A TREASURE: VICTORIAS’ CHAPEL OF ST. JOSEPH THE WORKER
‘The mural is by Philippine-born Alfonso Ossorio, New York abstract expressionist and friend to Jackson Pollock and Clyfford Still.’
The Chapel of St. Joseph the Worker of Negros’ Victorias Milling Company, Inc. is one of the masterpieces of modern Philippine church art and architecture, ranking with
Leandro Locsin’s Church of the Holy Sacrifice (U.P., 1955) and St. Andrew the Apostle Church (Bel Air, Makati, 1968).
Built in 1949 to 1950, St. Joseph’s is a remarkable international and community effort, notable for its suitability to the tropical climate, raised to the sublime by its art. The building was designed by Czech architect Antonin Raymond (1888-1976), student of Frank Lloyd
Wright and who has buildings in Japan and the US to his credit. The astonishing mural (commonly called “The Angry Christ”) is by Philippine-born
Alfonso Ossorio who later achieved distinction as a New York abstract expressionist and friend of the famous
Jackson Pollock and Clyfford Still. Mosaics are by the Belgian Adelaide
de Bethune. Local people contributed talent and material.
The result is our own Sistine Chapel, with a difference. Michelangelo’s Christ is angry—it’s Judgment Day and Christ is slamming sinners to damnation. Popular nomenclature notwithstanding, I don’t see Ossorio’s Christ as angry. Neither is He in agony on the cross nor a benign father bless- ing his flock. Christ is unsmiling but it is not Judgment Day and His arms are spreads wide in welcome.
The Chapel’s great beam, dome, and walls deliver a lesson in doctrine. The Holy Trinity (“the allseeing eye”) beckons all (“Come, enter.”); God the Father’s hands present God the Son; Christ is just behind the altar, spreading His arms wide in welcome to the Holy Sacrifice of the Mass. There, too, are St. John the Baptist who admits persons to the Christian church, St. John the Evangelist who testified to Christ’s deeds, Mary the intercessor, and St. Joseph her helpmeet.
Accompanying the mural are distinctively Filipino images of Christ, Mary, and Joseph; Stations of the Cross; and Angels of the Apocalypse, some with Ilonggo text. In the Baptistery is a mosaic of the baptism of Christ.
Outside on façades are mosaics depicting events in the life of St. Joseph: marrying Mary, being present at the Nativity and the arrival of the Three Magi, finding Christ preaching to the elders, guiding the young Jesus at Nazareth, and death. Also on the façades are depictions of the Last Supper, the Pentecost, and the Prodigal Son.
At the garden is a sundial (“Carabao Sundial”) so formed that the shadow of the horseman’s lance points time on the animal’s horn.
The chapel is also a community effort. Local artists Daniel Garmiles and Romulo Santa Ana were De Bethune’s assistants. Benjamin Valenciano (self-taught painter-carver) sculpted the images. Arcadio Anore (engraver) fashioned the decorative brass work. The sundial was made by machine shop students of Don Bosco Institute led by Hezekiah B. Katalbas and Vicente Gonzaga.
Ordinary parishioners chipped in, literally. They contributed the tesserae: bottles and ceramics broken into the small pieces that make up the mosaics—Seven-Up (green), San Miguel Beer (brown), milk of magnesia (deep blue), and discarded crockery (pale green and pink).
(to be continued)
Notes: (a) Victorias Milling Company, Inc. was founded in 1919 by Don
Miguel Ossorio. One of Don Miguel’s sons, Alfonso, painted the Chapel’s mural; (b) Victorias shares are now widely owned and listed on the Philippine Stock Exchange. (c) Recognizing the Chapel’s importance and uniqueness, the corporation, under chairman Wilson Young and president Eduardo Concepción, is restoring the chapel’s artistic wealth; and (d) Wall painting restoration expert
Liliane Rejante Manahán heads the
restoration team.
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