Provenance: : Don Pedro Alejandro Paterno (1857– 1911) and Doña Luisa Piñeyro de Lugo y Merino (Sra. de Paterno, d. 1897)

Literature: : La Exposición Histórico-Natural y Etnográfica de 1893; Edicion cientifica a cargo de Javier Rodrigo del Blanco. Published by the Ministerio de Cultura, Educacion y Deporte. Photographs of the very same Philippine Pavilion. Numbered No. 17, 18, 19.

ABOUT THE WORK

The Exposición General de Las Islas Filipinas of 1887 The Cultural Expo that Started it All by RAMON N. VILLEGAS In 1887, Spain’s Overseas Minister Victor Balaguer undertook the Exposicion General de las Yslas Filipinas to ‘maintain ties of knowledge and communication with the nation’s overseas provinces.’ The exposition’s Catalogo Oficial stated that it aimed “to tighten the bond between the Spaniard and his Filipino brother who, younger and weaker, should defer to Spain, the affectionate mother who will bring him civilization and culture”. The project was not only a cultural or commercial matter, it was intended to project internationally the greatness of Spain, following England which was perceived as the world’s leading power after the Exhibition of 1851, where Joseph Paxton constructed the original Crystal Palace in Hyde Park Gardens. Other European countries followed England’s lead. In proud structures on wide grounds, imperial powers made ostentatious displays of their colonial treasure troves — precious stones, minerals and metals, exotic flora and fauna with high commercial value, uniquely crafted artifacts made by the “barbarians” themselves dressed in diverse costumes, performing heathen rituals. There were pseudo-scientific presentations of the natives. Spain had been gradually losing its possessions and with them its economic independence, with foreign capital increasingly gaining control. Spain’s empire, by then had been reduced to Cuba and the Philippines and minor islands like Puerto Rico, the Marianas and the Carolinas. This prompted Balaguer to propose this project as the perfect opportunity to show that Spain was as capable as England to organize a major exhibition on its remaining major colony. The Philippine Exposicion was held at the capital’s Parque or Campo Grande de Retiro. The central building was a Spanish version of the Crystal Palace, designed by Ricardo Velázquez Bosco, influenced by Gothic structures and the market at Les Halles de Paris. Madrid’s Palacio Cristal served as a giant greenhouse where plants and flowers from the Philippines were grown. When it opened in 1887, a newspaper published this description: “... The Crystal Palace is a cathedral of glass, of classic proportions, on a grassy hill. Its walls are immense and transparent windows supported by Ionic iron columns...and topped by an immense dome, whose height reached 22.60 meters, (around it) the aisles... shelter the grass and towering palms characteristic of the tropical flora of the Philippines. Its majestic cover, of classic taste and Greek style, falls on a terrace surrounded by elegant balusters, and looks at the lake, which extends at its feet like a mirror...” In front of it was an artificial lagoon with all kinds of aquatic vessels from bancas to vintas and traditional fishing equipment; there were carabaos bathing by the shore. The 1887 exposition was well publicized in three continents. No less than the Ministro de Ultramar (Overseas Minister) headed the Exposition committee and a counterpart “Comisión Central” was established in Manila with the Governor-General as chairman and the Archbishop of Manila as vice chairman. The latter had demanded that he select the exhibition materials. He insisted that more important than brandishing material and commercial progress was the display of “ethnic diversity” which would highlight the evangelical mission of the Church in no uncertain terms. At that late date, His Eminence still believed that Christianization of heathens was the main rationale of the Spanish conquest. Consequently, “construcciones etnográficas” dotted the park, clusters of nipa huts with varied designs simulated idyllic corners of our tropical islands. There were “casas de tejedores” for loom weavers, huts of embroiderers, bolo and hat-makers. The abaca strippers were a sensation, so were the “cigarreras” who did nothing but roll the famous Philippine cigars. Such a display of Filipinos had already been done previously: London (1851), Paris (1855 and 1867), Vienna (1873), Philadelphia, USA (1876), Amsterdam (1883), Madrid (1887) Spain’s participation at the “Exposición Universal Colonial y de la Exportacion General” in Amsterdam was severely panned by European media because it looked more like a zoological garden where natives from the Philippines and the Marianas were on display for the amusement of Europeans. Sadly, Filipinos died after contracting diseases against which they had no natural immunity. Yet, four years later in 1887, 50 more Filipinos were shipped to Spain for the Madrid exposition. No international fair was complete without the “Igorrotes”! There was a “Ranchería de los Igorrotes” at the Parque del Retiro where they were made to sacrifice pigs all day long. A tree house was constructed in the “Rancheria” for dramatic effect. Such “ethnographic” displays were replicated in Chicago (1893) in St. Louis (1904) After the exposition, the Palacio Cristal was used by the Horticultural Society, the City of Madrid Flower Show, the National Exhibition of Fine Arts, the Circle of Fine Arts. In the late 20th century, it was restored to its original appearance, though not its function.