MIAG-AO CHURCH – a Fortress of the Spanish Empire?

MIAG-AO CHURCH – a Fortress of the Spanish Empire?

Fig. 1 Miagao Church. Photo by Ronald Medina

Rumors, if passed along often enough, may turn into urban legends; and, sometimes become accepted as a historical fact. Just give it enough time to circulate around for over a generation or two. Most towns and cities have their own urban legends and the usual ‘mis-encounters’ with historical accuracy. Such is the case even for the seaside town of Miag-ao (Iloilo) which is entering its 300th Foundation Day in February, 2016. I was excited to read the 1997 book, by Rene B. Javellana entitled ‘Fortress of Empire’ that describes the history and function of the various fortifications built during the Spanish colonial period in the Philippines. The book is out of print and taking such a long time to get to the National Bookstore in Iloilo City. In the meantime, a friend managed to borrow a copy for me from the library of Central Philippine University.

Why am I so interested?

The Miag-ao Church is often referred to as the Miagao Fortress Church, but I could not see what part of the Church made it a fortress. I have seen many fortresses and churches in my travels around the world—Spain, Italy, France (plus a dozen other countries in Europe), Latin America, United States, all over Asia and even Africa. In each of the more than 60 countries I have visited, I made it a point to visit historic fortifications. It became sort of a hobby I suppose, an extension of my boyhood interest during my formative years in a military family and many years later with the US Army.

Monsignor Claudio S. Sale, the former parish priest of Miag-ao for 17 years, received his Master in Archaeology in Spain. He oversaw the restorations of the Church and was the Parish Priest when Miag-ao Church became dedicated as a World Heritage Church by UNESCO. Recently, we interviewed Monsignor Sale about the church. Monsignor Sale, on the questions of the Church being a fortress had this to say:

Arjun P. Palmos: Monsignor, can you please give us an overall view of Miag-ao Church? Monsignor: At the outset, church is not just about the structure. The Church is actually about the people of God. Miag-ao Church is over 200 years old. It celebrated its bicentennial in the year 1997. One of the baroque churches in the Philippines, yes, but Miag-ao Church is not a fortress church. It is a misconception to call Miag-ao Church as fortress church although it may look like one.

APP: Why is that so Monsignor?

Monsignor: The impression may have arisen because of the huge buttresses of the Church. If you take a look at it, the Church has 7 stone buttresses on each side. These serve as “Contra Puertes” of the church meaning, these massive buttresses were constructed and designed to reinforce and withstand earthquakes and typhoons, but not for any military purpose. So, it is wrong to claim that Miag-ao church is a fortress church.

Having seen photographs of Spanish era fortifications in Javellana’s book and my own old photos of fortresses and churches around the world, I tend to agree with Monsignor Sale that the ‘fortress’ designation is not correct. Let me tell you why. First, those of us who are not familiar with fortress architecture, the buttresses on each side of the church might easily be mistaken as a defensive structure. But churches with high walls make use of buttresses to strengthen the structure against earthquakes rather than as a defensive design.

 

The definition of buttresses in Wikipedia is as follows: “The purpose of any buttress is to resist the lateral forces pushing a wall outwards by redirecting them to the ground. The defining characteristic of a flying buttress is that the buttress is not in contact with the wall like a traditional buttress; lateral forces are transmitted across an intervening space between the wall and the buttress.”

Figure 2 shows the typical buttresses in European churches compared to the buttresses on each side of Miag-ao Church. Among the most elegant of churches built with a modified version of the standard buttresses, also called flying buttresses, is Notre Dame in Paris seen in Fig 3. All of these churches did not serve as fortresses in the conventional sense of the word.

Second, buttresses are not used in military fortifications on the outside defensive walls because they hinder the view of the defenders and become places where the attackers can hide. The defenders on the towers and ramparts would not be able to target all of the attacking forces once they are close to the walls.

You may say that perhaps this is true only for European churches and fortification but not with Spanish era colonial fortifications. So, let me show you some examples from Javellana’s book on Spanish fortifications in the Philippines (Fig. 4). Here you can see the plain walls of the fortresses, with no buttresses so that the defenders can have a clear sight of the approaching enemy at all angles.

How about the openings on each of the two towers of Miag-ao? Are they not openings for defending soldiers to fire down on the attackers?

Not really. It is my view that they are merely windows for ventilation for each of level of the tower.

Fig. 5 shows close-up photos of the window of Miagao Church tower (a, b).

The opening is straight-cut on all sides and quite narrow. I had been up there a few times in the past and it would have been impossible for more than one person to use that opening to fire a musket or shoot arrows down below. And just one opening at each side of the tower on the second level is far too few to be an effective defense. It does not make sense; a totally inadequate design for a defensive position. In contrast, Fig. 5 d is an example of a typical firing position from the opening of the wall of Castel Sant’Angelo (Fig. 5c) in Rome. Note that the window (also called arrow slit) was cut at an angle from all sides, enabling 2 to 3 soldiers to fire at the enemy from a wider window. This is typical defense architecture that persisted through the centuries.

An example of a true FORTRESS CHURCH in the Philippines can be found in the island of Capul located in the narrow strait between Samar and the Bicol Peninsula used by the ships of the Galleon Trade.The strategic location required the construction of a bastion fort as part of the church dedicated to San Ignacio Loyola.

Was there ever a time when there is a recorded attack of the Moros on the Miag-ao Church after it was built?

The Church was completed in 1797. Although the Moro wars persisted until the 1850’s, those battles after 1797 were fought elsewhere—Mindoro, Samar, Cebu, Zamboanga, Cavite, etc. There were no records that Miag-ao Church was attacked at any time after it was built. The Moro invasion celebrated in Salakayan Festival of Miag-ao occurred in 1754, more than 30 years before the church was built. One may also argue that Miag-ao Church is a refuge, where people flock during attacks or calamities and therefore can be regarded as a fortress. Yes, if one likes to stretch the meaning of fortresses as walled refuge. If one accepts that argument, then the Miag-ao Municipal Hall and Cultural Hall should have a fortress designation as well because Miagawanons go to both places for refuge during typhoons. In fact, in times of recent typhoons, Miag-ao Church was always closed to the public and the people flocked to the Cultural Hall instead.

If this argument is accepted for the Church to be a fortress, then to be fair, should we then call the Cultural Hall as The Judge Ramon Britanico Fortress Hall?

Although calling our Miag-ao Church as a Fortress Church does sound more dramatic, it is totally inaccurate. At times, even Paoay Church is also referred to as a fortress church and likely also not true.

Here is Wikipedia entry about Paoay Church in Ilocos Norte: Paoay church is the Philippines’ primary example of an earthquake baroque architecture dubbed by Alicia Coseteng, “an interpretation of the European Baroque adapted to the seismic condition of the country through the use of enormous buttresses on the sides and back of the building. The adaptive reuse of baroque style against earthquake is developed since many destructive earthquakes destroyed earlier churches in the country. Javanese architecture reminiscent of Borobudur of Java can also be seen on the church walls and facade.”

Buttresses
The most striking feature of Paoay Church is the 24 huge buttresses of about 1.67 metres (5.5 ft) thick at the sides and back of the church building. Extending from the exterior walls, it was conceived to be a solution to possible destruction of the building due to earthquakes. Its stair-like buttresses (known as step buttresses) at the sides of the church is possibly for easy access of the roof. Someone simply made up the ‘Fortress’ part; no one disagreed and becomes an accepted fact–The beginnings of the urban legend.

You may say, “Why bother with this?” The concept of the new Philippine educational system is to promote local language, tradition and history in the early stages of education before studying history and traditions in the national level. It preserves the local language and
makes the new students appreciate local history. But, history, especially local ones, must be accurate as best as possible. Preserving urban legends is not likely the wish of educators, though it is certainly good for tourism. The Church is the center of any Philippine town and it is important that what we tell other visitors is as accurate as possible.

The Miag-ao Church is a grand structure and certainly a major tourist attraction. Hopefully in the years to come, the Church tourism will translate into creating an economic boom for our town. And, as we wait for that time, we need to start upgrading our historical knowledge about the Church and about many other unique places in Miag-ao.

References: 1. Javellana Rene B. (1997). Fortress of Empire: Spanish Colonial Fortifications of the Philippines 1565-1898. Bookmark Inc, publisher, pp 209.

 

 

 

 

 

 

 

 

By: Jonathan R. Matias
Sulu Garden, Miag-ao, Iloilo
www.sulugarden.com

Santo Tomas de Villanueva In Miagao, Iloilo

Santo Tomas de Villanueva In Miagao, Iloilo

When the mission station of the Agustinians in Miagao became a parish in 1731, they built a simple church and convento (rectory). After Moro raids from the sea burned the towns and church in 1741 and 1754, the priests transfered the town to the edge of a hill overlooking the sea and the Miagao River.

The new church was built for a variety of uses. Primarily erected as a place of worship, it was also a fortress where parishoners could evacuate for protection from inavasions.

Built of local yellow-orange sandstone, the large fortresschurch was completed in 1797. Although the church withstood typhoons and eartquakes, it burned twice once during the revolution against Spain in 1898 and again during the Filipino-American War of 1899-1902.

Its facade is a Filipino masterpiece. Unknown master carvers incised the entire surface in high refief. With wild abandon, they festooned the sandstone facade with an assortment of tasseled vines, tendrils and swags.The sumptous carving on the facade is probably the pinnacle of filipino native art, in which craftsmen abandon all restraint to reinterpret Western decorative styles in the local folks idiom.

The central element in the facade is St. Christopher, clad like a Filipino farmer with rolled-up trousers. He carries the Christ Child on His back while holding on to a lush coconut trees for support. Beside him are guava and papaya trees, flanked by ornamental urn. The scene merges Western Catholic iconography with a folk representation of the coastal Iloilo countryside. The second focal point of the facade bursts out in a delighful explosion of scrolls that frame central niche that enshrines the patron saint, Sto. Tomas de Villanueva. Massive, unmatched bell towers that taper upward to end in uneven heights provide a whimsical frame to the undulating facade.

While the Baroque was in vogue in Europe and Latin America, the Philippines evolved its own interpretation of the style, derivative of the European but folk in approach and execution. The church is an example of that style.

The Church of Sto. Thomas de Villanueva is one of the most outstanding examples of the fusion of the Western Baroque style with the Filipino folk motifs. The squatness of the church the massive bell towers and the angled buttresses reinforce the visual identity of the structure as a fortress. It is among the best examples of churches in “fortress Baroque” style.

The significance of Sto. Tomas de Villanuevais that it is an outstanding example of the Philippine Interpretation of a Western architectural style. The naive but harmonious integration of a Western Architectural idiom into the Philippine context and the exuberant symbology represents in architectural terms the colonization of the new Christianized native’s reinterpretation of the Western ideas in his native idiom.

Source: Philippines Living Landscapes and
Cultural Landmarks World Heritage sites in the Philippines
Author: Augusto F. Villalon

Hanging Bridges

Hanging Bridges

Miagao is a first class municipality with 119 barangays. Some baranggays are in] the highlands with creeks while some are separated by rivers. During the rainy season,creeks and rivers overflow making it hazardous to cross. Ever mindful of the plight of the people in these remote barangays, the past and the present Municipal Mayors prioritized the construction of the Farm to Market roads and bridges. “Hanging Bridges” were constructed because available budget cannot construct concrete bridges. These hanging bridges are in these following barangays: Ticdalan-Saring; Banbanan-Cagbang; Igbugo-Igsoligue; Tigmalapad; Bariri; Sapa; and the latest is San Jose-Mabayan bridge under the KALAHI Program of the Government. These bridges have become tourist attractions.

Tumagbok Bridge

Tumagbok Bridge

Photos from www.sulugarden.com

The Miagao steel bridge, called Tumagbok Bridge, was the remarkable achievement of Mayor Jose N. Orbe (1935-1944). The bridge, costing P54, 000 was financed out of the pork-barrel of Rep. Jose C. Zulueta. During its inauguration in 1937, no other than the Commonwealth President Manuel L. Quezon came to Miagao.

Puente de Britanico

Puente de Britanico

Photos from: Norman Posecion for Sulu Garden

Back in 1997, I was scouting for a property to buy as I considered one day retiring in Miagao, a coastal town in the province of Iloilo that extends from the shores of Sulu Sea up to the mountains bordering the province of Antique. Referred by an agent, I climbed down the embankment of the National Highway to a swampy land beside Sapa creek. The property had a virtually abandoned old bakery building, a few small wooden dilapidated buildings surrounded by a ‘forest’ of huge banana trees. Even the caretaker was hesitant to show us around and mostly trying to talk me out of the idea of buying the place. I remembered he said that the place was enchanted, with a ‘white lady’ that prowl the old building at night, a balete tree that was home to dwarves, the big talisay trees that hosts kapre, tikbalang and other enchanted beings. The bridge was not totally unknown to townsfolks. They just did not care much about it because of stories of the bridge being haunted by the many who died by accidents and other mishaps on the bridge; and of the passage along the Sapa creek on misty nights of an enchanted golden ship carrying the mythical Princess Ulayra. Looking through the banana trees towards the creek I spotted the Roman Arch of a bridge, almost totally covered by moss, shrubs and trees. I thought it was an odd structure, considering that the modern National Highway was on top of the bridge. I asked the caretaker about the name of the bridge and was told that it used to be called Sapa Bridge, but renamed later as Britanico Bridge in honor of former Congressman Salvador (Buddy) Britanico.

I looked at the bridge closely and instinctively decided to buy the property. I later named it Sulu Garden, despite the ‘white lady’ and the other mythical creatures of the night!

I left Miagao in 1999 neither seeing a ‘white lady.’ nor a golden boat. I lived in New York City for more than a decade and finally returned to Miagao in 2012. After a 13-year sojourn, I was still obsessed with that bridge and finally began clearing the bushes, trees, moss and garbage strewn at the bottom creek. Cleaned up, it turned out to be much grander than I thought back in 1997. And stronger than I thought, being able to hold tons of traffic on the  highway built over it in 1979.

There are no visible cracks on the all-stone construction. All other stone bridges still in use in Panay had either been partially repaired using modern materials (such as Puente de Alimodian) or totally replaced with modern
utilitarian ones. There were two visits by engineers from the Department of Public Works and Highways (DPWH) between 2013 and 2014 to assess the condition of Puente de Britanico. Each time, they certified the stone bridge to be strong and not subject for replacement or re-strengthening. That was a relief ! I did not want the bridge touched.

On both occasions, the government bridge engineers showed me the ledger indicating the bridge was built during the American Occupation Period, an era representing the decades after the Philippine-American War that started in 1899. But, after months of reading literature on American built bridges around the world post-1899, there was nothing to show that this bridge architecture is similar to American built bridges. The type of bridges Americans built by the turn of the century was made of steel and cement; sturdy, utilitarian and simpler in design. Perhaps, the base of the bridge, which seemed eroded and of different materials than the upper part of the bridge, was repaired due to flood damage during the American Occupation Period and thus entered as American in the DPWH ledger. Just one more of the many unanswered questions about this bridge to be solved later on.

In June 2014, I happened to be re-reading “History of Miagao,” a historical account about Miagao published in 1979 by Elias N. Failagao, a local Miagaowanon. And there it was! A page with a chronology of major events in Miagao, including a line… “1873, construction of stone bridges at Sapa Idot, Mambatad, Malihothot, Damilisan and Narat-an.” Two other bridges were built the following year in Tabunacan and Lanutan. Besides the stone bridge of Sapa, all the other Spanish built bridges were long gone. Then, the boyhood memories came back of the time my friends and I were navigating Imus River on a bamboo raft. Passing under the Puente de Isabel II, I remembered the arches under the bridge. It was the same design; almost similar patterns! I thought that maybe this is a Spanish bridge after all. I started reading all I can find about Spanish bridges since finding that entry in Failagao’s book. And, reading the pages of Prof. del Castillo-Noche’s book on colonial bridges finally convinced me that Puente de Britanico is indeed a Spanish and not an American bridge. I wrote the National Historical Commission for assistance to confirm the nature of the bridge architecture and still waiting for an answer.

PUENTE DE BRITANICO TODAY

The bridge is cleaned of debris. The white stones, quarried most likely from the mountains of San Joaquin, are resplendent after many weeks of careful manual cleaning with fine wire brush. Flowering plants are beginning to bloom from seeds planted months ago. Sapa creek is much cleaner than it used to be in the 1990’s and cleaned everyday of debris and plastic garbage. People since stopped throwing garbage over the bridge (some needed a bit more forceful convincing). The banks of the creek are planted with more flowering plants, papyrus and miagos bushes. Birds, butterflies and monitor lizards can be found roaming along the edge of the creek. Wildlife is coming back.

Sulu Garden, a nature center built besides the bridge, provides a convenient access to see Puente de Britanico in all its glory. Here, tourists visiting Miagao Fortress Church, a UNESCO Heritage Church, gets a chance to see the other attraction in Miagao, perhaps the only remaining fully intact Spanish bridge architecture in the island of Panay.

One day Puente de Britanico will get its municipal landmark recognition and perhaps the National Historical Commission will finally make it a national heritage site. For me there is still one more challenge – find the keystone marker. Every builder leaves a mark carved in stone. Finding it will once and for all confirm the date of the bridge and the unnamed engineers who built it.

by: Jonathan R. Matias
Sulu Garden, Miag-ao, Iloilo
www.sulugarden.com