Gallery

17th to early 20th century National Fine Arts Collection “Madonna with Angels”

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This week’s #ArtStrollSunday series focusing on the 17th to early 20th century art from the National Fine Arts Collection features Francesco Ricardo Monti’s “Madonna with Angels” (ca. 1946).

“Madonna with Angels” by Francesco Ricardo Monti is a plaster relief created circa 1946. In this relief, Monti depicts the Madonna without the infant Jesus. There are angels and cherubs all around her in glory. Her long robe flows down past her feet, and a big halo surrounds her head. Her face is calm, her eyes are closed, her body is straight, and her arms are wide open as if suspended in the air. Above her is a large scroll with the written words “As Angels In Some Brighter Dreams Call To The Soul When Man Doth Sleep.” Monti was commissioned to create this work for a private mortuary chapel in Manila after World War II. The relief was donated to the National Museum of the Philippines in 2013 as a Gift of the Heirs of Petronilo L. del Rosario, Sr. It is displayed at the National Museum of Fine Arts in the President Sergio Osmeña Function Hall.

Francesco Ricardo Monti (1888-1958) was an Italian sculptor from Cremona who lived and worked in the Philippines from 1930 until his death in 1958. He studied at the Institute of Ponzone for Decorative Arts and Technology and the Academy of Fine Arts. In 1928, he left Cremona, seeking greener pastures for his art. This happened a month after joining a design competition for the Caduti Austrio-Ungheresi Monument. The organizers denied him the recognition of first place award and the art commission even though a local newspaper had reported that his design won. He went to different parts of Europe and reached New York, where he met Architect Juan M. Arellano (1888-1960), who invited him to the Philippines. Monti worked with Arellano during the design of the Metropolitan Theater in Manila in 1930 by creating sculptures that adorn the theater’s main lobby and façade. He also assisted National Artist for Sculpture Guillermo E. Tolentino (1890-1976) in his masterpiece The Bonifacio Monument in Caloocan, inaugurated in 1933. Monti started teaching at the University of Santo Tomas in 1948 alongside National Artists for Visual Arts, namely Victorio Edades (1895-1985), Carlos Francisco (1912-1969), Vicente Manansala (1910-1981) as well as notable painter Galo Ocampo (1913-1985). Later he was commissioned to adorn the façade of the Santo Domingo Church in Quezon City, inaugurated in 1954 and designed by National Artist for Architecture Jose Maria Zaragoza (1912-1994). Monti met a car accident resulting in internal injuries that took his life on August 11, 1958. While he was alive, he never forgot to show his appreciation for the country that opened its doors for him during the lowest point of his career and became his home for the last 25 years. 

We are now open! To visit the National Museum of Fine Arts (NMFA), you may book a tour through this website. Please note the guidelines for visiting. You may also view the 360 degrees virtual tour of select NMFA galleries on the link https://www.nationalmuseum.gov.ph/nmfa360/HTML5/NMFA360.html. See you at the National Museum!

#ArtStrollSunday

#FrancescoMonti

#BeatCOVID19

Text and photo by NMP-FAD

© National Museum of the Philippines (2021)

Managing the Museum Collections During the Pandemic: An overview of some conservation measures done at NMP

Posted on:  |  National Museum of the Philippines Posted in Uncategorized.

Installation of customized acid-free polyester film sheets under each specimen to serve as protective layer from the painted mounting systems at the Lumad Mindanao gallery

How were the collections during the start of the COVID-19 pandemic? How are they now?

Mechanical cleaning of accumulated surface dirt on the mats on display at the Entwined Spheres: Mats and Baskets as Containers, Conveyors and Costumes gallery

For this week’s #MuseumFromHome series, we would like to share some of the challenges faced by the #NationalMuseumPH at the onset of the pandemic.

Placing packs of silica gels inside showcases to reduce moisture at the Faith, Tradition and Place: Bangsamoro Art Gallery

Last year, the government declared Enhanced Community Quarantine from 17 March until the end of May, resulting in alternative work arrangements for the period of State of National Emergency.  

Cleaning and restoration of some broken objects exhibited at the Faith, Tradition and Place: Bangsamoro Art Gallery

A skeleton workforce was tasked to monitor the collections but the regular maintenance of the galleries, collections, and exhibition collaterals every Monday was not conducted for the period, resulting in accumulation of dust and pest infestation. Mold growth was also observed due to inconsistent humidity levels and high temperature. Collection maintenance became a matter of concern in the early days of the pandemic with some studies stating that the coronavirus lives on surfaces for an unknown period of time. However, we had to act in order to preserve the collections while observing health protocols.

Photo-documentation of objects before and after cleaning

To ensure that collections exhibited in the eight (8) galleries and two (2) repositories at the National Museum of Anthropology under the care of the Ethnology Division are maintained, two (2) teams working in alternating weekly schedules were created to work from home and report physically. From July to December 2020, the two (2) teams performed the necessary preventive conservation measures and maintenance of five (5) galleries, while the other three (3) galleries were scheduled for January to September 2021, amidst a series of hard lockdowns in February, March, and August 2021. All objects and systems were inspected for possible mold growth and presence of pests, and their condition was assessed for conservation measures. Glass and wooden panels including pedestals were thoroughly cleaned to prevent pest re-infestation. This major gallery maintenance also became an opportunity to improve the displays by replacing objects that are fragile, reprinting worn out caption cards, developing mounts to ensure the stability of objects on pedestals, and to conduct further research or validation on collections.

Thorough removal of molds from objects using wet and dry swabbing

This pandemic has taught us a lot about the importance of disaster preparedness, collections management and conservation, and how to plan for the unplanned. At present, we are delighted to see visitors, albeit fewer than before, enjoying the exhibitions especially those that were opened last year amidst the pandemic. Click here to learn more about our collections: https://www.nationalmuseum.gov.ph/our-collections/ethnology/

Opening of showcases, preventive conservation, and mechanical cleaning of accumulated surface dirt

#PreventiveConservation

#BeatCOVID19

Text and photos by the NMP Ethnology Division
© The National Museum of the Philippines (2021)

Graphite Schist

Posted on:  |  National Museum of the Philippines Posted in Uncategorized.

Hello Friday! Hello #DignayanBiyernes!

This week we feature a metamorphic rock specifically called graphite schist. Find out below how it differs from other schists we posted before.

Schists are metamorphic rocks whose minerals are arranged in such a way that they would fragment into thin plates or flakes. This is called schistosity. Typically, schist is composed of flat platy minerals like mica, talc, chlorite, and graphite. In samples where graphite is the most abundant or the dominant mineral present, the schist is more properly identified as graphite schist. Graphite is a mineral consisting of carbon and is usually iron black to steel grey. This is also the dominant color for graphite schists.

The specimen featured here was collected from San Vicente, Palawan by the Geology and Paleontology Division of the #NationalMuseumPH in 2015. This metamorphic rock belongs to the Cretaceous (145-66 million years old) Caramay Schist which is one of the oldest rock formations in Palawan. Fresh rock samples of this specimen have a sub-metallic luster but weathered samples appear silver gray. An analysis of its composition and structure very much suggests that it was once a sedimentary rock a very long time ago. Graphite schists in this locality were observed to form layers with varying thickness, ranging from less than 1 cm to tens of meters thick.

Your National Museum of Natural History and all museums at the NMP Complex are now welcoming guests of all ages. Book your tour now through this website.

#MuseumFromHome

Text and image by the NMP Geology and Paleontology Division

© National Museum of the Philippines (2021)

Built Heritage Tradition of the Capilla de San Pancracio in Camposanto de La Loma, Caloocan City

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Built Heritage Tradition of the Capilla de San Pancracio in Camposanto de La Loma, Caloocan City

In our #MuseumFromHome series, this week’s feature of our #BuiltTraditionThursday is the Capilla de San Pancracio (Chapel of St. Pancratius), colloquially known as the Old La Loma Cemetery Chapel, in the Camposanto de La Loma (La Loma Cemetery) in Caloocan City. This declared cultural treasure is one of Manila’s oldest standing structures, with the 19th century chapel along with the cemetery in which it resides having survived the devastation wrought on the capital during World War II, which mournfully razed many of Old Manila’s architecture.

The Capilla de San Pancracio traces its origins to August 30, 1864, when the Spanish colonial government of the Philippines approved the establishment of a new cementerio general to mitigate the lack of space in the Paco Cemetery and to accommodate the growing population of Manila and its vicinities (Ramos, 2019). This proposed new cemetery would become the Camposanto de La Loma in 1884, wherein the Capilla stands (Ramos, 2019). The Capilla and its site and setting are notable for surviving the infrastructural destruction brought about by the 1945 Battle of Manila in World War II, thus becoming the oldest extant funerary chapel and cemetery grounds in Manila (NMP, 2017).

Architecturally, the Capilla is a single storeybuilding, located at the Southern side of the La Loma Cemetery. The structure has a building foot print of around four hundred and eighty-five (485) square meters, oriented on a generally north-south axis with a slight tilt to the northeast. It measures thirty-seven and six-tenths (37.60) meters in length and twelve and six-tenths (12.60) meters in width. The Capilla is cruciform in plan, with slight transepts found in the upper/further section of the shaft, in the Latin-cross configuration. In accordance with typical early Christian church architecture found in the country, the plan is laid out with a long, simple, single nave, enhanced by an octagonal dome over the crossing. The sanctuary and main altarpieces are at the end of the nave, and directly behind is the sacristy. The architectural interior also features a series of four sweeping arches which support the dome and bounds the intersection of the nave and transepts (Jose, 1991).

In terms of structure, the Capilla is made primarily of adobe (or volcanic tuff) blocks, cut and formed. The main walls are supported externally by massive stone buttresses characteristic of Philippine colonial church architecture as a measure to withstand earthquakes and raids (Jose, 1991), with each buttress alternating with large windows to allow light to enter the aisle and transepts. The Capilla is also furnished with intricate and detailed ornamentation, with elaborate detailing on its main door, and adorning its fenestration and cornices. It also features a metal gate of curly grillwork flanked by two white-painted lion statues, while on both sides of the façade are statues of two saints. 

The Capilla de San Pancracio is in a relatively fair state of conservation and maintenance despite its long disuse. There is overgrowth and vegetation present along most of its edifices, but the structure of the chapel remains enduring, with only a minimal area of its stone construction showing signs of wear. The extant carved ornamentations in the interior and exterior of the chapel, distinct in the structure, also remain in good condition. While there were interventions introduced to the property, such as the addition of toilet facilities abutting the northeastern façade, these were found to be reversible and have since been removed.

Owing to its survival of the destruction of the Battle of Manila in 1945 and all the numerous calamities that came before and after it that shook the capital to its foundations, the Capilla de San Pancracio is a crucial, enduring remnant of a bygone era of the country’s architectural cultural heritage. In recognition of the building’s significance, the chapel was declared a National Cultural Treasure by the National Museum of the Philippines in 2017, and is currently undergoing restoration and preservation efforts through a partnership of the Diocese of Caloocan and the Escuella Taller de Filipinas Foundation, to retain the Capilla’s intrinsic glory for future generations (Adel, 2021).

Text and illustrations/photos by Ar. Armando Arciaga III, AABHD

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Effects of Climate Change in Plants

Posted on:  |  National Museum of the Philippines Posted in Uncategorized.

As your #NationalMuseumPH joins the world in the observance of Global Warming Consciousness Week, let’s learn in today’s #WildlifeWednesday the effect of the changing climate to plants.

Climate change is mainly caused by our actions with the emission of greenhouse gases from burning fossil fuels for our daily needs. Deforestation and modern agricultural practices aggravate climate change. This accumulation of gasses generates changes of temperatures and weather patterns that affect natural ecological processes of an ecosystem. The sudden changes affect many plants and animals that have limited elevational range and unique microhabitat conditions.

Our farmers need to act fast to cope up with climate change. With the change of weather patterns, farmers need to adjust with the planting season and develop plant varieties that are adaptable to droughts or flooding. In many areas, flowering of plants and life cycle of pollinators are not coinciding which will result in less production of crops.

With the increasing temperature, polar ice caps and glaciers are melting at an alarming rate that causes sea level rising. As the global sea level rises, many habitats and ecosystems are affected, especially the coastal areas. Low-lying islands are all at risk of this situation and beach forest in this island will later die off. 

Plant diversity in the high mountains of the tropical regions were the most affected by climate change. The change of precipitation, moisture and temperature will alter the phenology of the plant and affect the migration and life cycle of its pollinators. Cold-adapted plants species of the tropical mountains may be directly affected by the warmer climates. Warn-tolerant species might display them as they encroach up towards the mountain slopes. Native and endemic plants especially from the tropical islands with high mountains are the most vulnerable to this with the presence of alien invasive species. 

The increased level of CO2 will lead plants to decrease water consumption for photosynthesis. However, due to the warming of the planet, plants will eventually need more time to grow and consume water, thus eventually drying up the land. Also, plants in hotter environments may grow larger leaves that could create more surface area for more evaporation that will affect precipitation, runoffs and soil moisture.

In spite of all these, everyone can take part to slow down the effects of climate change. From using our electricity properly, taking a walk or a bike for a short destination, and eating food with less carbon footprint. Each of our individual micro efforts will have great macro effects on our environment.

Text and poster by the NMP Botany and National Herbarium Division.

Burial Goods

Posted on:  |  National Museum of the Philippines Posted in Uncategorized.

Burial Goods

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In the continuing observance of #Undas2021, for this week’s #TrowelTuesday let us look at the burial goods interred together with the dead in the archaeological setting.

Grave goods or furniture, burial goods, or pabaon are materials interred with the dead as part of our local mortuary tradition observed since the Neolithic Period (3000-500 Before Common Era or BCE). These materials were presumed to be buried with the dead as gifts to the ancestors or gods, as provisions, or as means to repel evil on their journey to the afterlife. The use of burial goods and the manner of interment were seen as a symbol of prestige and status of the deceased and of those who buried them.

Some examples of excavated grave goods include local potteries, tradeware ceramics, tools made from various materials, spindle whorls, barkcloth beaters, and ornaments. Early forms and types of grave goods were locally manufactured, such as local pottery, ornaments, and tools made from stone, clay, and shell. As time progressed, more items that originated outside the Philippines were observed among burial sites. Foreign objects such as glass and stone beads, iron tools, stoneware, and porcelain were extensively recovered in various burial sites across the country.

In Santa Ana, Manila, pre-colonial burials dating from the 11th to 14th century were excavated in the 1960s. Burials were interred with rich grave goods consisting of Chinese ceramics from the Sung and Yuan dynasties, earthenware, coins, glass beads, and metal implements and ornaments (https://tinyurl.com/QingpaiPorcelainBoatFigurine). 

Various sites in Calatagan, Batangas have been excavated since the 1940s, which yielded more than 1,000 burials dating around the 15th century. While the most common burial goods were earthenware vessels and foreign ceramics from China, Vietnam, and Thailand, spindle whorls, ornaments, iron implements, and shells were also present in the burial assemblages.

Early historic period burials were unearthed in the municipality of Boljoon in Cebu, dating back to the 16th to 17th century. Grave goods recovered from the site included Chinese and Japanese ceramics, iron tools, earthenware vessels and sherds, gold ornaments, glass beads, and worked bone artifacts (https://tinyurl.com/BoljoonBurials).

An increasing pattern of complexity in the burial goods was observed on sites across different periods. For example, while there was a general contrast of burials with richer grave goods and those with little to no burial goods during the Metal Age (500 BCE to 1st century), the burials during the Protohistoric Period (9th century to 1521) were much more stratified. 

The #NationalMuseumPH is open for public viewing, following the IATF guidelines for Alert Level 2 in Metro Manila. Reserve a slot for your upcoming visit and explore our collections and exhibitions through this website.

#BurialGoods

#ArchaeologyOfTheDead

#MuseumFromHome

#YearOfTheFilipinoPrecolonialAncestors

Text by Sherina Aggarao and posters by Timothy James Vitales | NMP Archaeology Division

© National Museum of the Philippines (2021)

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