult for us senior citizens. We had to crawl, Mon on his knees, me on my butt …..

Posing with members of the previous tour group…..

At one side of the area are some 13 native-style huts, of different sizes, which are rented out.  Nearby are some common public toilets.

A-frame huts perfect for couples……

Some of the larger cottages

It was uphill from thereon as we made our way up, via a steep and rocky trail, to Sambong Peak (629 MASL) or Heart Peak (named after the heart-shaped, flower-lined wood and bamboo backdrop where couples pose).

The dirt trail leading up to Sambong Peak (or Heart Peak)

Two senior citizens finally make it up the summit of Sambong Peak

Located at the back of Mount Kulis, it was named after the generous number of native sambong plants (Blumea balsamifera) in the area.

Father and son bonding

There are also limestone karst formations on a cliff, perfect for Instagram shots.

Standing on limestone karst formations

 

From Sambong Peak, we next made a 30 to 45-minute hike, along a trail involving mountainous slopes, rocky and grassy areas, to Noah’s Ark.

Taking a water break and resting before making our final push up Noah’s Ark…..

Noah’s Ark is approached via a wooden bridge with bamboo railings. A sea of clouds sometimes envelopes the mountain and Noah’s Ark was designed as such to create the illusion that you are sailing over this sea of clouds. One of the visitors is posing atop a limestone karst formation beside the bridge.

This boat-shaped wooden structure, with bamboo outriggers, sits atop a limestone karst formation and is approached via a wooden bridge with bamboo railings.

Too bad there was no sea of clouds during our visit. This will have to do …..

Jandy doing a Titanic pose atop Noah’s Ark…..

A sea of clouds sometimes envelopes the mountain and Noah’s Ark was designed as such to create the illusion that you are sailing over this sea of clouds. Visitors also pose atop a limestone karst formation beside the bridge.

Making our way back to the Registration where we will have our lunch……

From Noah’s Ark, it was another 30-minute hike to the Registration Area were we had our lunch and rested awhile prior to our visit to Camp B.

Mon, Jandy and I on board our toro-toro, a makeshift 4×4 vehicle that would take us, on an exciting roller coaster ride, to the hanging bridge and the swimming pool. There were no seats, so we had to travel standing up and had to hang on tight as we went down the steep trail, ducking when we encountered tree branches…..

It is a steep uphill-downhill hike to get to the Hanging Bridge at Camp B but, luckily, there was an open top 4 x 4, driven by Mr. Stephen Fresno (a relative of campsite developer Reynaldo Fresno), that would take us there.

The author at the Hanging Bridge

Still, it was a bumpy, roller coaster ride going to the Hanging Bridge, always on the lookout for tree branches that could knock us off our feet. For safety purposes, only a maximum of 7 persons are allowed on the bridge.

After crossing just halfway for our pose, we made our way back and hiked, along another dirt trail, to a riverside swimming pool created by a dam.  Here, we rested our tired bodies as we immersed ourselves in its bracingly cold waters.

This riverside swimming pool was created by a dam. The waters were bracingly cold

This capped our tour and we made our way back, this time uphill via the same 4 x 4, back to the Registration Area (where others alighted) and continued our way, again uphill, back to our campsite at Mount Kulis.

Fresno Agro Forestry and Eco Tourist Campsite: Sitio Maysawa Brgy. Laiban/Cuyambay, Tanay, 1980 Rizal. Mobile number: (0999) 553-4449 and (0946) 552-3659. E-mail: jimmydelasada24@gmail.com.  Official website: Fresno Agro Forestry and Eco Tourist.  Official Facebook page: Fresno Agro Forestry and Eco Tourist.

Admission: Php200 (day tour, 4AM – 3PM), Php300 (overnight, 4PM – 1PM). Tent Rental: Php500 (good for 2 persons), Php800 (good for 4 persons), Php200/tent pitching (bring your own tent). Guide Fee: Php500/5 pax (day tour), P1,250/5 pax (overnight). Note: Mandatory guide if you go on Noah’s Ark and Lion Falls House.

How to Get There: Via Cogeo, ride a jeepney (PhP25/pax) or van (Php35/pax) From Araneta Cubao (in front of Gateway Mall, along Aurora Blvd.), to Cogeo Gate 2. At the end of the City Market, there’s a jeepney terminal.  Take a jeepney (Php48/pax) bound for Sampaloc and tell the driver to drop you off in Maysawa Circuit. Upon reaching Sitio Maysawa, ride a tricycle (Php150/4 pax) that will take you to Fresno Agro Forestry and Eco Tourist Campsite.  Via Tanay, ride a jeepney or van going to Tanay town proper. From Tanay Public Market, ride a jeepney that will take you directly to Sitio Maysawa. Upon reaching Maysawa charter a tricycle that will take you to Fresno.

Fresno Agro Forestry and Eco Tourist Campsite (Tanay, Rizal)

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Mt. Kulis (620 MASL) at Fresno Agro Forestry and Eco Tourist Campsite

After nearly two years of being cooped up indoors due to the Covid Pandemic and its accompanying lockdown, the lowering of alert levels gave us an opportunity to get out and breathe the fresh air.

Prior to camping, Mon, Jandy and I had lunch at restaurant beside the registration area of Fresno. They serve silog meals.

Upon the suggestion of then Tanay Senior Tourism Operations Officer (and now Municipal Development and Planning Officer) Mr. Jeff Pino and with the assistance of acting Tourism Officer Ms. Joicee Jules Gapido, I made plans to again try out no frills camping at Fresno Agro Forestry and Eco Tourist Campsite, a hiking destination opened last 2019.

The restaurant

Owned by Mr. Mabini Dela Sada, an IP (Indigenous Person), the campsite was developed and managed by Mr. Reynaldo Zapanta Fresno, a Capiznon from Mambusao town.

The registration area

Their advocacy is to provide livelihood enhancement programs to the indigenous people (katutubo) from the 10 mountain barangays (recognized to be an ancestral domain) of Tanay as well as the preservation of the beauty of the mountains.  In coordination with the DENR, they have started planting fruit bearing trees.

The dirt road leading up to Mt. Kulis

Joining me in this camping trip were my son Jandy and Mr. Ramon “Mon” Sarinas, a fellow Don Bosco Makati high school batchmate and an avid outdoorsman and photographer.   The trip to  Tanay, via C-6, took all of two and a half hours, passing the towns of Cainta, Taytay, Angono and Cardona and making two toilet breaks and a short stopover at Morong Park in Morong.

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Our parking area

Upon reaching Jollibee Tanay, I followed the instructions given to me by Joicee, turning left at Sampaloc Road and then drove for 15 kms..  Upon reaching the Sampaloc Barangay Hall, I again turned left at Marilaque Highway, driving for about 30 mins. as the road wound for 13 kms., passing by many of Tanay’s many roadside resorts and restaurants famous for their scenic views of the Sierra Madre Mountains.

The unfinished pavilion

Upon reaching a fork, I turn right on Maysawa Road.  Upon reaching a tricycle terminal, I again turned right to a partially paved but mostly dirt road all the way to the gate of Fresno.

The green-roofed cottage sits on the site of Cardo Dalisay’s kubo, destroyed during Typhoon Ulysees.

We arrived just 30 mins. before Mon and we met up at the camp’s registration area beside the entrance. Before anything else we had lunch at the restaurant which served served silog meals (tapsilog, tocilog, etc.).

The terraced hillside where tents could be set up

As we arrived on a Monday (peak days are weekends), we were allowed to bring our cars all the way up, via a rough, steep and narrow dirt road, to the summit of Mt. Kulis (620 MASL) in Camp A, parking our cars just outside a pavilion.

Setting up our tents…..

The pavilion was still a work in progress.  The building, when finished, would house some 10 rooms and a second floor view deck where one can watch both the setting and rising sun.  Already in place are restrooms and a restaurant where you can order, in advance, silog meals (tapsilog, tocilog, etc.).

The summit once housed, beside the pavilion, “Cardo Dalisay’s” kubo (the “bahay ni Cardo” from the ABS-CBN primetime TV series “FPJ’s Ang Probinsyano“) but this was destroyed during the powerful Category-4 Typhoon Ulysses (international name: Vamco).

Time to relax and enjoy the view …..

Beyond the building is the campsite where the grassy hillside has been terraced to create level platforms where campers could pitch their tents.

The terraced platforms can accommodate some 16 tents.  As we arrived on a week day, we were the only campers (it gets packed on weekends with tents all around the place sprouting like mushrooms).

Dusk was soon upon us…..

Sunset over the Sierra Madre Mountains

Despite the afternoon sun, a cool breeze was blowing.  Around us we could espy, on the east side of the hill, the destinations for our tour tomorrow – the Spider Web and some kubos below us and, in the near distance, Mount Sambong and Noah’s Ark much further away.  Come dusk, we were treated to a beautiful sunset.

Check out “Hiking from Camp A to Camp B“

The restaurant at Mt. Kulis

View deck where you can enjoy the setting sun…..

After a delightful dinner of pork liempo grilled over our stovetop grille (bonfires and campfires are not allowed), with rice cooked by the staff at the restaurant, we retired to our tents and warmed ourselves with shots of fruit-flavored gin while listening to cool 1970s and 80s music.  It was lights out by 10 PM, a curfew set and enforced by management.

Mon preparing dinner over a stove topgrille

Fresno Agro Forestry and Eco Tourist Campsite: Sitio Maysawa Brgy. Laiban/Cuyambay, Tanay, 1980 Rizal. Mobile number: (0999) 553-4449 and (0946) 552-3659. E-mail: jimmydelasada24@gmail.com.  Official website: Fresno Agro Forestry and Eco Tourist.  Official Facebook page: Fresno Agro Forestry and Eco Tourist.

Admission: Php200 (day tour, 4AM – 3PM), Php300 (overnight, 4PM – 1PM). Tent Rental: Php500 (good for 2 persons), Php800 (good for 4 persons), Php200/tent pitching (bring your own tent). Guide Fee: Php500/5 pax (day tour), P1,250/5 pax (overnight). Note: Mandatory guide if you go on Noah’s Ark and Lion Falls House.

How to Get There: Via Cogeo, ride a jeepney (PhP25/pax) or van (Php35/pax) From Araneta Cubao (in front of Gateway Mall, along Aurora Blvd.), to Cogeo Gate 2. At the end of the City Market, there’s a jeepney terminal.  Take a jeepney (Php48/pax) bound for Sampaloc and tell the driver to drop you off in Maysawa Circuit. Upon reaching Sitio Maysawa, ride a tricycle (Php150/4 pax) that will take you to Fresno Agro Forestry and Eco Tourist Campsite.  Via Tanay, ride a jeepney or van going to Tanay town proper. From Tanay Public Market, ride a jeepney that will take you directly to Sitio Maysawa. Upon reaching Maysawa charter a tricycle that will take you to Fresno.

Morong Park (Rizal)

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Morong Plaza

Morong Park, formerly known as Morong Town Plaza, just in front of Morong’s old Municipal Building (Morong Commandancia), was converted into a park in 2010.

Within the park are statues of Jose Rizal, Tomas Claudio and Rafael Pacheco’s (the world renowned Father of Palm and Finger Painting, 1933 – 2016) “Ang Pamilyang Magsasaka” sculpture.

Statue of Tomas Claudio

National Historical Institute plaque installed in 1992

Private Tomas Mateo Claudio, who served with the U.S. Marine Corps as part of the American Expeditionary Forces to Europe, was the first Filipino to die in World War I when he was slain during the Battle of Château Thierry in France on June 29, 1918. In 1921, the Tomas Claudio Memorial School was established as a tribute to him.

Old municipal hall

The Old Municipal Hall once housed the Commandancia del Distrito Politico-Militar de Morong (created in 1853), the seat of government during the Spanish Era. It was originally made of adobe stones and hardwood, with galvanized iron sheets for roofing.

Morong Historical Marker installed by the National Historical Commission in 1971

Class 1945 Morong High School plaque

During the early American Period, it was converted into a public elementary school building (the Old Central).    During World War II, it was damaged but was rebuilt, with alterations and, on August 16, 1944, was converted into a high school (Morong High School).  The first batch of 33 students graduated here on November 24, 1945.

Statue of Jose Rizal

In the 1960s, the building was torn down and rebuilt using reinforced concrete and was used as the municipal hall for the local government of Morong until 2011, when the local government offices were transferred to the new municipal building in a different location. Today, its second floor houses the Museong Pambayan ng Morong which was formalized in 2015 via an ordinance.

Ang Pamilyang Magsasaka (Rafael Pacheco)

Morong Park: Brgy. San Pedro, Morong, Rizal.

Gomburza Monument (Manila)

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The day Jandy and I revisited the National Museum of Fine Arts just so happened to be the 150th anniversary of the martyrdom, by garrote, of the Filipino priests Fr. Fr. Mariano Gomez, Fr. Jose Burgos and Fr. Jacinto Zamora, collectively known as Gomburza.  After our visit to the museum (to be continued on another day due to lack of time), we crossed Padre Burgos Ave. (named after one of the priests) to visit the Gomburza Monument.   The commemoration ceremony had already ended and what remained were the memorial wreaths that were laid.

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Gomburza Monument

In a system that favored and Spanish friars lopsidedly over locals, the three secular (diocesan) priests fought for equal treatment among priests. After the failed January 20, 1872 Cavite Mutiny (uprising of around 200 Filipino military personnel of Fort San Felipe, the Spanish arsenal in Cavite),  the Spanish colonial authorities sentenced three priest on false charges of of treason, sedition, and subversion on February 15. Two days later, they were executed by  garrote in Luneta. Their brutal deaths by garrote lit the flame of nationalism. National Hero José Rizal dedicated  El filibusterismo, his second novel, to the three martyrs. His two novels inspired the Philippine Revolution of 1896 leading to the declaration of independence on June 12, 1898.

Across the street, set elegantly against the green field and historic walls of Intramuros, is a low fountain, at the center of which is the stunning and massive bronze sculpture, by Modernist sculptor Solomon Saprid (1917 – 2003), of the three heroes.  The statue, commissioned in the 1970s to honor the three martyr priests, was originally located at Plaza Roma, in front of the Manila Cathedral, where it was inaugurated by then President Ferdinand Marcos on January 17, 1972.

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The bronze statue Gomburza by Solomon Saprid

A major figure in the visual arts, especially in sculpture, Saprid’s significant works can be found in some of the world’s most important institutions such as the 25 ft. long, 15 ft. wide and 9 ft. high “ASEAN Birds” in Chatunchak Park in Bangkok, a 5 ft. x 50 ft. mural in Hong Kong & Shanghai Banking Corporation Building, the “Bull Cancer” fountain at the Triumph International in Germany, the “Statue of Christ” at the Indiana University Museum, and “Mother and Child,” a copper statue for the 1st Australian Biennale in Sydney presently in the collection of Westinghouse in Philadelphia to name a few.

In 1981, the sculpture was moved to its present location by the Intramuros Administration (IA). Soon, however, urban decline set in and the sculpture was vandalized, the pool was used for bathing and washing clothes, and the entire area became a hangout for the homeless, the ambulant vendor, and the occasional street drunk.

In 2017, upon clarification of the jurisdiction of the area, the Intramuros Administration reasserted it ownership over the area and, partnering with the National Museum of the Philippines, undertook a restoration project that would not only clean and improve the site for pedestrians, but also to give three national heroes, a stunning sculpture and its artist the honor and respect they deserve.

On August 2018, with a modest budget of P15 million, the herculean effort to improve the monument was launched to remove all the distractions to highlight Solomon Saprid’s Gomburza. Architect Jose Ramon Faustmann prepared the move by constructing a 20 x 20 m. pool where the sculpture would arise from the center.  The project was completed just before the pandemic began and the lockdown declared in 2020.

The statue and its backdrop – the National Museum of Fine Arts

On February 17, 2021, Saprid’s Gomburza was included in the elite list of National Monuments (only the seventh to be given that honor) by the National Historical Commission of the Philippines.

The plaque installed by the National Historical Commission of the Philippines in 2021

As part of the commemoration of the 150th year of the martyrdom of Frs. Gomez, Burgos, and Zamora, wreaths were laid, a historical marker was unveiled, and its new designation as a National Monument was announced.  Today, the expanse of the plaza, with its simple and clean design, is a safe and well-illuminated space to walk on. This outstanding landmark of Modernist Philippine art is also the perfect position to appreciate the Spanish-era fortification of Intramuros and the Neo-Classical architecture of the impressively restored National Museum of Fine Arts.

Gomburza Monument: Liwasang Gomburza, Padre Burgos Ave., Ermita, Manila 1002

Gallery XXIV (National Museum of Fine Arts, Manila)

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Gallery XXIV (Philam Life Hall)

Gallery XXIV, a permanent exhibit at the third floor of the National Museum of Fine Arts,  features the works of National Artist for Visual Arts (1982) and cubist painter Vicente R. Manansala (1910-1981) and renowned sculptor Jose P. Alcantara (1911-2005) installed at the Philippine-American General Life Insurance Company (Philam Life) Building (designed by National Artist for Architecture Carlos Arguelles) along United Nations Avenue, Ermita, Manila.

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Gallery entrance

The PhilAm Life Manansala Series consists of seven large format paintings (each measuring 1.2 x 2.4 m.) commissioned in 1961 and initially installed in the cafeteria but were, eventually, transferred to its main lobby.

PhilAm Life Manansala Series

Narra Wood Reliefs (Jose Alcantara, 1961)

The building was acquired by commercial developer SMDC in 2012 and the Philam Foundation placed the Manansala murals in the care of the National Museum in 2013, providing a PPhP5 million grant to fund, among other things, a Philam gallery to showcase the murals.  The exhibit was opened on April 3, 2014.

Ang Pamilya sa Oras ng Pagkain (A Family at Mealtime)

Mga Isda (Fishes)

They feature rural themes and local industries during the time of its creation – Mga Manok (Chickens), Mga Magsasaka (Farmers), Ang Pamilya sa Oras ng Pagkain (A Family at Mealtime), Mga Manunugtog (Musicians), Handaan (Feast), Mga Isda (Fishes) and Mga Kalabaw (Carabaos).  These were rendered in the artist’s signature style of “transparent cubism.”

Handaan (Feast)

Mga Kalabaw (Carabaos)

The Jose Alcantara series, made with the help of several hired and trained woodcarvers from Paete (Laguna), features four of the smaller decorative, carved narra wood reliefs of rural life and folklore, which were originally installed at the outside walls of the 780-seat Philam Life Auditorium in 1961.

Mga Magsasaka (Farmers)

Mga Manok (Chickens)

Mga Manunugtog (Musicians)

The series consists of Malakas at Maganda (The First Man and Woman), Mga Kalabaw (Carabaos), Mga Panugtog (Musical Instruments) and Mariang Makiling (The Guardian Spirit of Mount Makiling).  On July 2019, the gallery was closed to give way for the installation of these four reliefs.

Malakas at Maganda (The First Man and Woman)

Mariang Makiling (The Guardian Spirit of Mount Makiling)

Both the PhilAm Life Manansala and Jose Alcantara Series were declared as an “Important Cultural Property” by the National Museum of the Philippines on June 27, 2019.

Mga Panugtog (Musical Instruments)

Mga Kalabaw (Carabaos)

Gallery XXIV: Philam Life Hall, 3/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email. Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.

Gallery XXIII (National Museum of Fine Arts, Manila)

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Gallery XXIII (GSIS Northwest Hall)

Gallery XXIII, a permanent exhibit at the third floor of the National Museum of Fine Arts, pays homage to the works of National Artist for Painting Vicente S. Manansala (1910-1981). It contains 16 of his works from the National Fine Arts Collection and the Government Service Insurance System (GSIS) art collection.

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Gallery entrance

Beside the entrance is the Planting of the First Cross, an oil on canvas piece that combines the artist’s mastery of both traditional and modern painting techniques, as well as his unique style of “transparent cubism.”

Planting of the First Cross (1965, oil on canvas)

This historical artwork of Manasala, commissioned by the national government in 1965, in celebration of 400 years of Philippine Christianity, vividly captures the birth of Christianity in the Philippines.  It features Spanish soldiers erecting the country’s first cross (the same one that still stands in Cebu) in 1521 while Filipinos, with intricate tattoos (called pintados), stand with curiosity and interest.

Procession (1948) and Burial (1948)

Man and Rooster (1950, oil on canvas)

The other oil on canvas paintings on display are Burial and Procession, both done in 1948; Man and Rooster (1950) and Birds in Flight (1965).

Bayanihan (1979, oil on jute)

I Believe in God (1948, oil on masonite)

Fish Vendor (1954, mixed media on masonite)

Manansala also painted on jute (Bayanihan, 1979, oil) and masonite (I Believe in God, 1948, oil) and Fish Vendor (1954, mixed media).

Maria Clara, Blumentritt and Celia (1959)

Man and Industry (Study, 1962, tempera, watercolor and collage on paper)

Also hanging on the walls are 3 ink on paper sketches done in 1959 (Maria Clara, Blumentritt and Celia) as well as one charcoal on paper (Abstract Nude – Paris, 1950), one tempera, watercolor and collage on paper (Study – Man and Industry, 1962) and three watercolor on paper paintings – Calesa (1951), Veronica (1957) and Bahay Kubo (1975).

Veronica (1957) and Bahay Kubo (1975)

Calesa (1951,watercolor on paper)

Also on display, at the center of the gallery, is a bronze bust of Vicente Manansala (1998) done by the late National Artist and sculptor Napoleon Abueva.

Bust of Vicente Manasala (Napoleon Abueva, 1998, bronze)

The gallery also showcases the artist’s memorabilia from the Manansala Family Collection.

Manansala easel with a preliminary sketch

In a glass case are Manansala’s paintbrushes and palettes while at one corner of the gallery is his easel with a preliminary sketch.

Palettes of Manansala

Manasala Paintbrushes

Gallery XXIII: GSIS Northwest Hall, North Wing Galleries, Senate Floor, 3/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Gallery XIX – Pillars of Philippine Modernism (National Museum of Fine Arts, Manila)

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Gallery XIX (Pillars of Philippine Modernism)

Gallery XIX (Pillars of Philippine Modernism), a permanent exhibit at the third floor of the National Museum of Fine Arts, pays homage to the paintings and sketches of National Artists Hernando R. Ocampo (1911-1978), Ang Kiukok (1931-2005), and Benedicto “BenCab” Cabrera (b. 1942).

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An array of H.R. Ocampo paintings

Most of these pieces were completed in the 1950s to 1970s, ranging from the early days of Modernism in the Philippines to the height of its popularity.

Fish Forms (Ang Kiukok, 1965, oil on canvas)

Ang Kiukok, who first attained prominence in the Philippine arts scene in the 1960s, had a distinct style, classified by some as “figurative expressionism,” fused influences from cubism, surrealism and expressionism. He was awarded National Artist of the Philippines for Visual Arts in 2001.

Ink Fish (Ang Kiukok, watercolor on paper)

Towards the Graveyard (Ang Kiukok, 1955, oil on canvas)

The colorful and striking paintings of this renowned Filipino Expressionist portrayed a variety of cubist-like figures such as a mother embracing her infant, grisly crucifixions, tables holding an array of fish and fruit, stray dogs, and screaming subjects.

Watermelon (Ang Kiukok, 1977, tempera on paper)

Ang Kiukok was equally at home on canvas and paper and four of his works are displayed at the gallery – one watercolor on paper (Ink Fish), tempera on paper (Watermelon, 1977) and two oil on canvas paintings (Fish Forms, 1965; and Towards the Graveyard, 1955).

Imaginary Portrait of Isabel (Benedicto R. Cabrera, 1969, oil on canvas)

Sabel (Benedicto R. Cabrera, 2008, oil on canvas)

Benedicto “BenCab” Reyes Cabrera, awarded National Artist of the Philippines for Visual Arts (Painting) in 2006, has been noted as “arguably the best-selling painter of his generation of Filipino artists.

Woman in Distress (Bencab, 2007, acrylic on canvas)

On display at the gallery are two acrylic on canvas paintings (Woman in Distress, 2007; and Self, 1965) and three oil on canvas paintings (Manggagawa – Laborer, 1968; Imaginary Portrait of Isabel, 1969; and Sabel, 2008).

Predestined (Benedicto R. Cabrera, 1967, pen and wash on paper)

Also on display are a series of 9 pen and ink on paper drawings (1968) and a pen and wash on paper drawing (Predestined, 1967).

Untitled – Series of 9 Drawings (Benedicto R. Cabrera, 1968, pen and ink on paper)

Hernando Ruiz Ocampo, a self-taught painter  and a leading member of the pre-war Thirteen Moderns whose abstract works that left an indelible mark on Philippine modern art, was a leading radical modernist artist in the Philippines.  He was awarded National Artist of the Philippines for Visual Arts in 1991.

Ang Pulubi (Hernando R. Ocampo,1946, oil on canvas)

Break of Day (Hernando R. Ocampo, 1948, oil on canvas)

His art, described to be “abstract compositions of biological forms, seemed to oscillate, quiver, inflame and multiply” like mutations.

Abstraction No. 161 (Hernando R. Ocampo, 1978, acrylic on canvas)

Kasaysayan ng Lahi (Hernando R. Ocampo, 1974, acrylic on canvas)

Resurrection (Hernando R. Ocampo, 1978, oil on canvas)

His pen and ink on paper works include Bunker 68 (a series of 2 drawings, 1968), Palayok (clay pot, 3 drawings), Female Figures (series of 4 drawings, 1951 and 1969), Abstract (series of 4 drawings), Flowers (1978) and Parol (1968).

Female Figures – Various drawings (Hernando R. Ocampo, 1951 and 1969, pen and ink on paper)

Bunker 68 – Series of 2 Drawings (Hernando R. Ocampo, 1968, pen and ink on paper)

Also on display are two undated, 3 ft. x 5 ft. oil on canvas paintings  from a series of the Stations of the Cross made by Carlos “Botong” Francisco (1912-1969), both on loan from the GSIS Collection –  Station No. 3 (Jesus Falls the First Time) and Station No. 5 (Simon of Cyrene Helps Jesus Carry the Cross). Botong was awarded National Artist of the Philippines for Painting in 1973.

Angel’s Kiss (Hernando R. Ocampo, 1949, acrylic on paper)

Revelation 8 (Hernando R. Ocampo, 1978, oil on canvas)

Untitled (Hernando R. Ocampo, 1978, oil on canvas)

These two are part of the Don Bosco Chapel Series of paintings (including a gigantic crucifix scene) commissioned by the Salesian Fathers for the small church inside Don Bosco Mandaluyong and painted in barely 5 months in 1960.

Stations of the Cross No. 3 (Carlos V. Francisco, undated, oil on canvas)

To raise funds for various poor and marginalized youth projects, the 14 panels were later sold, by the panel, by the Salesian Fathers .  In the mid-1980s, Station 1-7 was disposed off and Stations 8-14, including the magnificent crucifixion altarpiece, were sold at a higher value.  These stations, minus the altarpiece, are now part of the Cultural Center of the Philippines’ collection.  Stations 1, 2, 4, 6 and 7 are now in the hands of anonymous individuals.

Stations of the Cross No. 5 (Carlos V. Francisco, undated, oil on canvas)

Gallery XIX: 3/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Gallery XVI (National Museum of Fine Arts, Manila)

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The Progress of Medicine in the Philippines (Carlos Francisco, 1961, oil on canvas)

Gallery XVI, a permanent exhibit at the third floor of the National Museum of Fine Arts, is dedicated to “The Progress of Medicine in the Philippines” (Pag-unlad ng Panggagamot sa Pilipinas), a quadtych of four large-scale, oil on canvas paintings by celebrated muralist and National Artist for the Visual Arts (1973) Carlos “Botong” Francisco (1912-1969) that depicts the evolution of healing practices in the Philippines from the pre-colonial period tribal practices to the modern period.

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Gallery entrance

Especially commissioned in 1953 by Dr. Agerico Sison, then director of the Philippine General Hospital (PGH), these were once put on display at the entrance hall lobby.  However, these paintings were constantly exposed to the elements, requiring them to undergo restoration. Eventually, they were moved to the National Museum. The panels were restored by Tomas Bernardo in 1974 and 1991 and by a team supervised by Orlando Abinion from 2006 to 2007.

Pre-Colonial Period

Spanish Era

Two high-quality reproductions of these paintings, created by photographer Benigno T. Tod III, are still on display at two sides of the PGH lobby. Declared as a National Cultural Treasure by the National Museum of the Philippines on September 21, 2011, these important works are on loan to the National Museum by the University of the Philippines to secure their preservation.  Each painting measures 2.92 x 2.76 m. (9.71 x 8.92 ft.).

American Occupation

Modern Era

The first painting depicts a babaylan (female shaman), with arms uplifted, leading a healing ritual in Pre-Colonial Philippines.  The second painting, illustrating the arrival of the Spaniards in the Philippines, features two monks, one holding a plant specimen in his right hand while the other monk is deep in study behind him.  Both are surrounded by characters (manananggal, the falling bodies of “tormented and oppressed” people, a tortured child and a sorcerer holding a voodoo doll) representing superstitious beliefs and practices of the people.

Ina ng Lahi (Mother of the Race) (Jose P. Alcantara)

The third painting, illustrating the American Occupation which brought a new focus on public health and sanitation, depicts two men hiding under a plant to avoid inoculation while a group of men are collecting dead rodents after fumigation. The fourth painting illustrates the distinguishing characteristics of modern medicine like surgery, radiation, medical devices, laboratory analysis and hospitals.  The four panels are connected by common elements such as flora and clouds.

Ina ng Ani (Mother of Harvest) (Jose P. Alcantara, 1951, wood)

Across from Botong’s large-scale painting is “Philippine Folklore,” a large-scale wood relief series by renowned sculptor Jose P. Alcantara (1911-2005), done with the help of several hired and trained woodcarvers from Paete (Laguna), from the Philam Life Collection which was part of the right side of a 1,536 cm. (50-ft.) long (the length of the theater’s orchestra), multi-panel piece which was originally installed at the outside walls of the 780-seat Philam Life Auditorium (designed by National Artist for Architecture Carlos Arguelles) along U.N. Avenue, Ermita, Manila in 1961.

Philippine Folklore (Jose P. Alcantara)

Declared as an “Important Cultural Property” by the National Museum of the Philippines on June 27, 2019, these narra wood reliefs depict various scenes that represent Filipino culture and traditions. On March 14, 2019, it was unveiled at Gallery XVI by the Philam Foundation.  The wood carving shows a continuous scene depicting Filipino-Christians and Muslims doing their own festivities while staying connected to each other.

Muslims showcasing their traditional dance and playing brass instruments

At the left side, huddled Christians are seen hearing mass inside a Baroque church.  Cockfights and metal craftsmen at work are also depicted.  Past the balangay at the center, the lifestyle shifts to festive Muslims showcasing their traditional dance and playing brass instruments.

Scene depicting cockfights and metalsmiths at work

At the center of the gallery are two prize-winning (Art Association of the Philippines) wooden sculptures of Jose P. Alcantara –  Ina ng Lahi (Mother of the Race, 1951, narra wood), special prize (1951); and Ina ng Ani (Mother of Harvest, 1951), third prize winner (1954).

President Sergio Osmena (1952, wood)

Sleepy Santo Nino 400 Years After (1965, wood)

Mounted on a wall near the entrance are a five wooden sculptures – Sleepy Santo Nino 400 Years After (1965), made in commemoration of 400th anniversary of the arrival of Miguel Lopez de Legaspi in 1565, marking the beginning of Spanish colonization; President Sergio Osmena (1952), awarded first prize, in the woodcarving category, by the Art Association of the Philippines in 1952; Lapu Lapu (1953); The “Guy” (President Ramon Magsaysay, 1954); and “Ike” (US President Dwight D. Eisenhower, 1953), made in honor of the election of Eisenhower as 34th president of the U.S. in 1953, awarded first prize, in the woodcarving category, by the Art Association of the Philippines in 1953).

Lapu Lapu (1953, wood)

The Guy (President Ramon Magsaysay) (1954, wood)

Gallery XVI: Philippine General Hospital Hall, 3/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Gallery XII – Eskultor ng Lahing Filipino:  Honoring the Life and Work of Guillermo Tolentino (National Museum of Fine Arts, Manila)

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Gallery XII – Eskultor ng Lahing Filipino: Honoring the Life and Work of Guillermo Tolentino

Gallery XII – Eskultor ng Lahing Filipino:  Honoring the Life and Work of Guillermo Tolentino, a permanent exhibition (opened last July 24, 2013) at the second floor of the National Museum of Fine Arts, features the work of National Artist of the Philippines for Sculpture (1973) Guillermo E. Tolentino.  The title eskultor ng lahing Pilipino was taken from Jose Corazon de Jesus‘ 1930 poem Ang Bantayog ng Bayani.

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Gallery Entrance

Tolentino dominated sculpture in the 1920s to 1970s and the decades beyond, particularly in portraiture and human forms.  He followed the Classical style and mainly used plaster and metal to create his sculptures.  Originally launched in 2013, on display are some of his rarely seen works from private lenders and from the National Fine Arts Collection.

Foreground: the two models and casts of the Commonwealth Triumphal Arch

Hanging from the walls are recognitions awarded to Tolentino by the University of the Philippines School of Fine Arts Annual Exhibitions from 1910 to 1916; a pencil sketch on paper of Liberty Granting Independence to Filipinos; technical drawings of the column and base of the Bonifacio Monument; Tolentino’s U.P. School of Fine Arts diplomas for Sculpture and Painting; Tolentino’s 1908 diploma from the Royal Higher Institute of Fine Arts in Rome; Tolentino’s 1931 commemorative diploma from the Exposition Coloniale Internationale in Paris; and a 1931 self-portrait of Tolentino.

Galeria de Filipinos Ilustres (lithograph, 1933)

The 1933 lithograph of Galeria de Filipinos Ilustres , a group portrait of heroes, was drawn by Tolentino when he was still in high school and attending classes at the UP School of Fine Arts.  It was later printed in Liwayway Magazine.

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UP School of Fine Arts Diplomas for Sculpture and Painting

Top left is Tolentino’s 1908 diploma from the Royal Higher Institute of Fine Arts in Rome. Below it is Tolentino’s 1931 commemorative diploma from the Exposition Coloniale Internationale in Paris. At right is a pen on paper self-portrait of the artist(1931)

At the center of the gallery are the two scaled models and casts, from the 14-piece collection of Frederick Dy, for the Commonwealth Triumphal Arch which would have been one of the iconic monuments of Manila, similar to the Arc de Triomphe de l’Etoile in Paris, France. Meant to commemorate the years of Filipinos lobbying for the independence of the Philippines to be recognized, it was planned to be situated at the intersection of Plaza Burgos and Taft Avenue, near the Manila City Hall and the Old Legislative Building (now the National Museum of Fine Arts).

At center are the technical drawings of the column and base of the Bonifacio Monument. Flanking it are busts of Pres. Manuel L. Quezon and American Gen. Douglas MacArthur

Commissioned by the UP Alumni Association in 1935 (the first year of the 10-year transition of the Philippines from an American occupied territory to an independent nation), Tolentino designed a humongous structure that would have featured bas-relief statues of ordinary Filipinos seemingly supporting the whole arch. Approved by Pres. Manuel L. Quezon and the National Assembly, the budget for the arch was set for PhP500,000.00 and First Lady Aurora Aragón Quezon already laid the first trowel of cement on the foundation. Unfortunately, the Japanese imperial army invaded the Philippines in 1941 and the construction was never continued.

L-R: Marble statues of A Praying Cherub (ca. 1920) and A Praying Angel (1935)

Behind the Commonwealth Triumphal Arch is the 1973 life-size statue of Don Quintin Paredes as Speaker of the House (polychrome plaster of Paris). Other statues include a marble sculpture of his daughter Lualhati on a granite pedestal; a polychrome concrete statue of a Seated Girl Reading; marble statues of a Praying Cherub (ca. 1935), a Praying Angel (ca. 1920) and a Girl Holding a Wreath (1920); and an undated model for the monument and head of Dr. Nicanor Reyes (polychrome plaster of Paris).

An undated marble statue, on granite pedestal, of Lualhati, Tolentino’s daughter, when she was six years old. Lualhati, who now resides in Germany, is among Tolentino’s seven children with his wife, Paz Raymundo. This is the only sculpture of the artist’s family member in the National Fine Arts Collection.

The rest of the display are busts, mostly made of polychrome plaster of Paris (some with polychrome resin and plaster of Paris), of Philippine presidents (Manuel L. Quezon, Manuel A. Roxas, Emilio Aguinaldo, Ramon Magsaysay and Ferdinand E. Marcos); local heroes (Jose Rizal, Lapu-Lapu, Epifanio de los Santos and Andres Bonifacio); soldiers (Col. Salvador Reyes and American Gen. Douglas MacArthur); industrialists (Andres Soriano Sr.); politicians (Quintin Paredes, Jaime de Veyra), notable women (Luisa Marasigan, Consolacion Singian); American writer and Filipinologist A.V.H. Hartendorp; and artists (Crispulo Zamora).

Life-size statue of Don Quintin Paredes as Speaker of the House (polychrome plaster of Paris, 1973)

Most of the work and memorabilia presented in the gallery were collected by Tolentino’s family (formerly displayed at the Pasig City Museum) and several private patrons and institutional partners of the National Museum of the Philippines (Security Bank chairman Frederick Dy, Judy Araneta-Roxas, Ernesto and Araceli Salas, and Nestor Jordin).

Gallery XII – Eskultor ng Lahing Filipino:  Honoring the Life and Work of Guillermo Tolentino: Security Bank Hall, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.