*371. He Built According To God’s Plan: Arch. JOSE MA. ZARAGOZA

JOSE MA. ZARAGOZA. Renown for building ecclesiastical structures like the Sto. Domingo Church in Quezon City, Zaragoza was hailed as National Artist for Architecture, Design & Allied Arts on 20 June 2014. His mother hails from the Velez-Infante family of Guagua, Pampanga. Photo ca. 1955.

A part-Kapampangan architect known for dedicating his life to building sacred monuments and churches was recenty honored posthumously with a National Artist award in the field of architecture, design and the allied arts.

 Jose Ma. Zaragoza was born in Manila on 6 December 1914 to parents, Dña. Rosario Velez y Infante and Elias Zaragoza y Roxas. the 1st Filipino graduate of Yale University in 1906.

 The Velez family, of Spanish lineage, were among the most prominent families of Guagua, noted for their vast landholdings and untold wealth, traces of which still remain to this day. No less illustrious were the Zaragozas; Elias himself was the 1st Filipino graduate of Yale University, earning a degree in Electrical Engineering, summa cum laude, in 1906. Later, the senior Zaragoza was granted a 10-year study at Faraday Institute in London.

 Apparently, it was from his father that Joselin, as the young Jose was fondly called, got his aptitude for numbers and design. After graduating from high school at San Beda College in 1931 as salutatorian, he enrolled at the University of Sto. Tomas, where he finished with honors, B.S. in Architecture. He passed the government examinations in 1938.

 After passing the licensure exams in 1938, he joined the firm of Arch. Andres Luna de San Pedro, the Dean of Philippine Architects—and Juan Luna’s son. His Catholic upbringing shaped the direction of his lifeworks—one of his early works was the Villa San Miguel in Mandaluyong. But he rose to great prominence when he won the design project of the Sto. Domingo Church and Convent at Quezon City. It was a significant assignment as an ancestor, Felix Roxas, had designed the original Sto. Domingo Church in Intramuros , subsequently bombed during the war in 1941.

 Zaragoza’s other credits include the Pope Pius XII parish church in Manila, the Don Bosco Bosco church in Makati (finished 4 March 1978), the Union Church of Manila (also in Makati), the National Shrine of the Miraculous Medal in Parañaque, and the refurbishing of the interiors of Quiapo Church. In all, Arch. Zaragoza was involved in the design and construction of over 45 ecclesiastical structures all over the country. But he also distinguished himself in designing corporate offices and edifices.

One important commission was from the Lopez Group founder Eugenio Lopez Sr., who asked him to design Meralco’s new Ortigas headquarters, previously based in San Marcelino, Manila. The new, state-of-the-art multi-storey building was completed and inaugurated on 14 March 1969 in time for the electric company’s 66th anniversary. Other iconic landmarks that Zaragoza handled were the Greenhills Shopping Center in Ortigas and Casino Español. 

 Along his professional line, Zaragoza was an honorary fellow of both the American Institute of Architects and the Philippine Institute of Architects. He also was a 2-term president of the Philippine Institute of Architects and also held the presidency of the U.S.T. College of Architecture and Fine Arts Alumni Association. He headed his own private enterprise as president of the J.M.Z. Home Industries.

 The devout Zaragoza was named a Papal Chamberlain of Pope Pius XII (Cape and Sword) in 1956. He was also a Cavalier Magistrale of the Sovereign Military Order of Malta and a Knight Treasurer, Equestrian Order of the Holy Sepulchre of Jerusalem. He sat as a director for the Catholic Aid Association and was an active Knight of Columbus member.

 Zaragoza was the first Filipino to attend the International Institute of Liturgical Arts in Rome in 1956. That same year, he also attended the conference at the Union Nationales des Cooperatives d’Énglises et Edifices Religion Sinistres, held in Paris, France.

 Married to the former Pilar Rosello, his family was blessed with 5 children: Ramon (writer), Loudette, Charina (Bb. Pilipinas-Universe 1968) and Vince. The family settled eventually in Makati where the esteemed architect lived out the rest of his life, attending to his pet dogs, as well as to his many religious activities. The acclaimed architect died at age 81 on 26 November 1994, and his memorial services were held at the same chapel that he designed, the Blessed Sacrament chapel of Don Bosco.

 Amidst the Nora Aunor brouhaha, Zaragoza was named as a National Artist on 20 June 2014. But unlike the thespian’s controversial background, Zaragoza’s lifetime achievements in the field of design architecture are, without question, spotless testaments of his brilliance as an “architect for God, for man”.

*356. Pampanga's Churches: SAN ANDRES APOSTOL CHURCH, Candaba

SAN ANDRES APOSTOL CHURCH. Candaba's center of worship, as it appeared around 1911-1912, from the Luther Parker Collection.

Watermelons, swampy lands, migratory birds—all these conjure images of one of Pampanga’s oldest towns during the wet season—Candaba, which is located on the plains near the Pampanga River, characterized by a large swamp in its midst. The “pinac”, formed by estuaries and rivers from Nueva Ecija, is a rich source of income for most of the people of Candaba, yielding fish, farm produce and the sweetest “pakwan” around.

 Centuries before, Candaba had also impressed the Spaniards for its flourishing economy, not to mention its antiquity, calling it “Little Castilla”. Augustinians quickly descended upon the wetlands to claim Candaba as house of their order in 1575, appending it to the Calumpit convent with Fray Francisco de Ortega as prior. Its first recognized cura, however, is Fray Francisco Manrique, who came all the way from the Visayas.

 The Bishop of Manila, Fray Domingo de Salazar, cause Candaba to become an important mission center for the evangelization of other towns like Arayat and Pinpin (Sta. Ana). A church of light materials, dedicated to the apostle San Andres, was erected and by 1591, a convent had also been built.

 As the town progressed, a stone edifice replaced the primitive church, built from 1665-69, under the helm of the dynamic church builder, Fray Jose dela Cruz. There is an account of a certain Fray Felipe Guevara building a grimpola and a campanario as early as 1875.

A later successor, Fray Esteban Ibeas, added the dome in 1878. He added bells from 1879-81, dedicated to San Agustin, San Jose, San Andres, Sagrado Corazon de Jesus and Virgen dela Consolacion. In 1881, Fray Antonio Bravo constructed the bell tower and added one more bell, dedicated to the Holy Trinity. All bells were cast by Hilarion Sunico of Binondo.

 By the time the “pisamban batu” was done, it measured 60 meters long, 13 meters wide and 13 meters high. The campanario was repaired in 1890. In 1897, parish duties were transferred to the Filipino secular clergy. The first Filipino priest to serve was Padre Eulogio Ocampo.

 In modern times, the church interior was damaged by a typhoon in the 60s, and was restored that same year. Previous to this, there are no records of damages caused by the acts of nature.

 Today, the church has a very simple architecture, with not much ornamental details. A series of columns and depressed arches define its façade, while its protruding triangular pediment echoes that pleasing plainness. The arcaded convent front features semi-circular arches. The Church of San Andres Apostol of Candaba observes the fiesta of its patron every year, on the 30th of November.

*353. Pampanga's Churches: STA. CATALINA CHURCH, Arayat

STA. CATALINA CHURCH, as it appears in 1911. The 3-level Renaissance-style facade gives it a signature look, that has earned a reputation as among Pampanga's most beautiful churches. Luther Parker Collection

The ancient town of Arayat rests on the foothills of Pampanga's mountain landmark, that has also come to be called by the same name. Its actual founding, however, is shrouded in mystery; with some sources naming either Prince Balagtas or his son, Araw--both Madjapahit Empire nobles, as the founder. But what we do know was Arayat was already a viable settlement as early as the 14th century, and 1571, it was one of the most important riverine towns of Pampanga, becoming a hub for trade and commerce.

The coming of Augustinians ushered in a brisk period of evangelization and, on 29 August 1590, Bishop Domingo Salazar approved a request to establish the first mission in the town, which was subsequently set up by Fray Juan de Valderrama. By 1600, the Arayat parish was already firmly established , under the ministry of Fray Contreras.

The early church was dedicated to Santa Catalina de Alejandria (St. Catherine of Alexandria), a 4th century virgin-martyr killed under the reign of Maxentius. Considered as one of the most important saints of the Medieval period, Sta. Catalina was also a popular Augustinian devotion.

The stone and brick structure was erected in 1753; cacnonical books indicate that the first baptism was conducted there in 1758, by a certain Fray Villalobos. The church was rebuilt by Fray Jose Torres starting in 1858. Fr. Juan Tarrero continued with the project only to become an unfortunate victim of the Philippine Revolution. It was finally finished in 1892, under the able supervision of Fr. Urbano Beduya, although several renovations continued through the first 2 decades of the 20th century.

The beautiful Sta. Catalina Church features a multi-levelled Renaissance style fachada. measures 70 meters long and 16 meters wide and stands12 meters high. It belongs to the parish of the Vicariate of Mary, Help of Christians in the Archdiocese of San Fernando. An image of its titular patron, Sta. Catalina, stands on the church portico. A separate antique image also resides in the main altar. Her  feast day is celebrated on November 25. 

*312. THE GILDED AGE OF ALTARS

SOME KIND OF WAWA-NDERFUL. The altar and retablo mayor of Guagua Church, dedicated to the Immaculate Conception. The mesa altar and the sagrario are covered with precious frontals of beaten silver. Ca. 1915.

When Augustinian missionaries descended upon Pampanga, they lost no time embarking on building churches. This religious order—first to arrive with Legazpi’s expeditionary group in 1565—is credited with constructing the most number of churches in the country.

The first visitas were made from indigenous materials—nipa, bamboo, hardwood trees—but with grants from the Real Hacienda, income from church services, free labor from the system of polo y servicio, churches soon evolved and grew into magnificent structures, with lavish decorations that rivalled those of Europe.

Nowhere is this more evident in the main altars of old Pampanga churches. Apparently, Filipinos and Spaniards shared a common interest in the decorative arts; just 50 years after Manila’s foundation, it was noted that the progressive city had churches adorned with rich silk fabrics and altar fronts covered with expensive silver.

Indeed, the altar became the most outstanding feature of the church in terms of artistry and opulence, for they were designed to attract attention and direct the gaze of the devotee to the tabernacle that housed the Holy Eucharist. The sagrario (tabernacle) was flanked by gradas (tiered panels) where decorations like ramilletes ( bouquets of silver or wood) and silver candeleros (candle holders) were placed.

 The altar mayor featured the mantel-covered mesa altar, on which the priest said Mass, his back towards the audience. The Second Vatican Council of 1962 made significant reforms in the conduct of liturgical services, including changes in the physical make-up of the altar space. Altar tables were moved to the foreground, so that priests can celebrate the Mass, facing the audience. Retained were the magnificent retablos behind the mesa altar, frontal structures carved with period decorations and designed with nichos to house santos of wood and ivory, as well as paintings and relieves (relief carvings) showing Biblical and other holy scenes—all meant as visual aids in the missionaries’ oral teachings and in their attempt to convert people to Christianity.

The churches of Pampanga reflected the spirit of this gilded age, the combined power and glory of Art and Faith serving a higher purpose. The church of Lubao for instance, has a retablo mayor carved in florid Baroque style, with Augustinian santos enshrined in niches, leading one admirer to write that it is ”one of the most sumptuous in the Islands”.

The Santiago Apostol Church in Betis, likewise, boasts of a baroque wooden retablo carved with the most refined details, and infused with rocaille motifs—shells, curlicues, sinuous floral patterns. Once installed in the central niche was the figure of the patron—St. James as a peregrine, or pilgrim, now replaced with the Risen Christ. Angels playing musical instruments are scattered about the retablo, with the all-seeing God the Father, lording it all.

The church of Bacolor, dedicated to San Guillermo and touted as Pampanga’s biggest church in 1897, once had rich silver works with beautifully-gold leafed altar. The sunken retablos have all been restored after the Pinatubo eruption—sans the real gold gilt. Apalit has an intricately ornamented altar surmounted by a dome, replicating the church’s signature dome feature. The altar of San Simon is carved with floral splendor, with the figure of the Holy Spirit hovering above. Sta. Rita’s claim to fame was once its gilded main altar, while that of Masantol had Renaissance style carvings. The ancient church of San Luis also has an impressive retablo done in baroque, while Guagua’s altar frontals were once adorned with beaten silver (pukpok), made from precious silver coins.

The grandeur of our altars have been somehow dimmed by the ravages of time and the cataclysmic workings of nature—floods, earthquakes, volcanic upheavals. But though begrimed with dust, covered in lahar and engulfed in flood waters, it is before these altars that we always fall on our knees, intone our prayers for succor and help--and find our faith again.

*301. Bale Matua: THE PAMINTUAN HOUSE

HERITAGE HOUSE. The Pamintuan Mansion once had Gen. Emilio Aguinaldo as its resident. It was here on 12 June 1899 that the first anniversary of Philippine independence was marked, with Pres. Aguinaldo, Del Pilar and other military heroes in attendance. Yearly, the city stages a re-enactment of that historic celebration.

One of the signature landmarks of the city of Angeles is a residential home, a house of memory and history that stands along Sto. Entierro Street, just 2 blocks away from the ancient Sto. Rosario Church, itself a revered structure with a many storied past. This is the Pamintuan House, built sometime in the 1890s by the patriarch, Don Mariano Pamintuan for his son Florentino Torres Pamintuan (1868-1925), who earned his fabulous fortune from his vast agricultural lands.

The biggest and most beautiful house in Angeles sits on  a prime location in the town’s residential district. Here, Don Florentino settled with wife Mancia Sandico Pamintuan (1865-1905) and his family of four children: Jose Ma., Mariano, Paz, Caridad and Natividad. Don Florentino would marry a second time after his wife’s death, to Tomasa Centeno, who would give him 11 more offesprings.)

 One entered the mansion through a grand entresuelo, from where one climbed a massive stairway of solid Philippine hardwood. Upon reaching the landing, the opulence of the house becomes even more apparent: from its metal ceiling with distinct pukpok (repousse) floral designs to the ornamental arches, buttresses and calado (fretwork) transoms.

 The mansion featured modern amenities; it had running water in the bathrooms and kitchen that was hand-pumped from a well and stored in a large water cistern atop another tower. Rooms were illuminated by liquid petrol lamps, lit by the male househelps nightly with the help of ladders. Later, chandeliers replaced these traditional lights with the coming of electricity to the town. The latest furniture pieces were ordered by the Don for the house. The baby’s room was furnished with wooden cribs and the walls lined with expensive ivory santos and other religious statuaries who kept watch over the children. Carved beds, dining tables and chairs filled the rooms, while the walls were adorned with family pictures kept in art nouveau frames.

 Two separate spiral staircases led to a rooftop tower that doubled as a veranda, from where one could take in the fresh air and view the distant townscape. From there, once could descend down the backyard via a two-pronged staircase, leading one to the garden profuse with flowers and fruit-bearing trees. In the capacious garage were stored the carruajes (carriages) and the quilez, a square-shaped rig with seats on both sides, drawn by a horse.

 The House of Pamintuan took on a significant role during the Philippine Revolution when Gen. Emilio Aguinaldo moved the seat of the new and fragile Philippine Republic from Nueva Ecija to Angeles in 1899, for purposes of military expediency. Gen. Antonio Luna reconnoitered the town and chose the Pamintuan House as headquarters for the First Philippine Army. Don Florentino, a member of the Revolutionary Committee, not only opened his house but also took in Aguinaldo, who took temporary refuge in the spacious and sturdy structure. His aide-de-camp, Manuel L. Quezon, on the other hand, stayed in the house of Angeleño, Don Lorenzo Sanchez.

 On 12 June 1899, Emilio Aguinaldo, President of the new Philippine Republic celebrated the 1ts anniversary of Independence by staging a stirring celebration in the area. From one of the secondary windows, Aguinaldo watched a parade of gallant Filipino soldiers under the command of his youngest general, Gregorio del Pilar. Also present were Tomas Mascardo, Francisco Makabulos and the Luna brothers, Jose and Joaquin. In that momentous event, the Philippine tri-color was waved from the window of the Pamintuan house, certainly, a proud moment for the hundreds of Kapampangans who attended the rites—a first in Philippine history.

 When Aguinaldo fled Angeles, the advancing Americans took over the place and the Pamnituan House was commandeered by Gen. Arthur McArthur for his headquarters in 1901. With Aguinaldo’s capture, a period of peace settled over the Islands and the Pamintuans returned to take up residence in their still-beautiful house. Here, they hosted socials and received visitors—including Frank Murphy, the Governor General of the Philippines in the 1930s.

 World War II saw the Japanese invasion of Pampanga; Fort Stotsenburg was carpet-bombed and a regiment of the Japanese Cavalry occupied the imposing mansion. Upon Liberation, the house was rented to the USO, an organization that provided entertainment to American servicemen, and was converted into a clubhouse briefly, until 1947. The following year, the house was leased to a Chinese who transformed it into the Angeles Hotel.

 In 1959, the prime property was sold to Pedro Tablante, but the family never resided in the mansion. Instead, the house was leased to the local government in 1964, becoming an annex of the city hall. When the Central Bank of the Philippines was looking for a suitable location for its regional cash and clearing unit, it considered the historic house as a possibility.

As luck would have it, the Angeles Historical Society (led by its president, Mr. Josel Suarez, Daniel Dizon, Josie Dizon, Bette Nepomuceno, Marc Nepomuceno, Gil Lim, Rosalie Suarez, Racquel Villavicencio and other members ), in conjunction with the National Historic Institute, was looking for a sponsor to preserve the place. The groups met with then Central Bank Governor Jaime Laya, and an agreement was reached with the Central Bank to acquire the property from the Tablante-Tungol family in 1981, with a provision for the buyer to preserve the house, even if it was meant for adaptive re-use.

Work began in 1993 and, on January 4, the Central Bank Regional Cash and Clearing Unit began its operations in the distinguished 19th century Pamintuan House, where patriotic Kapampangans once lived, heroes once walked and where a piece of history was created.

*213. THE HOUSE ON 151 STA. INES ST., part II

AND THE HOUSE CAME FALLING DOWN. From a two-storey house, our old residence was made smaller for practical reasons: in 2000 we have all flown the coop and by then the house was in total disarray, rented out to various people we hardly knew. It was still sad to see the upper floor go.

Our street, which stretches for just about 250 meters, was actually just a side street and for the longest time, remained unpaved. I hated walking down the dirt road, especially after the rains; a slight downpour would turn the road sticky and muddy. The worse was stepping on moist carabao dung, and many a rubber sandal were lost in the warm smelly trap left behind by these lumbering damulags. The town abattoir faced our street, permeating the air not just with the stench of scalding flesh but also the piercing wails of death-resistant pigs.

The commandment “Love thy Neighbor” was followed to the letter in our street, as our relationships with everyone was cloyingly sweet. Everyone it seemed, looked out for each other. Imang Saning ran the street’s only sari-sari store; her daughter Luz was my classmate. There, we could make “pa-lista” if our budgets were tight but 1 or 5 centavos is enough to buy Texas bubble gum, Senorita Lemon or toothsome belekoy. My favorites were the pink, coconut laced cookies in glass garapons. For the same price, you can take a chance on the “bagutan” , where anything—from a toy balloon or a plastic gun-- can be yours for the picking. On the other hand, my sister loved renting komiks there, and I myself would avidly follow the serialized stories of “Sindak” or “Ngitngit ng Pitong Whistle Bomb” on Tagalog Klasiks.

Tatang Felix Castro and Mang Saning worked for my lolo in managing his agricultural lands for some time. They would either housesit or babysit us whenever my parents or lolo went on overnight trips to Manila. My father became a good buddy of their son-in-law Master Sgt., Arthur Dandridge, who married their daughter, Atching Ester.

I always admired the little house of the Tungol family with its rows of green bushes and flowers. I longed to have a house that organized. Kong Inggo was our resident on-the-go-barber. He would come to our house at a moment’s notice as his house was just a stone’s throw from ours. Many years later, I would be reacquainted with his daughter, Jet, in Bangkok, Thailand, of all places, where he and her American husband were stationed. Within the vicinity was also Atching Zenai’s big compound. She would sometimes send food over and my mother would return the kind gesture with another dish. That’s how it was in those days.

Also close to us are the family of Ingkung Raling and Apung Gayang Morales. Bapang Roxann was my classmate from elementary to high school. Atty. Morales was a respected lawyer who would always handle all our family’s legal cases.

Our other Morales relatives often had caretakers to tend to their large, imposing house. When they were not around, we would go over the fence and play hide and seek or tambubung on the spacious, paved grounds. Whenever we felt more adventurous, we would ascend the azotea stairs or climb up all the way to the second floor, trying to see what lies within. I remember peering through the persiana slats to see an ancient portrait of an old woman with soulful eyes that follow your every move. I was scared stiff! Little did I know that she was my paternal great grandmother, Apung Palu.

To the left of us are the Madlangbayans and directly in front of us, the compound of Tatang Senti de la Cruz. Their children were our playmates and when we were not engaging them with several rounds of siyatung (game played with sticks), we were conducting war games. Tatang Senti had a number of carabaos and we would worry him no end by scaring his herd with firecrackers. Today, his son Sekwat and I are magka-“kumpares”.

The Concepcions, first cousins of my Dad, also were on the same street. I also remember the Macaspac family in that area, as Remedios was my grade school classmate. Sadly, she passed away at a tender age.

The farther I went down the road, the less and less people I knew.
Where our rural street converged with the other, more populated Sta. Ines street, that’s where my little journey ended.

*****

I left our house in Sta. Ines in 1984.
By then it had acquired a new number (No. 179) and the street had been given a new name (Sampaguita St.). In the 1998, the street name was again changed to Vicente de la Cruz St., in honor of Tatang Senti, our front-door neighbor. By then too, my father had passed away and my mother moved out of Sta. Ines to join me in my matchbox-size, SSS-financed house in Casmor. Our big house, now empty and termite-ridden, had become but a store room for our old furniture, aparadors and odds and ends of accumulated junk.

In January of 2001, I decided to have the house remodeled and made smaller for practical reasons. When the whole upper storey where my room used to be was finally demolished, a piece of my past also came crashing down.

*212. THE HOUSE ON 151 STA. INES ST., part I

NO PLACE LIKE HOME. The Castro Family residence, as it looked in the mid 1970s--the place of my childhood. The house was constructed in the late 1950s, expanding in all directions when the family grew to 8 siblings, a set of parents, 1 grandparent and 3 househelps and a driver.

It’s easy to locate the house I grew up in. It sits right next to the stately Morales ancestral mansion built by my paternal grandmother’s brother, Atty. Rafael Morales. There is another old house across this mansion, belonging to another relation, also a Morales, and also an attorney--Regalado Morales or Ingkong Raling. You simply use these two old houses to point to our residence along Sta. Ines. Back in the 60s, there was no name for our street—mails were simply addressed to our house number—No. 151.

Our 2-storey house, built in the 1950s is a study in contrast to the next-door Morales house, with its architectured lay-out and carefully planned rooms. Ours was family-designed, and it can be safely said that it was basically constructed from found objects. Our gate for instance, was recycled from an old aluminum airplane wing, to which a wheel had been fastened so that it could be rolled open or close. The perimeter of our thousand square-plus lot was fenced in by old steel-matting, reinforced with rows of San Francisco, jasmine, sampaguita, karakarikucha, guyabano and coconut trees.

The first floor, as I remember it, had shiny red cement floors that were assiduously scrubbed for hours with a bunot (coconut husk), or polished to a clear smooth finish with a lampaso (rags). The very first sala set of my memory were these woven rattan pieces that left marks on your butt after a few minutes of sitting on them. We had large, slide-open windows that opened to a pasamano. Here, on the wide, wooden ledge, I would often lie down to take my naps.

Our dining table was one of few formal pieces of furniture we had, but it did not have any matching chairs. Instead, we sat on batibots or used a long metal bench with a lawanit top. The kitchen, where my mother reigned supreme, was a soot-covered one-room affair, strewn with firewood, kitchen utensils and lined with old-fashioned kalans.

The upstair structure—where all our bedrooms were-- was all of wood, consisting of 2, maybe 3 rooms. We usually slept on mattresses laid out on the shiny wood-planked floor, falling asleep as we watched Far East Network cartoons on our Westinghouse 1950s TV. For the longest time though, we were infested with suldot (bedbugs) and these pests would lodge themselves in the floor crevices which made sleeping impossible—until we got beds.

It took some time getting used to double-decked beds. I shared mine with my elder brother, Gregg. For practical reasons, I occupied the lower berth—I was a bed wetter until age 11 (my mother used to put a big basin under my bed every night-very embarassing). One time my brother and I had our usual bedtime fight. I yanked at his arms and he came crashing down the upper deck with a bang.

There was one year I shared a room with my Ingkung Dando. This time, I stayed on the upper deck and my younger sister occupied the lower berth. From atop, I had a commanding, if not a funny view of my lolo as he slept soundly. You see, he snored in his sleep and his lips would pucker up , making hilarious noises that gave me unstoppable laughing fits.

When more babies came (we were 8 kids in all), our house grew with more room extensions in all directions, all engineered either by our carpenter or the mason. In the prosperous 70s, my parents had their share of small fortune when, together with their siblings, went into real estate development. True to the spirit of the nouveau riche, we went into a house-remodelling frenzy, applying the latest architectural and interior design craze as our house underwent expansion.

For instance, our walls were embellished with crazy-cut patterns of earth and brown hues. Foundation posts were whitewashed with crushed 7-Up bottles that sparkled in broad daylight. Our cement floors gave way to modern granolithic, in all its speckled glory. The ceilings were framed in scalloped, textured lawanit boards, painted mint green long before pastel shades came into vogue. Faux wood grain panels hid the stairs leading to our bedrooms. And the piece de resistance: flower beds, in the shape of cut-up logs, adorned the front of our house, an appropriate accent to the diamond ceramic façade.

To furnish the house, we ordered oh-so-moderne brown sofas and chairs with stiletto legs. Vinyl-covered, they made gentle hissing sounds when you sunk into them. These were matched with slightly-used red and white chairs, generously donated by our American tenants. And, for the first time, we had lamps for the side tables—one in green and one in cream!

Separating the living room from the dining area is a custom-made display cabinet that contained my Dad’s precious collection of Jim Beam bottles and decanters in all shapes and sizes, carefully amassed through the years from the neighborhood “magbobote’t dyaryo” (used bottle and newspaper dealer).The only artworks we kept were two framed watercolors of weeping willows (I think!) rendered on green cartolinas.

Finally, we could afford having our own bedrooms. Recognizing our individuality, our parents gave us leeway in room design and color selection. My father though, insisted that the rooms should have transoms for better air circulation, which weren’t at all to my liking as these did not make the rooms very private. I chose to have my room painted in avocado green but the painter messed up and the final outcome was more like the color of kamias.

Oh, how I loved that house on 151 Sta. Ines St.
It had multiple personalities not unlike those of the dozen or so residents that inhabit the place. It had much space—to hide in, thrive in. Around it, more space for fun and play, for youthful imaginations to run wild. I was around 7 or 8 when my brother and cousin connived to form a club—3 M, we called ourselves (Magnificent 3!). The karakarikucha tree in the front yard became our outpost, while the backyard, hidden from adult’s prying eyes, became the site of our private headquarters which we built from stone blocks, one stone at a time.

Directly across our house was a cavernous kamalig owned by my Morales relatives, unused for years and left to decay. Nightly, only the incessant calls of the “tuko” would be heard from this dark, dingy dungeon-like structure. My lolo’s idea of discipline was to lock up erring grandchildren here. The unspeakable terror that lurked behind the massive doors was very much real, as my younger brother Momel once proved it when he annoyed my Ingkung with his endless crying. Until now, I have not the courage to step inside this kamalig, the chamber of horrors of our childhood.

My father’s old yaya, Ati Bo and her family, were rewarded by my Ingkung with a house of their own behind our residence. Made of nipa, sawali and bamboo, their house looked like a bigger version of my sister Celynne’s “bale-balayan” which she got as a birthday present from Ingkung. When she grew up, her “bale-balayan” (play house) became our favorite playhouse where we would play kurang-kurangan (play kitchen) and practiced our housekeeping duties like buffing the bamboo floors with banana leaves. The coming of more househelps signalled the end of our private happy moments as they took residence in our little nipa house.

Behind Ati Bo’s house, past a little rear gate lies another forbidden land—a gently sloping ravine that leads to the sapa (creek). Overgrown with bamboo, cogon, ferns and giant gabi plants, we would do our Tarzan yells as we rappeled down the slope. In this mosquito-infested area, amidst the thorny brambles and thickets and the nuno sa punso, we once built a tree house, affording a quiet vantage point where one could listen for hours to the sounds of creaking, rustling bamboo. Past the barbed wire fence, one comes finally to the white sand sapa (stream). Here, we washed our feet, caught tadpoles, collected butterflies and ate dagis-pakwan (edible wild fruits). Here too, directly opposite us, you can see the goings-on in the houses along the street: people walking to and fro, tricycles coming and going, children like us, playing. It’s a virtual wonderland out there, serene, relaxing, uncomplicated, and the only thing that could wake us up from our youthful reverie would be a call, or more precisely, a threatening scream from those adults in our house.

That would send us rushing home in a minute.

*211. UNA NUEVA IGLESIA: The 1886 Inauguration of Angeles Church

KITA-KITS KATA PISAMBAN. The church of Angeles, dedicated to our Lady of the Most Holy Rosary, is one of the most enduring symbols of the city which started as a town carved out from San Fernando. ca. 1930s.

In the historic district of Angeles stands the Sto. Rosario Church with its distinctive two towers—which many residents see as more than a landmark, but also a witness to Culiat’s pueblo past as well as the unfolding present. The original church had been constructed of simple nipa and bamboo, as most pioneer churches were made of. It was replaced by Fray Guillermo Masnou in 1855, the long-serving Augustinian priest who left quite a mark on the church and its history, imprints that are still apparent in the city even to this day.

The present stone-and-brick structure, however , is attributed to F. Ramon Sarrionandia, who, in 1860, commissioned a Manila architect, Antonio de la Camara, to design the church. On-and-off construction lasted for over 20 years, with F. Juan Merino finally completing the major portions of the church in 1886, opening it partially to the public.

An Augustinian publication, Revista Augustiniana (Vol. 12) , published an account of the 1886 inauguration:

“We received from the Philippines, a letter stating that on 14 April 1886, the Very Rev. Juan Merino OSA solemnly blessed and opened for public worship, a portion of the newly constructed church at Angeles, Pampanga, which will soon be one of the roomiest churches in the country. Those who assisted in the ceremony were Frs. Antonio Redondo (then San Fernando curate), Urbano Bedoya, and Galo de la Calle* (*died of cholera in Lubao)—All Augustinians. Frs. Gregorio Bueno** (**killed in 1898 at the height of the Philippine Revolution; his death started the legendary curse of Mabalacat) and Mariano Morales—both Augustinian Recollects—were also at hand.

The event was attended by all the residents of the town, who were filled with joyful satisfaction to see a solemn celebration in this new church for the first time. The construction of the new edifice was made possible through the patronage of eight prominent families of this town, together with the zealous efforts and sacrifices of Fr. Merino. Not to be outdone also is the generosity of the faithful who did everything possible to contribute with donations, labor and anything to help their beloved parish priest.

For now, only the portion of the principal nave with its choir is opened to the public, in which they have placed the altar, confessionals and other church vessels, thus giving it an impression of a real church. The rest of the structure is at the finishing stage with all its necessary materials at hand. The dedicated structure successfully melded together beauty and safety which is necessary in these Islands exposed to the danger of earthquakes, thus affording it strength by the solid construction of its walls, the proportions of all its parts, its well-chosen materials, and the framework and roofing—all made from the more reputable factories of Europe.

Fr. Merino must have been gratified by the fruits of his labors’ the satisfied residents of Angeles can now have their divine workshop with pomp and splendor inside the church. All are equally satisfied for having prepared a dwelling fro the Lord, so that He may live among his mortals, putting in mind that the Lord of Lords never fails to repay not even a glass of water given in His name.”

The church was completed in 1892 by Fr. Pedro Ibeas—“a magnificent church, a perennial monument to the religious dedication of the town people of Angeles”. A few more renovations were undertaken by Fr. Rufino Santos the next year, and all the finishing touches were done in 1897, shortly before the departure of the Spanish Augustinians.

(I am indebted to Fray Lord Musni for this article, which originally appeared in "Singsing", the official publication of the Center for Kapampangan Studies, and modified for this blog.)

*144. Heritage Structures: CANDABA BRIDGE

I'M A CANDABA BRIDGE FAN. A souvenir cardboard fan given away to guests at the 1953 dedication of the Candaba Bridge. Town heads led by Mayor Anastacio Gallardo, Vice-Mayor Vicente pelayo, the munipal secretary, treasurer and Justic of the Peace Ramon Ricafort, attended this major town event.

Rio Grande de la Pampanga provided the lifeblood of the province, regulalry used as a channel to transport goods and agricultural produce from town-to-town, to Manila and beyond. To facilitate movement of commerce, bridges had to be constructed, but Spain chose to concentrate its bridge-building in Manila. The old España (renamed Jones Bridge) , Colgante ( (the country’s 1st suspension bridge) and Convalencia bridges (known as Ayala Bridge, designed and built by Gustave Eiffel) are some of Spain’s more prominent architectural legacies.

It took the Americans to fast-track the building of transportation infrastructures in the Philippines and the peacetime years of the 1930s were a period of raod and bridge-building, adding precious mileage to the country’s limited network of highways. linking towns, islands and whole provinces.

Pampanga has its share of historic bridges that have become historic landmarks of the province. Sulipan Bridge in Apalit provided a vital link between Manila and Pampanga and other northern provinces. The former wood-and-steel bridge was recently reconstructed through Japanese funding and was inaugurated in March 2007.

Still another famous architectural marvel is the Baluyot Bridge of San Fernando, which actually replaced an earlier Spanish-made bridge. Sotero Baluyot, the engineer-governor of Pampanga designed the bridge based on his theses completed at the University of Iowa in 1909, reconstructing it into an arched bridge made of reinforced concrete.

The Candaba Bridge, though lesser known than the Baluyot Bridge, is however, just as important. Candaba, after all, is a major farming and fishing community, and as it is a low-lying, marshy town, its fisherfolks and farmers depended much on water transport for the delivery of their catch and their various. The building of Candaba Bridge sought to make the flow of commerce quicker and more efficient for the community.

Spanning the Pampanga River, the Candaba Bridge was a major project of the Bureau of Public Works, supervised by a platoon of American highway engineers. It suffered extensive damages in the Second World War but was rebuilt after the war with a grant from the United States. In its time, the Candaba Bridge was truly a building masterpiece, sleek and streamlined, with its load-bearing deck hung below cables on vertical suspenders. From a distance, the bridge seemed to float miraculously on air. It is the same type as the Golden Gate Bridge of San Francisco in California, leading many to believe that the Candaba Bridge was patterned after the design of the famous American bridge completed in 1937.

The Candaba Bridge was rededicated in 1953 during the tenure of Mayor Anastacio Gallardo (assassinated in 1966) and Vice Mayor Vicente Pelayo. It must have been a major event as commemorative items such as this fan, were produced to mark the ribbon-cutting rites.

Today, Candaba Bridge has been totally overshadowed by the 5 km. Candaba Viaduct along the North Luzon Expressway, the longest concrete bridge in Luzon. But its place in our province’s history has long been cemented.

*118. Bale Matua: THE MORALES MANSION, Mabalacat

GRAND DESIGN. The Morales Ancestral Mansion, built by the Atty. Rafael Morales of Mabalacat, for his bride, Belen Lansangan of Sta. Ana in 1924, utilized the artistry of Betis craftsmen and master carpenters.

Along Vicente de la Cruz St., (formerly, Sampaguita St.) parallel to the busy Sta. Ines exit of the North Expressway, lies an imposing mansion that dominates the quiet, provincial air of this narrow barrio road. This is the 2 –storey Morales ancestral house, an 84 year-old stone and wood structure with an architectural style that harkens back to the days of bahay na bato, yet infused with geometric, floral and art deco elements considered “moderne” in those times.

The fleur-de-lis accented wrought iron grilles fencing the house bear the initials of the owner, Don Rafael Morales y Guzman, the youngest son of the town’s principalia, Don Quentin Morales and Dña Paula Guzman. Actually, it was Don Quentin who built the house, commissioning Betis carpenters and carvers under the supervision of Felix Guiao, who himself, was a self-taught woodworker. Upon finishing his advanced law studies at Georgetown University, Don Rafael married Belen Lansangan of Sta. Ana, and settled in this house fit for a king on a sprawling 2,000 square meter property.

From the outside, the pastel green and white Morales house has a linear, simple grandeur—from its straight, solid façade to the tin cutwork that lines the roof’s edge. The geometric feel is broken only by sparse classic elements like the pierced vents in the eaves done in floral patterns. The high windows are notable for their rare frosted white and cobalt blue glass panes, which were fully closed with persianas or louvres when sunlight becomes too harsh. During Mabalacat’s sizzling summers, the ventanillas underneath are slid open to let in more air.

The floor plan follows an inverted F-shape, long and linear, but full of open space. A concrete stairway lads you to the upper floor where the Moraleses took residence. The date of the house’s construction—1924—is part of the wooden cutwork above the double doors fitted with amethyst-colored glass knobs. The Morales fortune was built on agricultural lands and this important aspect of the family history is immortalized in the ornate arch in the ante-sala. The arch carries exquisite carvings of farming icons—a plow, bundles of rice stalks, harrow—arranged almost like parts of a family crest. To the right are the living room quarters including the high-ceiling bedrooms, topped with transomes or air vents to circulate air from room to room.

The expansive dining room features an old-fashioned banggera, where table ware and glasses are left to air-dry. This area of the house figured prominently in the 1972 shooting of the Vilma Santos-Dante Rivero-Charito Solis war-themed movie, “Mga Tigre ng Sierra Cruz”. A utility wing is conjoined with the dining area. A small veranda and the white-tiled bathroom are found here, complete with claw foot porcelain tubs and modern plumbing. Space flows from one room to another leading you to the kitchen and semi-enclosed azotea with stairs that you down almost down the Sapang Balen bank.

In its prime, the Morales mansion was furnished with the latest furniture from the House of Puyat: 6-footer book shelves to hold Don Rafael’s legal tomes, tryptich tocador, plateras and a hat and cane stand. In the ante-sala, the portraits of the family forebears, Apung Palu and Apung Quintin, cast their steady gaze on arriving visitors. A life-size wedding picture of Don Rafael and Dña Belen was the focal point of the living room. A large mirror with elaborate etched designs also was hung there.

The well-tended gardens were lush with rosals, palms, San Francisco, agave and other succulents. Kamias, mango and acacia trees provided fruits and shady canopies all year-round. As late as the 1970s, reunion parties, soirees and basketball games were held in the courtyard and the wide cemented grounds.

When the only two daughters of Don Rafael relocated in Manila, the house was left in the care of relatives and a succession of caretakers. The Castros, first cousins of the Moraleses, resided in the house at various times in the 1950ws, 1970s throught the 1980s.

Sadly today, the Morales mansion is in a state of disrepair, further aggravated by the Pinatubo eruption, the ravages of time and the occasional neighborhood thievery. Whatever was left of the heirloom pieces, the heirs have spirited away to Manila. Even the carved arches have also been dismantled for keeping as architectural relics.

The subdued opulence of the Morales ancestral house and its attendant history may now be a thing of the past, but for the many who still live in this quiet Sta. Ines neighborhood and walk its narrow street, it still exists, albeit dimly, a landmark symbol of wealth and refinement from a genteel era now long gone.


POSTSCRIPT: In late October 2008, the heirs allowed a number of missionaries from a religious order to use the old mansion as their residential headquarters. The house, heavily vandalized by former squatter tenants, is now undergoing restoration--to make it more liveable.

(*NOTE: Feature titles with asterisks represent other writings of the author that appeared in other publications and are not included in the original book, "Views from the Pampang & Other Scenes")

*97. Pampanga's Churches: INMACULADA CONCEPCION, GUAGUA

HAIL MARY. Guagua's grand church, dedicated to the Immaculate Conception. Note the garland-decorated Grecian columns that characterize the altar mayor. Ca. 1920s.

Guagua’s landmark is its simple, yet spacious church that has stood witness to the town’s unraveling history for over two centuries. The church—dedicated to the Immaculate Conception—traces its lowly beginnings back in the 1500s, when Guagua (from ‘uaua’—mouth of a river) , a primal settlement on the banks of the river, was first visited by Augustinian missionaries. A makeshift structure was erected in 1587, only to be razed by fire. A replacement church was erected, manned Fr. Bernardo de Quevedo (prior) and Fr. Juan de Zabala (resident priest) who were officially named to evangelize in this place.

It would seemed that the church flourished, as it was asked to pay an annual rent of 100 pesos, 100 bushels of rice and 100 chickens to the infirmary of the San Agustin Monastery. By 1612, the census listed 3 priests and 3,600 souls living in prosperous Guagua. Guagua by then had attained an enviable level of prosperity brought about by its rich agricultural lands and its Chinese Parian.

Of the town’s spiritual side, Fray San Agustin noted: “Guagua occupies 2nd place among the converts of Pampanga, just after that of Bacolor, although formerly, it was number one.” One observer wrote that the Guaguanos “are well educated, generally brave and courageous, very good Christians, who revere their pastors more than any other town in Pampanga. They are showy during public ceremonies especially during the Semana Santa processions which can compare with those of Spain”.

This fervor was much apparent in the constructions that took place when Fr. Jose Duque took over as parish priest in 1661. Parochial buildings which began in 1641 continued under the dynamic priest who not only helped in pacifying the Pampanga rebellion in 1660 but also went on a building spree, raising structures of bricks and stones.

The church measured 6 meters long, 16 meters wide and 12 meters high—and was “as beautiful and as big as that of San Agustin in Manila”. In 1762, funding for its remodeling were obtained by Fr. Manuel Carrillo, who is credited in building the present stone convent. In 1862, Fr. Antonio Bravo had the church painted and in 1886, the beautiful dome was added by Fr. Paulino Fernandez. Reputedly, the church had the best organ in Pampanga at this time, a donation from a certain Dna. Carmen.

Although devoid of the usual ornamentations, the church façade displays classic elegance. The massive belltower provides contrast to the slender columns lining the building frontal. The altar, with its characteristic Grecian columns has also been worked on by noted artist, Spanish-trained carver Willy Layug, a resident of the town. Today, the church, which stands majestically next to the municipal building, also houses the Cardinal Santos Catholic Center and the Immaculate Conception Parochial School, a monument to the Spanish missionary zeal as well as the devout spirituality of the people of Guagua.

(*NOTE: Feature titles with asterisks represent other writings of the author that appeared in other publications and are not included in the original book, "Views from the Pampang & Other Scenes")

*94. HON. SOTERO J. BALUYUT: Engineer, Governor, Senator

HE LIVED TO BUILD. Hon. Sotero Baluyut led Pampanga as its Governor during the Commonwealth years, and later joined the Cabinet of Pres. Manuel L. Quezon. He was a prolific builder of roads, bridges and other infrastructures all over the country.

Sotero Baluyut was Pampanga’s most visible and progressive leader of the Commonwealth years, serving the province first as an engineer, then as a governor and senator. Born on 3 January 1889 to Leoncio Baluyut and Casimira Julao of San Fernando, Sotero overcame his humble beginnings by becoming one of the first government pensionados to the United States in 1904. He was just 15 when he left to enroll at the Santa Ana Central and High School in California and later to the University Summer Schools of Illinois.

In college, Baluyut pursued an engineering course at the University of Iowa, earning a Civil Engineering degree in 1914. After coming home from his studies, he joined the Bureau of Public Works as assistant engineer of Pampanga and Cavite in 1911. Soon, he rose to become a District Engineer, serving Isabela, Antique, Ilocos Norte, Bulacan and Pangasinan. He was named as a special engineer for the San Jose-Santa Fe Road (1912-1919) as well as for PASUDECO in 1920 (Pampanga Sugar Development Company).

With a record performance in the building of roads and infrastructure, Sotero ran for the governorship of Pampanga in 1925. He won and was, in fact, re-elected in 1927, soundly beating Pedro Abad Santos, his townmate, who founded the Socialist Party of the Philippines.

In 1931, Baluyut was elected Senator of the Third District. In 1938, he served his third and final term as Pampanga’s governor. Due to the prevalent Socialist-led agrarian unrest, Baluyut formed the Cawal ning Capayapan (Knights of Peace), composed of nonradical peasants to keep order among dissidents and strikers. The Cawals were organized because of the inadequacy of the government to maintain order.

Under Pres. Manuel L. Quezon, Baluyut served as the Secretary of Interior and, in 1941, as Secretary of Public Works. He was also at the helm of several mining companies. His affiliations included membership in the Philippine Columbian Association, Philippine Engineers and Architects and Pampanga Lodge 48 F & A.M.

Baluyut’s engineering skills gave Pampanga a historic bridge that today bears his name: the Baluyut Bridge, on Gen. Hizon Avenue, barangay Sto. Rosario. Formerly known as Puente Colgante, the Spanish era bridge was reconstructed in 1896 using iron and stone. It was damaged during the Philippine-American War and then bombed in the last World War. Using Baluyut’s design thesis completed at the University of Iowa in 1909 , the bridge was restored, becoming an attractive arch bridge made of reinforced concrete.

Baluyut was married to the former Encarnacion Lopez (b. 25 March 1901). They were childless. He died in Manila at the age of 86, on 6 January 1975.


(*NOTE: Feature titles with asterisks represent other writings of the author that appeared in other publications and are not included in the original book, "Views from the Pampang & Other Scenes")

*92: Pampanga's Churches: SAN LUIS GONZAGA, SAN LUIS

PISAMBAN SAN LUIS. The age-old stone church dedicated to the town patron San Aloysius Gonzaga is one of the few churches in Pampanga that has retained its air of antiquity through the years. Picture shows a Holy Communion group picture, ca. 1918.

San Luis town was originally called Cabagsa or Cabagsac, a contraction of “cabag” (fruit bats) and “bagsac”, hence a place where fruit bats come to roost. To honor the memory of one of its cura, Fray Nicolas de Orduno, it was later known as San Nicolas de Cabagsa. The eventual name—San Luis—is attributed to Dna. Luisa, wife of a lawyer who acted as a counsel in claiming a parcel of land disputed by neighboring Santa Ana (then Pinpin) town. The town was named after San Luis Gonzaga (St. Aloysius Gonzaga, 1568-1591), the blue-blooded Jesuit saint who died young at age 23. The town fiesta is celebrated on June 19.

The first recorded missionary to serve the town was Fr. Jose Echevarria, who was assigned as a prior in 1742. No information exists as to when the church was built, but it must have been completed in the late 18th century. In 1883, the church was restored by Fr. Isidro Bernardo, which then had the following dimensions: 56 meters long, 13 meters wide and 11 meters high. The church convent was expanded by Fr. Francisco Diaz in 1877. Today, San Luis Church is one of the few churches in the province that retains its old-world authenticity, even after assiduous restorations, one as recent as 1984 done on the retablo mayor, undertaken by Fr. Jacobo David.

The façade is heavily stone-laden, with spiraling stone buttresses and symmetrical twin belfries with marked Baroque influences. The historian Mariano A. Henson recorded the existence of 4 bells, inscribed with the names of Nstra. Snra, de la Correa (dated 1859), San Juan Evangelista (dated 1789) and San Jose (dated 1843). The fourth bell dates from June 1939.

The main portal is carved and recessed. Sandwiching the papal insignia are two niches with small statues. The heaviness of the carving continues on the stone balusters that decorate the central window, the arched niches on each side of the bell towers. The pediment is encompassed by scroll-like designs on both sides, while the arched window panels served to decorate the façade.

Behind the church, remnants of tombs can still be found, some still with marble lapidas. Then, as now, the ancient, massive presence of San Luis Church continues to hold sway, even if the trappings of modernity are just a few steps away from its door.

(*NOTE: Feature titles with asterisks represent other writings of the author that appeared in other publications and are not included in the original book, "Views from the Pampang & Other Scenes")

*91. Power Couple: Arch. FERNANDO H. OCAMPO and LOURDES M. LUCIANO

THE BEAUTY AND THE BUILDER. Arch. Fernando Hizon Ocampo and Pampanga beauty, Lourdes Luciano on their wedding day. 1931. Photo courtesy of Tatang Pandot Ocampo).

In 1931, two pedigreed Kapampangans, both born into wealth and power, tied the connubial knot and formed a union that, in the next years, would further cement their stature not just among the elite circle of Pampanga but also among the country’s social creme de la creme. After all, long before they met, Fernando Ocampo y Hizon and Lourdes Luciano y Magdangal were achievers in their own right, catching the nation’s fancy with their de buena familia backgrounds, talent, and in the case of Lourdes, her renown beauty.

Fernando Ocampo was the son of Basilio Ocampo and Leoncia Hizon, whose father, Anacleto, had been a former gobernadorcillo of San Fernando. He finished his Bachelor of Arts at the Ateneo in 1914, and after earning his Civil Engineering degree from the University of Sto. Tomas, he took up architecture from the University of Pennsylvania. His contemporaries included Juan Nakpil and Andres Luna de San Pedro (Juan Luna's son). He further pursued advanced studies at the American Academy in Rome, then joined the firm of Ballinger and Perrot in Philadelphia in 1922.

The next year though, he returned to the Philippines and was employed in the Architecture Division of the Bureau of Public Works. In partnership with Tomas Arguelles, Ocampo formed his own archictectural firm in 1928. In 1930, he founded the U.S.T. School of Fine Arts and Architecture and was a member of the Board Exams from 1929-1930. His contributions to Philippine architecture were honored with a Gold Medal of Merit from the Philippine Institute of Architects in 1953.

In his prime, Ocampo designed high profile projects that include the Arguelles Bldg., Sacred Heart Novitiate Bldg., Cu-Unjieng Bldg. , Paterno Building (later the FEATI University), and the Central Seminary of UST. His residential commissions included the homes of Benigno Aquino Sr., Admiral and Angela Apartments along Roxas Blvd. He also undertook the restorations of the Cathedral of San Fernando after it was destroyed by fire in 1939 and the war-damaged Manila Metropolitan Cathedral in the mid 1950s, under then Archbishop Rufino Santos.

On the other hand, Lourdes Luciano was one of three daughters of Jose Lazatin Luciano and Aurelia Magdangal of Talimundoc, Magalang., who were known for their legendary beauty (Rosario and Delfina were the other two). The Lucianos were the original founders of Magalang town, and it was here that Lourdes—or Unding--grew up.

While in La Concordia high school, Unding was handpicked by the local club, Mountainside, to join the search for Pampanga’s representative to the original Manila Carnival. By then, Lourdes’ famed beauty had already reached the organizers of the Carnival, and all indications pointed to a clear and easy victory in the national pageant. But a fellow Kapampangan—Socorro Henson—was also in the running. That time, the idea of having 2 Kapampangans in the winners’ circle either would not have seemed right, and so, Lourdes pulled out from the contest, a decision that hardly bothered her—for shortly after, she met and married Fernando.

The couple took residence in San Rafael, Manila, where they raised 4 children who were just as accomplished : Fernando Jr. (Pandot, also a noted architect and interior designer), Edgardo (+Hall of Famer, 4-time member of the Philippine Olympic basketball team), Oscar and Maria Pilar (Piluchi, now Mrs. Fernandez). Eventually, the family would move to M.H. Del Pilar in Ermita, before settling in Pasay.

Fernando Ocampo Sr. would leave his mark in history as the Father of Modern Philippine Architecture. Lourdes Luciano outlived her husband for over a decade and passed away on 13 June 2001.

(*NOTE: Feature titles with asterisks represent other writings of the author that appeared in other publications and are not included in the original book, "Views from the Pampang & Other Scenes")

*90. Bale Matua: THE LOPEZ MANSION, Guagua

LIFESTYLES OF THE RICH & FAMOUS. The Lopez Mansion, built by the sugar magnate Alejandro Lopez in the early 1930s, Guagua, Pampanga. The house is decorated for a religious celebration.

One of Pampanga’s most spectacular and most photographed landmarks is the Lopez Mansion, an imposing concrete residence and office built by the sugar magnate, Don Alejandro Lopez (b. 16 May 1883) of Guagua.

Alejandro was a product of the Philippine Normal School in 1911, and was for a time, connected with the Bureau of Education until 1920. But with the burgeoning sugar industry, Lopez became a successful planter, establishing the Lopez Rice Mill, Co., and becoming the Vice President of Pampanga Sugar Mills Planters Association.

For his wife Jacinta Limzon, Lopez built a spacious multi-storey mansion fit for a queen in the early 1930s. Constructed of APO Cement, the mansion also doubled as his office. Done in the Greek Revival style, the façade is dominated by Grecian columns accented with reliefs of foliate swags flowing down from the column's capital. Sandwiched in between are glass-panelled openings that lead to individual room balconies.

Concrete balusters line the building perimeter as well as the the 2nd floor protruding balconies where one can stand to watch the world go by. These were topped with eaves with simple geometric patterns, a design that recurrs around the house. Mini-pediments, evenly spaced out, crown the imposing structure, with cast-cement Grecian urns

The landing features a short flight of steps that leads to the main arched double doors. Two narrower doors flank the main portal, protected from the elements with a gracefully curving concrete canopy.

A spiral staircase linked the ground level to the upper rooms. The mansion was furnished with the latest styles from Puyat Furniture, the leading furniture and woodworking company of the day. Gonzalo Puyat, also from Guagua, established the factory that manufactured cabinets, bedroom suites, sala sets, tocadores, vegillas, sillas and even billiard tables of tangile and narra that became staples in wealthy Philippine homes.

The grounds were beautifully landscaped with flowering trees, small plants and shrubs. The perimeter is defined by a simple concrete and wrought iron fence. In its time, this mansion was an object of awe and attention, meriting write-ups in the Pampanga Social Register and Pampanga Directory, two who’s who books about Kapampangan high society.

It is fortunate that the Lopez Mansion still stands today, well-preserved after over 75 years. Indeed, the magnificence of this mansion would rival even some opulent residences in Europe, a singular showcase to the lifestyle of wealth and splendor as lived by Pampanga’s self-made men.

(*NOTE: Feature titles with asterisks represent other writings of the author that appeared in other publications and are not included in the original book, "Views from the Pampang & Other Scenes")

67. Pampanga's Churches: STA. MONICA CHURCH, MINALIN

SANTA MONICA CHURCH OF MINALIN. The ancient brickstone church with its impressive retablo-like façade has been standing witness for centuries to Minalin’s storied past. Here, a funeral procession is about to start. Ca. late 1950s.

Minalin boasts one of the most beautiful churches in the country—the Sta. Monica Church—which features a most unique façade, mimicking that of a giant retablo. A 1619 mural also can be found on one wall of the church, featuring naïve drawings of mysterious origins. Then again, Minalin’s past has always been replete with legends—such as the time that pieces of lumber stocked at Sta. Maria and meant for the construction of the church were carried away by floodwaters to a hilly place called Burol. This mystifying event gave the town its name—“minalis la ding dutung, minalis ya ing pisamban” (the lumber moved, and so must the church). A certain town head, Diego Tolentino, somehow erred in writing down “minalis”, and the town was referred to as Minalin ever since.

One other version though tells of a Malayan settlement headed by Kahn Bulaun, a descendant of Prince Balagtas. The place they say was famed for its beautiful women and when the Spaniards came, they described the town as “mina linda de las mujerers”. Subsequently, Chinese traders who frequented the place abbreviated the description to “Minalin”.

Minalin, as a place, was already in existence as a visita of Macabebe, as early as 1614. It was detached from its matrix in the same year but it was only in 1618 that a regular priest, P. Miguel de Saldana, was assigned to Minalin. On 31 October 1624, the parish was accepted as a vicariate with P. Martin Vargas as vicar prior. Sta. Maria, its pioneer barangay, was formed from an area of land that was ceded by the Datu of Macabebe to settlers Mendiola, Nucum, Lopez and Intal in 1638. It was named after the settlers’ wives, who were all named Maria.

There are no records as to who built the church, although it has been attributed to the work of P. Manuel Franco Tubil in 1764. One documented source cites the church’s completion before 1834. It was reconstructed at various stages: in 1854, 1877 (by P. Isidro Bernardo), 1885 and 1895 (repaired by P. Galo de la Fuente and Vicente Ruiz, respectively). The church, with Santa Monica as its titular patron (Feast Day, May 11) is 52 meters long, 13 meters wide and 11 meters high. The last Augustinian fraile to serve Minalin was P. Faustino Diez and the 1st native priest was P. Macario Panlilio.

The most notable architectural feature of the Santa Monica Church is its retablo-like façade. The main entrance and windows are bordered with a floral décor evocative of early folk altars. Corinthian columns act as support to the triangular pediment that is topped with a lantern-like kampanilya. In the early days, a lighted beacon was placed on top of the apex of the pediment to guide fishermen as they made their way from the river to the town. The structure is further complemented with a short row of balusters. The semi-circular niches hold painted stone statues of various Augustinian saints, and these are harmoniously designed to blend with the rose windows.

Flanking the church are two hexagonal 4 storey bell towers, a little squatty and low, yet solidly built. There are 4 century-old bells, dated from 1850 to 1877, dedicated to San Agustin and Sta. Monica. A low stone atrium with rare capilla posas encloses the convento. The Sta. Monica Church of Minalin stands as another sublime example of Pampanga’s religious heritage.
(27 September 2003)

59. Pampanga's Churches: HOLY ROSARY CHURCH, Angeles City

GET ME TO THE CHURCH ON TIME. The interior of the Sto. Rosario Church in Angeles was converted into a 2nd Division Hospital by the American troops during the Philippine Revolution. Injured American soldiers lie recuperating in bunk beds before the retablo mayor of the church. The image of the Virgin of the Most Holy Rosary can be seen in the central niche. Ca. 1900.

Perhaps the most imposing and most recognizable landmark of Angeles City is the Santo Rosario Church (Church of the Holy Rosary), with its familiar double bell towers and its ancient, symmetrical Romanesque façade, rising in sharp contrast to the modern buildings and mall that surround the peripherals of the historic district. If the walls of Sto. Rosario Church could speak, it would surely tell tales of colonial exploitation, of a town’s ascent to progress and most of all, of a people’s deep faith , unshaken by the horrors of wars, natural calamities and other tests of time.

The town on which the church would rise was known in the days of old as Kuliat (named after the kuliat plant), a part of San Fernando. First settled by husband and wife Don Angel Pantaleon de Miranda and Dña. Rosalia de Jesus, Kuliat was finally separated from San Fernando in 1829. The name was changed to Angeles, in honor of the founder, Don Angel, and also its titular patrons, Los Angeles de la Guardia (Deng Tala-ingat Angeles), under whose advocation the town was placed in 1830. It was served by a secular priest until Fr. Vicente Andres was appointed prior in 1843.

The first church of the town was made of light materials like nipa. Fr. Guillermo Masnou replaced the temporary church with one of wood in 1855. Fr. Ramon Sarrionandia started the construction of the present edifice of stone and bricks in 1860, utilizing the services of Antonio de la Camara, a Spanish architect based in Manila. The work went on for 20 years, with Fr. Juan Merino continuing the project in 1881. Manpower was provided by Filipino peasants, who worked for free, under the “polo y servicios” system, a kind of forced labor, imposed by the Spanish government. Still, the church remained unfinished, and even in that state, it was solemnly blessed and opened to the public in 1890. When Fr. Pedro Ibeas assumed his post in 1891, he inaugurated the “magnificent church, a perennial monument to the religious dedication of the townspeople of Angeles”, as described in the Augustinian Catalogo of Elviro Jorde.

Permission to finish the church was granted only after a letter of request dated 28 March 1892 was sent by the Fr. Provincial to the Archbishop of Manila, asking for authorization to complete the construction of the church. Fr. Rufino Santos put in more work in 1893 but it was only in 1897 that the Sto. Rosario Church as we know it today, was finally completed. The beautiful structure had a transept 70 meters long, 20 meters wide and 12 meters high. The recessed arch windows are encased with lattice work, a Renaissance influence. The grand entrance doors are fully and deeply carved with biblical scenes. The main altar is known for its magnificent silver work.

From 1896-1898, the back lot of the church was used as a place of execution for Filipino rebels. The last Spanish priest to serve was Fr. Baltazar Gomorra. After the Revolution was entrusted to native priests. Again, the church figured prominently in the town’s history when it was converted into a military hospital –the 2nd Division Hospital-- by the U.S. Army from August 1899 to December 1900 (perhaps, as late as 1902). The Holy Family Academy, founded by the Augustinian Sisters in 1910 and later taken by the Benedictines in 1922 was housed in the adjacent building. It served as barracks for American troops and, in the next world war, was used as Officers’ Quarters and arsenal by the Japanese Imperial military forces in early 1942.

The Santo Rosario Church continues to touch the lives of thousands of Kapampangans in bustling Angeles, where, in the midst of an expanding concrete jungle that threatens to cover every inch of the city with steel and concrete, a piece of history lives on.
(2 August 2003)

16. BUILDING THE KAPAMPANGAN HOUSE BEAUTIFUL

THE PEDRO MORALES RESIDENCE, designed by the esteemed Kapampangan architect Fernando Ocampo y Hizon, one of the pioneers of Philippine modern architecture. The art deco house was once an imposing presence in Mabiga, Mabalacat and merited a write-up in the Pampanga Social Register of 1936.

Talk about being a Kapampangan “sosyal” in the prosperous pre-war 1930s.The “Pampanga Social Register”, a slim book published in 1936, documented all the names of the province’s leaders in business, in the professions and in the society, a veritable list of Pampanga’s who’s who, all members of the upper crust: sugar barons, politicos, lawyers, doctors, judges, industrialists, even gorgeous debutantes and affluent bachelor eligibles. The pages included portraits, photos of weddings en grande, brief biographical entries and even mansions of the rich and famous.

To my surprise, the list included the names of 2 of our direct relatives: Rafael Morales and Pedro Morales, accomplished brothers of my paternal grandmother Patricia Morales. Both of my granduncles were lawyers, and Rafael or Ingkung Paeng, had his spacious house constructed right next to ours in Sta. Ines after his marriage to Belen Lansangan. The San Rafael Parish in Mabiga, built on land donated by the his 2 philanthropist-daughters, is dedicated to the memory of Ingkung Paeng.

But it was the entry of my other little-known granduncle that stirred my greater interest. Other than the short profile about his person, the book also included a picture of his grand house which once dominated Mabiga’s landscape!

Pedro Morales, born 22 February 1886, was the eldest son of Quintin Morales y Tuason and Paula Guzman y Cosme, members of the town principalia. Quintin was a former teniente mayor of Poblacion and a cabeza of Sta. Ines (Note: Ever since, the Moraleses were a very political family; Quintin’s brother Valentin was a teniente mayor of Sapang Biabas. Their nephew, Dr. Miguel Morales was the 1st elected mayor of Mabalacat after the Liberation, and whose grandson, Marino “Boking” Morales, is the current mayor) . Ingkung Pedro’s other siblings included sisters Clotilde, Maria and Patricia.

As was the custom in the old days, the boys were sent off by their parents to fine schools while the girls stayed at home. Pedro and Rafael studied law at the famous Escuela de Derecho, a non-sectarian school founded by Filipino revolutionists whose vision was to give education that would produce not only lawyers but “true Filipinos”. After graduation, he practiced his profession in Mabalacat where he worked as a Notary Public. But he was also an astute businessman, becoming a successful sugar planter like his father before him. He became a stockholder of the National Life Insurance Company and Provident Insurance Company. Married to Elena Hizon of Porac, Ingkung Pedro raised 4 children: Remedios, Eliseo, Felicidad and Quintin. The couple settled in rustic Mabalacat and when it was time to build their house, they solicited the help of a relative, famed architect Fernando Ocampo, Elena’s first cousin.

Arch. Fernando Ocampo y Hizon was one of the country’s pioneers of modern architecture. His contemporaries included Juan Nakpil and Andres Luna de San Pedro (Juan Luna’s son). After earning a degree in Civil Engineering at the University of Sto. Tomas, he took up and finished architecture at the University of Pennsylvania. He further pursued advanced studies at the American Academy in Rome, then joined the firm of Ballinger and Perrot in Philadelphia in 1922.

The next year though, he returned to the Philippines and was employed in the Architecture Division of the Bureau of Public Works. In partnership with Tomas Arguelles, Ocampo formed his own archictectural firm in 1928. In 1930, he founded the U.S.T. School of Architecture and was a member of the Board Exams from 1929-1930. His contributions to Philippine architecture were honored with a Gold Medal of Merit from the Philippine Institute of Architects in 1953. In his prime, Arch. Ocampo had a list of high profile projects. His best known work is the reconstruction of the Manila Cathedral in the 1950s. He likewise restored the Cathedral of San Fernando after it was destroyed by fire in 1939. Among his commercial projects, the Arguelles Bldg. along Rizal Avenue, Cu-unjieng Bldg. in Escolta and Angela Apartments along Roxas Blvd. Stand out for their sleek art deco design.

For his cousins, Arch. Fernando Ocampo designed for a two-storey house, a sort of a modernized “bahay na bato”, with the trademark art deco feel the architect favored, and which was the vogue at that time. The large, well-ventilated house itself had a frontal veranda and high French windows with frosted glass panes and sliding ventanillas underneath. The mansion was fenced in with iron grills that incorporated the couple’s initials, “M” and “H”. The landscaped garden was lush with flowering shrubs and ornamentals.

Just like his brother, Rafael, Pedro furnished his house with the latest furniture from renown House of Puyat, owned and operated by Gonzalo Puyat and sons, with offices at Rodriguez Arias St. and with a branch in Avenida, Rizal. The paint job was contracted to A.B. Villanueva and Sons. With its imposing presence, the house was a Mabalacat landmark, until the dark days of the 2nd World War. In the last stages of the war, the Japanese started bombing the Ermita district where the Morales family took refuge. While some family members evacuated to Dimasalang, Ingkung Pedro chose to remain in Indiana St., where he met his fate, a victim of the enemy’s rampage, his body never to be recovered.

In the ‘70s, the Morales house was moved by the heirs, piece by piece, to Magalang, where it was unfortunately gutted by fire and reduced to ashes. The only extant picture of the Morales house, which once stood on a Mabiga lot now occupied by the Church of the Latter Day Saints, is reproduced in the Pampanga Social Register book, a pictorial reminder of the glory days when affluent Kapampangans knew how to live it to the hilt by building houses as grand as their dreams.
(5 October 2002)