Background of the Author

Fray Juan de Plasencia, also known by his real name, Joan de Portocarrero, was one of the seven
children

of Pedro Portocarrero. Born and raised in Extremadura, Spain, in the 16th century during the country’s
Golden

Age (Siglo de Oro).

As a friar of the Franciscan order, de Plasencia performed missionary and sacerdotal duties in numerous

towns in Luzon. He was also credited with the foundation of many towns in Quezon, Laguna, Rizal, and

Bulacan. His interaction with Tagalog converts to Christianity influenced him in writing the book Relacion
de las

Costumbres de los Tagalos (Customs of the Tagalogs. 1589). The book identifies the political, social,

economic, and cultural systems that were already in place among Filipino communities prior to the
arrival of the

Spaniards.

He was dedicated to lead a lifestyle devoid of luxury and be in constant contact with the people he
wanted

to concert to Christianity. In 1593, he published the book Doctrina Christinana en Lengua Espanola Y
Tagala,

the first printed book in the Philippines. He wanted people to easily understand the Catholic Church for
them to

willingly accept the Catholic faith. As such, he was honored by the Franciscan Order with the title
“Venerable”.

He died in Liliw, Laguna, in 1590.

Historical Background of the Document

Filipinos were allowed to hold the position of gobernadorcillo of pueblos. Friars assigned in the parishes

performed administrative duties in the local parishes by supervising and monitoring the activities of the
gobernadorcillo. The friars became the most influential and knowledgeable figure in the pueblo. Some
duties of

friars were to periodically inform their superiors of what was happening in their respective parishes and
to report

the number of their converts, the people’s practices, their socio-economic situations, and the problems
they

encountered. Some friars submitted short letters, while others who were good observers and were
gifted in

writing wrote longer dispatches.

Fray Juan de Plasencia’s Relacion de las Costumbres de Los Tagalos (Customs of the Tagalogs, 1589) is an

example of such work. It contains extensive information reconstructing the political and socio-cultural
history of

the Tagalog region. Plasencia’s work is a primary source because it is a first-hand account of his
experiences

and observations. The work of Plasencia is considered by many historians as an example of a friar
account. The

original text of Plasencia’s Customs of the Tagalogs is currently kept in Archivo General de Indias (AGI) in

Seville, Spain. There is also a duplicate copy in the Archivo Francisco Ibero-Oriental (A.F.I.O) in Madrid,
Spain.

Historical Background of the Document

Other friars and colonial officials who wrote about the Philippines during the early Spanish colonial

period include Miguel de Loarca, who arrived in the Philippines in 1576 and became an

encomendero of Panay. He wrote Relacion de las Islas Filipinas (1852) that describes the way of

life of Filipinos living in Western Visayas area.

Antonio de Morga, who came to the Philippines in 1595 as Asesor and Teniente General, wrote

Sucesos de las Islas Filipinas, which provides valuable information about the Philippines in the

latter part of the 16th century.

Many of what Filipinos know about Philippine history during the first century of the Spanish period

were derived from the accounts of the Spanish friars and colonial officials.

Datos

They are chiefs who governed the Tagalogs and were captains in their wars, whom they obeyed and

reverenced. And any subject who committed any offense against them, or even spoke a word to the
Datos’

wives and children, were severely punished.

They rule over several; sometimes as many as hundred houses, sometimes even less than thirty. This
tribal

gathering is called the barangay. The reason for giving themselves this name arose from the fact that
when

they came to this land, the head of the barangay, which is a boat, became a dato.

And so, even at the present day, it is ascertained that this barangay in its origin was a family of parents
and

children, relations and slaves.

There were many of these barangays in each town, or, at least, on account of wars, they did not settle
far

from one another.

The chiefs helped one another with their respective barangays, in their various wars.

The chiefs in some villages had also fisheries, with established limits, and sections of the rivers for
markets.

At these no one could fish, or trade in the markets, without paying for the privilege, unless he belonged
to

the chief's barangay or village.

There were three castes:

a) Nobles;

b) Commoners; and

c) Slaves.

Nobles or the Maharlica

They are free-born or they are not born from slavery.

They did not pay tax or tribute to the dato, but must accompany him in war, at their own expense.

Moreover, when the dato went upon the water those whom he summoned rowed for him. If he built

a house, they helped him, and had to be fed for it.

When the whole barangay went to clear up his lands for tillage. The lands which they inhabited

were divided among the whole barangay, especially the irrigated portion, and thus each one knew

his own.

No one belonging to another barangay would cultivate them unless after purchase or inheritance.

Nobles or the Maharlica

The lands on the tingues, or mountain-ridges, are not divided, but owned in common by

the barangay.
In these three classes, those who are maharlicas on both the father's and mother's side

continue to be so forever; and if it happens that they should become slaves, it is through

marriage.

If these maharlicas had children among their slaves, the children and their mothers

became free; if one of them had children by the slave-woman of another, she was

compelled, when pregnant, to give her master half of a gold tael, because of her risk of

death, and for her inability to labor during the pregnancy.

In such a case half of the child was free—namely, the half belonging to the father, who

supplied the child with food. If he did not do this, he showed that he did not recognize

him as his child, in which case the child was wholly a slave.

Nobles or the Maharlica

If a free woman had children by a slave, they were all free, provided he were not her

husband.

After marriage, the maharlicas could not move from one village to another, or from one

barangay to another, without paying a certain fine in gold, as arranged among them. This

fine was larger or smaller according to the inclination of the different villages, running

from one to three taels and a banquet to the entire barangay. Failure to pay the fine

might result in a war between the barangay which the person left and the one which he

entered.

This applied equally to men and women, except that when one married a woman of

another village, the children were afterwards divided equally between the two barangays.

Commoner or Aliping namamahay

They are married, and serve their master, with half of their cultivated lands, whether he

be a dato or not, as was agreed upon in the beginning.

They accompanied him whenever he went beyond the island, and rowed for him.

They live in their own houses, and are lords of their property and gold. Their children

inherit it, and enjoy their property and lands.

The children, then, enjoy the rank of their fathers, and they cannot be made slaves (sa

guiguilir) nor can either parents or children be sold.

If they should fall by inheritance into the hands of a son of their master who was going to

dwell in another village, they could not be taken from their own village and carried with

him; but they would remain in their native village, doing service there and cultivating the

sowed lands.

Slaves or Aliping Sa Guguilir

They serve their master in his house and on his cultivated lands, and may be

sold.

The master grants them, should he see fit, and providing that he has profited

through their industry, a portion of their harvests, so that they may work faithfully.

For these reasons, servants who are born in the house of their master are rarely,

if ever sold.

That is the lot of captives in war, and of those brought up in the harvest fields.
If any person among those who were made slaves (sa guiguilir)—through war, by

the trade of goldsmith, or otherwise—happened to possess any gold beyond the

sum that he had to give his master, he ransomed himself, becoming thus a

namamahay, or what we call a commoner.

The price of this ransom was never less than five taels, and from that

upwards; and if he gave ten or more taels, as they might agree, he became

wholly free. An amusing ceremony accompanied this custom. After having

divided all the trinkets which the slave possessed, if he maintained a house

of his own, they divided even the pots and jars, and if an odd one of these

remained, they broke it; and if a piece of cloth were left, they parted it in the

middle.

Marriage between the three castes

If two persons married, of whom one was a maharlica and the other a slave, whether

namamahay or sa guiguilir, the children were divided: the first, whether male or

female, belonged to the father, as did the third and fifth; the second, the fourth, and

the sixth fell to the mother, and so on.

In this manner, if the father were free, all those who belonged to him were free; if he

were a slave, all those who belonged to him were slaves; and the same applied to the

mother.

Inheritances

As for inheritances, the legitimate children of a father and mother inherited equally,

except in the case where the father and mother showed a slight partiality (preference)

by such gifts as two or three gold taels, or perhaps a jewel.

When the parents gave a dowry to any son, and, when, in order to marry him to a

chief's daughter, the dowry was greater than the sum given the other sons.

But any other thing that should have been given to any son, though it might be for

some necessity, was taken into consideration at the time of the partition of the

property, unless the parents should declare that such a bestowal was made outside of

the inheritance.

If one had had children by two or more legitimate wives, each child received the

inheritance and dowry of his mother, with its increase, and that share of his father's

estate which fell to him out of the whole.

Inheritances

If a man had a child by one of his slaves, as well as legitimate children, the former had

no share in the inheritance; but the legitimate children were bound to free the mother,

and to give him something—a tael or a slave, if the father were a chief; or if, finally,

anything else were given it was by the unanimous consent of all.

When there were no children by a legitimate wife, but only children by an unmarried

woman, or inaasava, the latter inherited all.

If he had a child by a slave woman, that child received his share as above stated.

If there were no legitimate or natural child, or a child by an inaasava, whether there

was a son of a slave woman or not, the inheritance went only to the father or

grandparents, brothers, or nearest relatives of the deceased, who gave to the

slave-child as above stated.

Dowries

Dowries are given by the men to the women's parents. If the latter are living, they enjoy

the use of it. At their death, provided the dowry has not been consumed, it is divided like

the rest of the estate, equally among the children, except in case the father should care

to bestow something additional upon the daughter.

If the wife, at the time of her marriage, has neither father, mother, nor grandparents, she

enjoys her dowry—which, in such a case, belongs to no other relative or child. It should

be noticed that unmarried women can own no property, in land or dowry, for the result of

all their labors accrues to their parents.

In the case of a divorce before the birth of children, if the wife left the husband for the

purpose of marrying another, all her dowry and an equal additional amount fell to the

husband; but if she left him, and did not marry another, the dowry was returned.

Dowries

When the husband left his wife, he lost the half of the dowry, and the other half was

returned to him. If he possessed children at the time of his divorce, the whole dowry

and the fine went to the children, and was held for them by their grandparents or other

responsible relatives.

In one case, upon the death of the wife who in a year's time had borne no children, the

parents returned one-half the dowry to the husband whose wife had died.

In the other case, upon the death of the husband, one-half the dowry was returned to

the relatives of the husband. I have ascertained that this is not a general practice; for
upon inquiry I learned that when this is done it is done through piety, and that all do

not do it.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

In all the villages, or in other parts of the Filipinas Islands, there are no temples

consecrated to the performing of sacrifices, the adoration of their idols, or the general

practice of idolatry. It is true that they have the name simbahan, which means a

temple or place of adoration; but this is because, formerly, when they wished to

celebrate a festival, which they called pandot, or “worship,” they celebrated it in the

large house of a chief.

There they constructed, for the purpose of sheltering the assembled people, a

temporary shed on each side of the house, with a roof, called sibi, to protect the

people from the wet when it rained.

They so constructed the house that it might contain many people—dividing it, after the

fashion of ships, into three compartments.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

On the posts of the house they set small lamps, called sorihile; in the center of the

house they placed one large lamp, adorned with leaves of the white palm, wrought

into many designs.

They also brought together many drums, large and small, which they beat

successively while the feast lasted, which was usually four days. During this time the
whole barangay, or family, united and joined in the worship which they call

nagaanitos. The house, for the above-mentioned period of time, was called a temple.

Among their many idols there was one called. Badhala, whom they especially

worshiped. The title seems to signify “all powerful”, or “maker of all things”.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

They also worshiped the sun, which, on account of its beauty, is almost universally

respected and honored by heathens. They worshiped, too, the moon, especially when

it was new, at which time they held great rejoicings, adoring it and bidding it welcome.

Some of them also adored the stars, although they did not know them by their names,

as the Spaniards and other nations know the planets—with the one exception of the

morning star, which they called Tala.

They knew, too, the “seven little goats” [the Pleiades]—as we call them—and,

consequently, the change of seasons, which they call Mapolon; and Balatic, which is

our Greater Bear.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

They possessed many idols called lic-ha, which were images with different shapes;

and at times they worshiped any little trifle, in which they adored, as did the Romans,

some particular dead man who was brave in war and endowed with special faculties,

to whom they commended themselves for protection in their tribulations.

They had another idol called Dian masalanta, who was the patron of lovers and of
generation.

The idols called Lacapati and Idianale were the patrons of the cultivated lands and of

husbandry.

They paid reverence to water-lizards called by them buaya, or crocodiles, from fear of

being harmed by them. They were even in the habit of offering these animals a portion

of what they carried in their boats, by throwing it into the water, or placing it upon the

bank.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

They were, moreover, very liable to find auguries in things they witnessed.

For example, if they left their house and met on the way a serpent or rat, or a bird

called Tigmamanuguin which was singing in the tree, or if they chanced upon

anyone who sneezed, they returned at once to their house, considering the

incident as an augury that some evil might befall them if they should continue their

journey—especially when the above-mentioned bird sang.

This song had two different forms: in the one case it was considered as an evil omen;

in the other, as a good omen, and then they continued their journey.

They also practiced divination, to see whether weapons, such as a dagger or knife,

were to be useful and lucky for their possessor whenever occasion should offer.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

These natives had no established division of years, months, and days; these are determined by the

cultivation of the soil, counted by moons, and the different effect produced upon the trees when

yielding flowers, fruits, and leaves: all this helps them in making up the year. The winter and

summer are distinguished as sun-time and water-time—the latter term designating winter in those

regions, where there is no cold, snow, or ice.

It seems, however, that now since they have become Christians, the seasons are not quite the

same, for at Christmas it gets somewhat cooler. The years, since the advent of the Spaniards,

have been determined by the latter, and the seasons have been given their proper names, and

they have been divided into weeks.

Their manner of offering sacrifice was to proclaim a feast, and offer to the devil what they had to

eat. This was done in front of the idol, which they anoint with fragrant perfumes, such as musk and

civet, or gum of the storax-tree and other odoriferous woods, and praise it in poetic songs sung by

the officiating priest, male or female, who is called catolonan.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

In some districts, especially in the mountains, when in those idolatries the devil incarnated himself

and took on the form of his minister, the latter had to be tied to a tree by his companions, to prevent

the devil in his infernal fury from destroying him. This, however, happened but rarely. The objects

of sacrifice were goats, fowls (rooster or hen), and swine, which were flayed, decapitated, and laid

before the idol.

They performed another ceremony by cooking a jar of rice until the water was evaporated, after

which they broke the jar, and the rice was left as an intact mass which was set before the idol; and

all about it, at intervals, were placed a few buyos (betel nut)—which is a small fruit wrapped in a
leaf with some lime, a food generally eaten in these regions—as well as fried food and fruits. All the

above-mentioned articles were eaten by the guests at the feast; the heads [of the animals], after

being “offered,” as they expressed it, were cooked and eaten also.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

The reasons for offering this sacrifice and adoration were, in addition to whatever personal matters

there might be, the recovery of a sick person, the prosperous voyage of those embarking on the

sea, a good harvest in the sowed lands, a propitious result in wars, a successful delivery in

childbirth, and a happy outcome in married life. If this took place among people of rank, the

festivities lasted thirty days.

In the case of young girls who first had their monthly courses, their eyes were blindfolded four days

and four nights; and, in the meantime, the friends and relatives were all invited to partake of food

and drink. At the end of this period, the catolonan took the young girl to the water, bathed her and

washed her head, and removed the bandage from her eyes. The old men said that they did this in

order that the girls might bear children, and have fortune in finding husbands to their taste, who

would not leave them widows in their youth.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

The distinctions made among the priests of the devil were as follows:

Catolonan - The first was either a man or a woman. This office was an honorable one among the

natives, and was held ordinarily by people of rank, this rule being general in all the islands.

Mangagauay - They are witches, who deceived by pretending to heal the sick. These priests even
induced maladies by their charms, which in proportion to the strength and efficacy of the witchcraft,

are capable of causing death. In this way, if they wished to kill at once they did so; or they could

prolong life for a year by binding to the waist a live serpent, which was believed to be the devil, or

at least his substance. This office was general throughout the land.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

3. Manyisalat - these priests had the power of applying such remedies to lovers that they would

abandon and despise their own wives, and in fact could prevent them from having intercourse with the

latter. If the woman, constrained by these means, were abandoned, it would bring sickness upon her;

and on account of the desertion she would discharge blood and matter. This office was also general

throughout the land.

4. Mancocolam - whose duty it was to emit fire from himself at night, once or oftener each month. This

fire could not be extinguished; nor could it be thus emitted except as the priest wallowed in the ordure

and filth which falls from the houses; and he who lived in the house where the priest was wallowing in

order to emit this fire from himself, fell ill and died. This office was general.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

5. Hocloban, which is another kind of witch, of greater efficacy than the mangagauay. Without the use
of medicine,

and by simply saluting or raising the hand, they killed whom they chose. But if they desired to heal those
whom

they had made ill by their charms, they did so by using other charms. Moreover, if they wished to
destroy the house

of some Indian hostile to them, they were able to do so without instruments. This was in Catanduanes,
an island off
the upper part of Luzon.

6. Silagan, whose office it was, if they saw anyone clothed in white, to tear out his liver and eat it, thus
causing his

death. This, like the preceding, was in the island of Catanduanes. Let no one, moreover, consider this a
fable;

because, in Calavan, they tore out in this way through the anus all the intestines of a Spanish notary,
who was

buried in Calilaya by father Fray Juan de Mérida.

7. Magtatangal, and his purpose was to show himself at night to many persons, without his head or
entrails. In

such wise the devil walked about and carried, or pretended to carry, his head to different places; and, in
the

morning, returned it to his body—remaining, as before, alive. This seems to me to be a fable, although
the natives

affirm that they have seen it, because the devil probably caused them so to believe. This occurred in
Catanduanes.

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

8. Osuang, which is equivalent to “sorcerer;” they say that they have seen him fly, and that he murdered

men and ate their flesh. This was among the Visayas Islands; among the Tagalos these did not exist.

9. Mangagayoma, which was another class of witches. They made charms for lovers out of herbs, stones,

and wood, which would infuse the heart with love. Thus did they deceive the people, although
sometimes,

through the intervention of the devil, they gained their ends.

10. Sonat, which is equivalent to “preacher.” It was his office to help one to die, at which time he
predicted
the salvation or condemnation of the soul. It was not lawful for the functions of this office to be fulfilled
by

others than people of high standing, on account of the esteem in which it was held. This office was
general

throughout the islands.

11. Pangatahojan, was a soothsayer, and predicted the future. This office was general in all the islands.

12. Bayoguin, signified a “cotquean,” a man whose nature inclined toward that of a woman

RELATION OF THE WORSHIP OF THE TAGALOGS, THEIR

GODS, AND THEIR BURIALS AND SUPERSTITIONS

The deceased was buried beside his house; and, if he were a chief, he was placed beneath a little

house or porch which they constructed for this purpose.

Before interring (place a corpse in a grave or tomb) him, they mourned him for four days; and afterward

laid him on a boat which served as a coffin or bier, placing him beneath the porch, where guard was

kept over him by a slave.

In place of rowers, various animals were placed within the boat, each one being assigned a place at

the oar by twos— male and female of each species being together—as for example two goats, two

deer, or two fowls.

It was the slave's care to see that they were fed. If the deceased had been a warrior, a living slave was

tied beneath his body until in this wretched way he died.

In course of time, all suffered decay; and for many days the relatives of the dead man bewailed him,

singing dirges, and praises of his good qualities, until finally they wearied of it. This grief was also
accompanied by eating and drinking. This was a custom of the Tagalos.
Juan Luna (1857-1899) Juan Luna was born on October 23, 1857 in Badoc, Ilocos Norte. He was third
among the seven children of Joaquin Luna de San Pedro y Posadas (from Zambales) and Laureana
Novicio y Ancheta (from La Union). He married Maria de la Paz Pardo de Tavera and had two children.
He was granted the title Licentiate Pilot for High Seas after passing the government examination for
sailors. He was also a member of the Hong Kong Revolutionary Committee (Hong Kong Junta) that tried
to convince Emilio Aguinaldo during his exile in Hong Kong to return to the Philippines and take part in
the armed rebellion against the Spaniards. Many Filipino middle class families had the chance to study
not only in the Philippines but in Europe as well, allowing them to be exposed to new ideas and
ideologies. It was during this time that Juan Luna became famous for his artistic works. Historical
Background of Luna's Paintings Many of Luna's paintings illustrate literary and historical scenes that
carried political commentaries. The most important work of Luna is the Spoliarium, the largest painting
in the Philippines (4.22 m x 7.67 m). Luna spent eight months working on the painting, which is now
displayed in the main gallery of the National Museum of Fine Arts. It won three gold medals in the 1884
Exposición Nacional de Bellas Artes in Madrid. Another work of Juan Luna is the La Muerte de Cleopatra
(The Death of Cleopatra), which won the silver medal in the 1881 Exposición Nacional de Bellas Artes in
Madrid. When The Battle of Lepanto, another work of Luna, won the gold medal in the 1888 Exposición
Nacional de Bellas Artes in Madrid, Jose Rizal delivered a congratulatory speech for the success of Juan
Luna. Aside from his award-winning paintings, Juan Luna is also renowned for the following remarkable
works: (1) the El Pacto de Sangre, which shows the blood compact between Datu Sikatuna and Miguel
Lopez de Legazpi; (2) the Parisian Life, which shows a lady sitting uncomfortably in a couch in a public
bar while being discretely observed by three men who, according to public interpretations, resemble
Jose Rizal, Juan Luna, and Dr. Ariston Lin-Bautista; and (3) the Portrait of a Lady, which was first titled
Paz Pardo de Tavera, after the wife of Luna, showing a woman holding a rosary in a scene that seems to
be after a sexual interlude. However, the lady in the painting does not look like Juan Luna's wife at all.
Some critics suppose that it resembles the image of Luna's favorite model, a Caucasian named Angela
Duche, while others believe the lady is an image of Luna's idealized vision of his wife. This particular
painting is controversial, for it contains no foreshadowing of the tragedy of Luna's marriage which ended
with him shooting his wife in September of 1892. Fernando Cueto Amorsolo (1892-1972) Fernando
Amorsolo was born in Calle Heran (popularly known today as Pedro Gil) in Paco, Manila, on May 20,
1892. He studied at the Art School of the Liceo de Manila and at the School of Fine Arts of the University
of the Philippines. He worked as a draftsman for the Bureau of Public Works, as a Chief Artist at the
Public Commercial Company, and as a part- time instructor at the University of the Philippines.
Amorsolo painted and sketched more than 10,000 pieces over his lifetime using natural and backlighting
techniques, which gave him numerous awards and recognitions. The themes of his paintings are mostly
rural Philippine landscapes. Two of Amorsolo's award-winning works are (1) the Leyendo El Periodico,
which won second place in the Bazaar Escolta in 1908, and (2) the Afternoon Meal of Rice Workers,
which won first prize at the New York World's Fair in 1939. Other works of Amorsolo include the Making
of the Philippine Flag, The First Baptism in the Philippines based on the accounts of Pigafetta, and Under
the Mango Tree. On April 24, 1972, Amorsolo died from heart failure. In the same year, Amorsolo was
declared the first National Artist of the Philippines in painting. He is also considered as the "Grand Old
Man of Philippine Art." Historical Background of Amorsolo's Paintings Amorsolo's paintings depict life
during the late American regime and the Japanese occupation in the Philippines. He was known for his
works focusing on rural landscapes that show his mastery in the use of light. Amorsolo's significant
paintings during the Japanese occupation depict wartime atrocities, particularly the suffering of the
Filipinos under the Japanese authorities. Some of Amorsolo's works presenting such scenes are the
Bombing of The Intendencia, the Bombing of the Legislative Building, the Rape of Manila, and the
Burning of Sto. Domingo produced in 1942; Rizal Avenue in Ruins and Defense of a Filipino Woman's
Honor in 1945; and the Burning of Manila in 1946

Juan Luna (1857-1899) Juan Luna was born on October 23, 1857 in Badoc, Ilocos Norte. He was third
among the seven children of Joaquin Luna de San Pedro y Posadas (from Zambales) and Laureana
Novicio y Ancheta (from La Union). He married Maria de la Paz Pardo de Tavera and had two children.
He was granted the title Licentiate Pilot for High Seas after passing the government examination for
sailors. He was also a member of the Hong Kong Revolutionary Committee (Hong Kong Junta) that tried
to convince Emilio Aguinaldo during his exile in Hong Kong to return to the Philippines and take part in
the armed rebellion against the Spaniards. Many Filipino middle class families had the chance to study
not only in the Philippines but in Europe as well, allowing them to be exposed to new ideas and
ideologies. It was during this time that Juan Luna became famous for his artistic works. Historical
Background of Luna's Paintings Many of Luna's paintings illustrate literary and historical scenes that
carried political commentaries. The most important work of Luna is the Spoliarium, the largest painting
in the Philippines (4.22 m x 7.67 m). Luna spent eight months working on the painting, which is now
displayed in the main gallery of the National Museum of Fine Arts. It won three gold medals in the 1884
Exposición Nacional de Bellas Artes in Madrid. Another work of Juan Luna is the La Muerte de Cleopatra
(The Death of Cleopatra), which won the silver medal in the 1881 Exposición Nacional de Bellas Artes in
Madrid. When The Battle of Lepanto, another work of Luna, won the gold medal in the 1888 Exposición
Nacional de Bellas Artes in Madrid, Jose Rizal delivered a congratulatory speech for the success of Juan
Luna. Aside from his award-winning paintings, Juan Luna is also renowned for the following remarkable
works: (1) the El Pacto de Sangre, which shows the blood compact between Datu Sikatuna and Miguel
Lopez de Legazpi; (2) the Parisian Life, which shows a lady sitting uncomfortably in a couch in a public
bar while being discretely observed by three men who, according to public interpretations, resemble
Jose Rizal, Juan Luna, and Dr. Ariston Lin-Bautista; and (3) the Portrait of a Lady, which was first titled
Paz Pardo de Tavera, after the wife of Luna, showing a woman holding a rosary in a scene that seems to
be after a sexual interlude. However, the lady in the painting does not look like Juan Luna's wife at all.
Some critics suppose that it resembles the image of Luna's favorite model, a Caucasian named Angela
Duche, while others believe the lady is an image of Luna's idealized vision of his wife. This particular
painting is controversial, for it contains no foreshadowing of the tragedy of Luna's marriage which ended
with him shooting his wife in September of 1892. Fernando Cueto Amorsolo (1892-1972) Fernando
Amorsolo was born in Calle Heran (popularly known today as Pedro Gil) in Paco, Manila, on May 20,
1892. He studied at the Art School of the Liceo de Manila and at the School of Fine Arts of the University
of the Philippines. He worked as a draftsman for the Bureau of Public Works, as a Chief Artist at the
Public Commercial Company, and as a part- time instructor at the University of the Philippines.
Amorsolo painted and sketched more than 10,000 pieces over his lifetime using natural and backlighting
techniques, which gave him numerous awards and recognitions. The themes of his paintings are mostly
rural Philippine landscapes. Two of Amorsolo's award-winning works are (1) the Leyendo El Periodico,
which won second place in the Bazaar Escolta in 1908, and (2) the Afternoon Meal of Rice Workers,
which won first prize at the New York World's Fair in 1939. Other works of Amorsolo include the Making
of the Philippine Flag, The First Baptism in the Philippines based on the accounts of Pigafetta, and Under
the Mango Tree. On April 24, 1972, Amorsolo died from heart failure. In the same year, Amorsolo was
declared the first National Artist of the Philippines in painting. He is also considered as the "Grand Old
Man of Philippine Art." Historical Background of Amorsolo's Paintings Amorsolo's paintings depict life
during the late American regime and the Japanese occupation in the Philippines. He was known for his
works focusing on rural landscapes that show his mastery in the use of light. Amorsolo's significant
paintings during the Japanese occupation depict wartime atrocities, particularly the suffering of the
Filipinos under the Japanese authorities. Some of Amorsolo's works presenting such scenes are the
Bombing of The Intendencia, the Bombing of the Legislative Building, the Rape of Manila, and the
Burning of Sto. Domingo produced in 1942; Rizal Avenue in Ruins and Defense of a Filipino Woman's
Honor in 1945; and the Burning of Manila in 1946

Juan Luna (1857-1899) Juan Luna was born on October 23, 1857 in Badoc, Ilocos Norte. He was third
among the seven children of Joaquin Luna de San Pedro y Posadas (from Zambales) and Laureana
Novicio y Ancheta (from La Union). He married Maria de la Paz Pardo de Tavera and had two children.
He was granted the title Licentiate Pilot for High Seas after passing the government examination for
sailors. He was also a member of the Hong Kong Revolutionary Committee (Hong Kong Junta) that tried
to convince Emilio Aguinaldo during his exile in Hong Kong to return to the Philippines and take part in
the armed rebellion against the Spaniards. Many Filipino middle class families had the chance to study
not only in the Philippines but in Europe as well, allowing them to be exposed to new ideas and
ideologies. It was during this time that Juan Luna became famous for his artistic works. Historical
Background of Luna's Paintings Many of Luna's paintings illustrate literary and historical scenes that
carried political commentaries. The most important work of Luna is the Spoliarium, the largest painting
in the Philippines (4.22 m x 7.67 m). Luna spent eight months working on the painting, which is now
displayed in the main gallery of the National Museum of Fine Arts. It won three gold medals in the 1884
Exposición Nacional de Bellas Artes in Madrid. Another work of Juan Luna is the La Muerte de Cleopatra
(The Death of Cleopatra), which won the silver medal in the 1881 Exposición Nacional de Bellas Artes in
Madrid. When The Battle of Lepanto, another work of Luna, won the gold medal in the 1888 Exposición
Nacional de Bellas Artes in Madrid, Jose Rizal delivered a congratulatory speech for the success of Juan
Luna. Aside from his award-winning paintings, Juan Luna is also renowned for the following remarkable
works: (1) the El Pacto de Sangre, which shows the blood compact between Datu Sikatuna and Miguel
Lopez de Legazpi; (2) the Parisian Life, which shows a lady sitting uncomfortably in a couch in a public
bar while being discretely observed by three men who, according to public interpretations, resemble
Jose Rizal, Juan Luna, and Dr. Ariston Lin-Bautista; and (3) the Portrait of a Lady, which was first titled
Paz Pardo de Tavera, after the wife of Luna, showing a woman holding a rosary in a scene that seems to
be after a sexual interlude. However, the lady in the painting does not look like Juan Luna's wife at all.
Some critics suppose that it resembles the image of Luna's favorite model, a Caucasian named Angela
Duche, while others believe the lady is an image of Luna's idealized vision of his wife. This particular
painting is controversial, for it contains no foreshadowing of the tragedy of Luna's marriage which ended
with him shooting his wife in September of 1892. Fernando Cueto Amorsolo (1892-1972) Fernando
Amorsolo was born in Calle Heran (popularly known today as Pedro Gil) in Paco, Manila, on May 20,
1892. He studied at the Art School of the Liceo de Manila and at the School of Fine Arts of the University
of the Philippines. He worked as a draftsman for the Bureau of Public Works, as a Chief Artist at the
Public Commercial Company, and as a part- time instructor at the University of the Philippines.
Amorsolo painted and sketched more than 10,000 pieces over his lifetime using natural and backlighting
techniques, which gave him numerous awards and recognitions. The themes of his paintings are mostly
rural Philippine landscapes. Two of Amorsolo's award-winning works are (1) the Leyendo El Periodico,
which won second place in the Bazaar Escolta in 1908, and (2) the Afternoon Meal of Rice Workers,
which won first prize at the New York World's Fair in 1939. Other works of Amorsolo include the Making
of the Philippine Flag, The First Baptism in the Philippines based on the accounts of Pigafetta, and Under
the Mango Tree. On April 24, 1972, Amorsolo died from heart failure. In the same year, Amorsolo was
declared the first National Artist of the Philippines in painting. He is also considered as the "Grand Old
Man of Philippine Art." Historical Background of Amorsolo's Paintings Amorsolo's paintings depict life
during the late American regime and the Japanese occupation in the Philippines. He was known for his
works focusing on rural landscapes that show his mastery in the use of light. Amorsolo's significant
paintings during the Japanese occupation depict wartime atrocities, particularly the suffering of the
Filipinos under the Japanese authorities. Some of Amorsolo's works presenting such scenes are the
Bombing of The Intendencia, the Bombing of the Legislative Building, the Rape of Manila, and the
Burning of Sto. Domingo produced in 1942; Rizal Avenue in Ruins and Defense of a Filipino Woman's
Honor in 1945; and the Burning of Manila in 1946