Chapter IX
Nineteenth Century Wood Carving.
The nineteenth century saw the refurbishment of many churches throughout the
country. Repair or rebuilding had to be after some catastrophic event as an earthquake,
fire or flood occurred. Restoration work had to be made on a part of a church the altar or
the facade, because of deterioration due to termites and the elements. These repairs
and restorations came from time to time.
In those days, contributing money or materials for the construction or repair of
churches, or even the purchase of images to replace old ones, was customary.
Occasionally, the refurbishment of a whole church interior or the repair of an altar was
undertaken by a wealthy family as an act of piety. About the middle of the nineteenth
century, there were many rich families, both Spanish and Filipino, in the country who
could afford to sponsor renovations.
These repairs and restorations are a reason why images of differing styles exist
in the same church, as in the case of the Morong church. Another example is in the Taal
church where a large crucifix the sacristy is two centuries older than another on the
pillar near the main portal. The latter, according to the inscription, was made in 1920, a
donation of a wealthy family.Also, reconstruction or restoration caused the discrepancy
in the style of the facade and the interior including the altar, of churches.
In many of the refurbished churches of the nineteenth century were pieces of
sculpture of the classic or neo-classic order as well as the baroque. In the Parañaque
church, for example, is the statue of one of the evangelists which could easily be that of
a middle class Spaniard of Intramuros in, the nineteenth century he feature, are realistic
and particularized, Only the habit makes It look like a saint. In contrast is the
distinguished-looking St.Lukein the attic of the Lubao church sacristy. It has regular
features, an economy of lines in robes, though soft in the treatment of folds.The
proportion, a little over seven and one-half.
46
, SPANISH PERIOD –SCULPTURE
heads, approaches the ideal, It is in the style of the sculptors of theGremio de
Escultores de Manila. (Figs. 206, 207) Many examples of baroque sculpture can be
found in Pampanga, the Ilocos provinces, Laguna, the Visayas and, of course, in the
Manila area. Two outstanding examples are in the Araneta collection. One of them is a
St. Paul, one meter high, from Ilocos Sur. Both figures are finely carved, well-incised
features, stirred folds that give the impression of mobility. The hair when viewed at right
angle to the light produces a pattern of light and shade that seems to move. This effect
makes the distinction between the baroque and the classical.
Paete Wood Carvers.
The school of extreme realism had many followers, since realistic statues, with artificial
hair and glass eyes had become popular. These items on images that approached the
realism of the celebrated Spanish realist, Martinez Montañez, impressed most of the
devout.
The Paete sculptors of the second half of the nineteenth century produced in their work
a realism that approximated the Martinez Montañez style (without artificial hair), as well
as the extremely realistic (with artificial hair, and with or without glass eyes, since the
latter item was not easily obtainable outside Manila)
The carvers of Paete have a long tradition.. With simple tools they have been making
and carving furniture, statues and toys since the early days of the Spanish occupation.
The name of the town itself means chisel, the principal tool of the wood carver.
Unfortunately, there were no chroniclers in the, past whore corded the achievements of
pry-nineteenth century carvers. And few records are available of the works of nineteenth
century craftsmen, Nobody has so far ascertained why Paete has such a tradition of
wood carving. Baticuling, the sculptor's wood, abounds in the mountains of Paete, as
well as others like molave, narramargapale and mahogany.
One of the early nineteenth century "man of the arts" of the town, Mizuel Palatino, was a
master builder. He encouraged many of the talented carvers to turn to more serious
carving from furniture and toys to images. He Avas the nephew of Antonia Palarino.who
married CanutoMadrinan, a sculptor of some sort.
47
Nineteenth Century Wood Carving.
The nineteenth century saw the refurbishment of many churches throughout the
country. Repair or rebuilding had to be after some catastrophic event as an earthquake,
fire or flood occurred. Restoration work had to be made on a part of a church the altar or
the facade, because of deterioration due to termites and the elements. These repairs
and restorations came from time to time.
In those days, contributing money or materials for the construction or repair of
churches, or even the purchase of images to replace old ones, was customary.
Occasionally, the refurbishment of a whole church interior or the repair of an altar was
undertaken by a wealthy family as an act of piety. About the middle of the nineteenth
century, there were many rich families, both Spanish and Filipino, in the country who
could afford to sponsor renovations.
These repairs and restorations are a reason why images of differing styles exist
in the same church, as in the case of the Morong church. Another example is in the Taal
church where a large crucifix the sacristy is two centuries older than another on the
pillar near the main portal. The latter, according to the inscription, was made in 1920, a
donation of a wealthy family.Also, reconstruction or restoration caused the discrepancy
in the style of the facade and the interior including the altar, of churches.
In many of the refurbished churches of the nineteenth century were pieces of
sculpture of the classic or neo-classic order as well as the baroque. In the Parañaque
church, for example, is the statue of one of the evangelists which could easily be that of
a middle class Spaniard of Intramuros in, the nineteenth century he feature, are realistic
and particularized, Only the habit makes It look like a saint. In contrast is the
distinguished-looking St.Lukein the attic of the Lubao church sacristy. It has regular
features, an economy of lines in robes, though soft in the treatment of folds.The
proportion, a little over seven and one-half.
46
, SPANISH PERIOD –SCULPTURE
heads, approaches the ideal, It is in the style of the sculptors of theGremio de
Escultores de Manila. (Figs. 206, 207) Many examples of baroque sculpture can be
found in Pampanga, the Ilocos provinces, Laguna, the Visayas and, of course, in the
Manila area. Two outstanding examples are in the Araneta collection. One of them is a
St. Paul, one meter high, from Ilocos Sur. Both figures are finely carved, well-incised
features, stirred folds that give the impression of mobility. The hair when viewed at right
angle to the light produces a pattern of light and shade that seems to move. This effect
makes the distinction between the baroque and the classical.
Paete Wood Carvers.
The school of extreme realism had many followers, since realistic statues, with artificial
hair and glass eyes had become popular. These items on images that approached the
realism of the celebrated Spanish realist, Martinez Montañez, impressed most of the
devout.
The Paete sculptors of the second half of the nineteenth century produced in their work
a realism that approximated the Martinez Montañez style (without artificial hair), as well
as the extremely realistic (with artificial hair, and with or without glass eyes, since the
latter item was not easily obtainable outside Manila)
The carvers of Paete have a long tradition.. With simple tools they have been making
and carving furniture, statues and toys since the early days of the Spanish occupation.
The name of the town itself means chisel, the principal tool of the wood carver.
Unfortunately, there were no chroniclers in the, past whore corded the achievements of
pry-nineteenth century carvers. And few records are available of the works of nineteenth
century craftsmen, Nobody has so far ascertained why Paete has such a tradition of
wood carving. Baticuling, the sculptor's wood, abounds in the mountains of Paete, as
well as others like molave, narramargapale and mahogany.
One of the early nineteenth century "man of the arts" of the town, Mizuel Palatino, was a
master builder. He encouraged many of the talented carvers to turn to more serious
carving from furniture and toys to images. He Avas the nephew of Antonia Palarino.who
married CanutoMadrinan, a sculptor of some sort.
47
