11 November 2024

NOTICE TO THE PUBLIC

CASE NO: NCCA – 11 – 2024 – 02

SUBJECT: PETITION TO DECLARE AS A NATIONAL CULTURAL

TREASURE THE ST. URSULA PARISH CHURCH, ALONG
WITH ITS COMPLEX AND ECCLESIASTICAL OBJECTS
THEREIN, IN BINANGONAN, RIZAL

In compliance with the publication requirement and pursuant to Section 8 of the Republic Act
(R.A.) No. 10066, and its amendment R.A. No. 11961, this notice is hereby served to the
public that the Roman Catholic Diocese of Antipolo has filed with this Commission
a Petition to Declare as a National Cultural Treasure the St. Ursula Parish Church, along with
its Complex and Ecclesiastical Objects, located at Paterno St., Libid, Binangonan, Rizal on
the following grounds:

1. The St. Ursula Parish Church’s original retablos are outstanding

monumental examples of retablo styles built in the 18th and 19th
centuries;

2. The St. Ursula Parish Church's main body exhibits a high degree of
integrity with minimal traces of modern-day intervention.

Under Section 3 of R.A. 11961, a National Cultural Treasure is defined as “a unique

cultural property found locally possessing outstanding historical, cultural, artistic, and/or
scientific value, is highly significant and important to the country and nation, and has been
officially declared as such by law or the pertinent cultural agency or agencies.”

Section 30 of R.A. 11133 provides that all regulatory functions of the National Museum, as
provided for by R.A. 4846, Presidential Decree No. 260, Presidential Decree No. 374,
Presidential Decree No. 1109, R.A. 8492, R.A. 9105, R.A. 10066, and all other laws and
issuances amending or citing as legal basis the same, has been transferred to this
Commission.

Section 11 of the Implementing Rules and Regulations of R.A. No. 10066 further provides
that:
“A declaration or a lifting of cultural property as National Cultural
Treasure or Important Cultural Property shall commence upon the filing of
a verified petition by the owner, stakeholder or any interested person
[emphasis added] with the Commission, which shall issue temporary
remedies, if necessary to protect a site prior to the declaration, after which it
shall refer the matter to the appropriate cultural agency.”
In view of the foregoing, the appropriate cultural agency having jurisdiction in determining
whether or not the subject property bears significance is this Commission. Any person
adversely affected by said petition may file their written support or opposition with this
Office or through [email protected] not later than November 14, 2024.

Fig. 1. Baroque façade of Binangonan Church with its wide entrance facing the town plaza.

Fig. 2. Wooden retablo mayor located at the focal point of the interior.
Figs. 3-4. One of the retablos in Binangonan church is located along the right side of the nave (T). It bears images of saints
painted in iron sheets (B).
 Fig. 5. Predella of the side retablo showing a carved image of St. Catherine of Alexandria. The images of St. John the
Baptist, St. John the Evangelist, and St. Mary Magdalene are also carved in the predella but are not shown in the photo
above.

Fig. 6. Location Map (Taken from Google Maps 2024)

 Report on the Declaration of SANTA URSULA PARISH CHURCH COMPLEX and its Contents
also known as BINANGONAN CHURCH as NATIONAL CULTURAL
TREASURE
Paterno Extension, Barangay Libid, Binangonan, Rizal
11 November 2024

Rationale

This paper is prepared for the National Commission for Culture and the Arts (NCCA)
for the nomination of the Santa Ursula Parish Church, popularly called Binangonan Church
intended for its declaration as a National Cultural Treasure. The study aimed to establish the
significance of the church based from the existing literatures, available data, and other
sources. A visual inspection was also conducted in the site.

Location

Santa Ursula Parish Church or Binangonan Church is located in the Municipality of

Binangonan, under the province of Rizal. The church is located at the core of the old town.
Situated near Laguna Bay, it is accessible and connected to the rest of Rizal and Laguna
through the lake during the Spanish and American colonial periods. Today, it can be reached
from all points, thanks to the network of roads and modern transportation. The parish of Santa
Ursula is under the ecclesiastical jurisdiction of the Diocese of Antipolo.

Figure 1. Location map of Binangonan Church sourced from Google Maps 2024. It is located east of Metro Manila
and north of Laguna Lake.

Page 1 of 18
Figure 2. Orientation of Binangonan Church sourced from Google Maps 2024. It is strategically located on the
north banks of Laguna Lake and south of Antipolo City. The church served as a core of the townwhere all other
structures sprang-up.

Brief Historical Background of Binangonan Church

Binangonan was a visita of Morong until 1621 when it separated from Morong and
Rev. Fr. Matias Argete1 was its assigned minister.2 The parish was then under the
Franciscans, before it was exchanged for Baras with the Jesuits in 1679.3 While under the
Jesuits, “the Antipolo was further augmented by the town of Binangonan, due south of it on
the shore of the Lake of Bai.”4 Binangonan’s population grew in the years that followed,
“justifying a resident parish priest” in the town; the said parish being Sta. Ursula Church.5 In
1694, Cainta and Marikina were ordered restored to the Society of Jesus by King Charles II;
the Jesuits, instead, “offered to exchange Binangonan in Luzon and Suaraga in Panay for
these two parishes.”6 It was finally yielded to the Augustinians in 1697, before the Augustinians
returned Binangonan to the Franciscans in 1737.7 In the same year (1737), the pueblo of
Binangonan was founded in the Distrito of Morong with 6,705 almas (souls).8

1 Also spelled as Algete, he was the minister of Binangonan de Bay in March 1621. A year later, he died in
Manila (Platero, 1880, p. 182).
2 Huerta, Felix. Estado Geografico, Topografico, Estadistico, Historico-Religioso de la Santa y Provincia

Apostolica de S. Gregorio Magno..., Binondo: Imprenta de M. Sanchez y Ciá, 1865, p. 132.

3 Ibid
4 De la Costa, Horacio. The Jesuits in the Philippines: 1581 – 1768. Cambridge, MA: Harvard University Press,

1961, p. 475.
5 Ibid
6 Ibid, p. 525.
7 Huerta, 1865, p. 133.
8 de la Cavada, Agustin. Historia Geográfica, Geológica y Estadística de Filipinas, Tomo 1: Luzon. Manila: Imp.

De Ramirez y Giraudier, 1876, p. 233.

Page 2 of 18
 Construction for the church dedicated to Sta. Ursula began in 1792 during the term of
Fr. Bernardo de la Concepcion o Perdigon9. The church was finished in 1800 during the term
of Fr. Fermin Revilla,10 while the woodwork was renovated in 1853 under Fr. Francisco de
Paula Gonzalez.11 Felix Huerta describes the construction and renovation of the church in
detail. To wit:

La iglesia dedicada á la ilustre Virgen y martír Sta. Úrsula, es de buena

fábrica, con hermoso crucero y bastante espaciosa, comenzada en 1792
por el R. P. Fr. Bernardo de la Concepcion ó Perdigon, despues Obispo
de Nueva Cáceres, y concluida en 1800 por el R. P. Fr. Fermin Revilla,
quien construyó además la casa parroquial tambien de piedra. El año de
1853 fué renovado todo el maderamen de la iglesia y construido
nuevamente casi todo el convent por el R. P. Fr. Francisco de Páula
Gonzalez. Tiene una escuela de instruccion primaria, dotada por las
cajas de Comunidad, un tribunal de piedra con su regular cárcel, con
unas nuevecientas setenta casas al estilo del país, distribuidas en quince
barrios, de los cuales uno se halla en la isla de Talin, perteneciente la
mitad O. á este pueblo, y la mitad E. al de Morong. Está servido por el R.
P. Fr. Francisco de Páula Gonzalez, Predicador, de 39 años de edad y
once de ministerio, con un P. Clérigo coadjutor.12

(The church dedicated to the illustrious Virgin and martyr Sta. Úrsula, is of
good construction, with a beautiful transept and quite spacious, begun in
1792 by the R. P. Fr. Bernardo de la Concepcion of Perdigon, later
Bishop of Nueva Cáceres, and concluded in 1800 by R. P. Fr. Fermin
Revilla, who also built the rectory also made of stone. In 1853, all the
woodwork of the church was renovated and almost the entire convent
was rebuilt by R. P. Fr. Francisco de Páula Gonzalez. It has a primary
instruction school, endowed by Community funds, a stone court with its
regular jail, with some nine hundred and seventy houses in the style of
the country, distributed in fifteen neighbourhoods, of which one is on the
island of Talin, half belonging to this town, and half belonging to Morong.
It is served by R. P. Francisco de Páula Gonzalez, Preacher, 39 years of
age and eleven in ministry, with a Fr. Cleric coadjutor.)

9 Bernardo Garcia de la Concepcion was born in Perdigon in the diocese of Zamora in March 1752. He became
Minister of Binangonan in 1789, and then again in 1798 (Platero, 1880, p. 569).
10 Fermin Revilla de la Magdalena was a confessor born in Espinosa de Zerrate on 11 December 1765. He

became minister of Binangonan de Bay in prior to Garcia de la Concepcion’s return in 1798, and then again on
1801. He died in Binangonan de Bay on 6 June 1827 (Platero, 1880, p. 608).
11 Fr. Francisco de Paula Gonzalez was a confessor born in Granada on 23 November 1815. He became

administrator of Binangonan de Bay in 1854 until 1859 (Platero, 1880, p. 680). However, it should be noted that
acording to Huerta, he was also administering for Binangonan in 1853.
12 Huerta, 1865, pp. 133-134.

Page 3 of 18
 By the 19th century, the Franciscans have already established their stronghold in the
town. In the 1850s, it had been known by the name Binangonan de los Perros, and was listed
under Laguna until 1853, before being listed under Morong in 1854 onwards.13 In 1899, during
the Philippine-American War, the church suffered damaged caused by the Americans, and
they took hold of the church from 1900 to 1903.14

The present parish church of Santa Ursula stands at its original site where earlier
church was built of light materials. From the Franciscans who evangelized Binangonan, it was
later given to the care of the Jesuits and later to the ministry of Augustinians. The Franciscans
returned to administer Binangonan in 1737 until the last decade of the 18th century. It is the
Franciscans also who completed the construction of the present-day church including the
rectory which became a notable landmark of the town.

Successive missionary priests administered the parish such as the Columbans, those
from Ireland and New Zealand they stayed in Binangonan for almost four decades from 1931
up to 1973. The diocesan clergy took over in the administration of the parish in 1973 that
started with the installation of Monsignor Arsenio Bautista as its dedicated parish priest 9Dela
Cruz, 2011).

Architectural Description and Analysis of Binangonan Church

The Façade of Binangonan Church

The façade of Binangonan Church is a rectangular in form, a two-tiered structure

capped by a triangular pediment. It is flanked on the right side by a three-tiered bell tower. The
church is made up of hewn adobe stone that are regularly cut and evenly textured set in a
Flemish bond pattern of stone walls. Binangonan Church is one the very few churches that
followed this pattern of bonding the stones which makes it unique among any other Spanish
colonial period churches built during this period. The nave can be entered through a large
opening with huge wooden doors. All the openings such as the large door and church windows
including the apertures of the bell tower are arcuated sans the oculus at the center of the
triangular pediment of the church.

The church façade is rendered in Baroque Style of Architecture, although we cannot

find any undulating lines, but rather a restful stance which lends elegance to the structure.
Ornamentation of the façade was restrained; thus, we may equate the style further into
incipient baroque. Incipient baroque is discrete in decorations but possesses the inherent
beauty of architectural massing and proportion. The façade is rectangular and divided into two
level by a band of entablature running the entire width of the façade. It has three bays which
are punctuated by four rows of shallow pilasters.

13 Jose, Regalado Trota. Curas de Almas: A preliminary listing of parishes and parish priests in the 19th century
Philippines based on the Guias de Forasteros, 1834-1898 (Volume 3). Manila: UST Publishing House. 2008, p.
113. It should be noted here that Binangonan had been a visita of Morong until it was separated in 1621. What is
mentioned to be under Morong is the parish.
14 Catálogo de las Reclamaciones que por Daños y Perjuicios inferidos a la Iglesia Católica de Filipinas presenta

al Gobierno de los Estados Unidos de América el Arzobispado de Manila y los Obispados Sufragáneos. Manila:
Imprenta de El Mercantil-Beaterio 73. 1903, p. 80.

Page 4 of 18
 Ornamentations of the Church Façade

Although we equate the church façade into incipient baroque, it is not devoid of
decorations. Rather there are many interesting ornaments richly carved in stone that is
noteworthy. The arched main entrance is set with a huge wooden door that comprises of
regularly cut hardwood planks. We might notice that the stones and the wood used in this
church are uniformly cut, thus, of high degree of precision and accuracy when it comes to
sizing and resembling parts of the church during its construction. Above the main door is a
carved emblem of the Spanish Sovereign. Set in stone is the heraldic symbol of the Spanish
king, the central figure, a two-winged eagle (?) now hardly recognized flanked on either side
by a lion and castle and surmounted by a crown. The coat of arms is located above the main
entrance and just below the central choir window at the second level.

Now, we go to the upper part of the façade. The second level has three arcuated
windows that corresponds to the choirloft. The central window is bit larger than the other two
on either side. All windows are set in templete with triangular pediments. This makes some
scholars to equate the style of the church into neoclassic. Above the main window is an oculus
at the center of the pediment. The oculus is decorated around by stylized heart and crowns.
The triangular pediment is crowned by a raking cornice. On either side of its base of the
pediment are two large square urn finials also carved in solid stone blocks. One of the
interesting details of the church and crowning its pediment is the raking volutes, although
hardly noticed from below the ground. But if one takes a closer look, it resembles a running
dog from ancient architectural vocabulary, however, it’s akin also to Chinese clouds or may
even be a likeness of a bread called ensaymada carved in stone. The bell tower sits on a
square base and the upper two storey are eight sided and capped by a semi-circular cupola
surmounted by a cross at its apex.

Page 5 of 18
 Figure 3. Baroque façade of Binangonan Church with wide entrance facing the town plaza. The
church façade is a two-tiered structure, rectangular in form and superimposed by a triangular
pediment. It is punctuated into three bays with four shallow pilasters. The two pilasters on the either
side of the arcuated entrance are terminated at the second level by an engaged finial while the
other two rises up into the base of the pediment and terminated by huge finial urns. The pediment
is crowned by a raking cornice and decorated by volutes of running dog. and Above the main
entrance are three choir windows set in a templete. An oculus is set at the center of the pediment
above the main window. A belltower flanks the church at its right side with an image of the patroness
overlooking the plaza. The bell tower is a three-tiered structure with arcuated windows at each level.

Interior of the Church

Binangonan church is rectangular in plan. It has a single nave and one lateral chapel
on the right side of the wall. It can be accessed through the main entrance in the façade and
a side door at left side of the nave. As one enters the church, all attention would be directed
to the far end of the nave, at the sanctuary where the main retablo is located. The interior
possesses so many interesting details. The main retablo which is the main focal point of the
interior, there are also minor retablos, each equally notable and can be discussed in further
details. The trusses are exposed which makes the visitors to turn their gaze on top of their
head full of amazement as it unfolds the forests of timbers that supports the roof above. The
stations of the cross hanged around the wall are also of great artistic value. The floorings are
of encaustic tiles and baldozas all original. Similar in its facade, the adobe walls of the interior
are cut in regular shapes and arranged in Flemish bond pattern. The sanctuary separated
from the nave by a triumphal arc and elevated through steps the holy area is further delineated
by a communion rail not dismantled after the Second Vatican Council. One of the hidden
treasures of the church is kept in the sacristy, a water jug in a form blue porcelain, probably a
Huanzhou ceramic. This is used as a receptacle of water to wash scared vessels in the
sacrarium of the church, now secured by a glass case to protect it from theft and prevent it
from any damage.

The Retablos

Let’s go first to the main retablo of the church. The huge retablo is magnificent both in
size and its decorations. It is definitely baroque in style. The corpus is made up of two level
with a central bay and two flanking bays on either side which makes it into three bay divided
vertically by pairs of ionic columns while the horizontal divisions are decorated by entablatures
consistent with the design and order of its columns. The decorations are myriad and comprises
of swags, festoons, garlands, rosettes, vines, foliates, and urns. The central and largest nave
is occupied by a more than life size image of Saint Ursula, patroness of Binangonan. She is
depicted wearing a green robe and clad in red cape. She is holding on her left a sword,
instrument of her martyrdom and at her right a red banner bearing the monogram of the name
of Jesus. Her stance is well composed, with her head adorned with flowing hair and crowned
with a diadem. Flanking Saint Ursula on right side niche is the Seraphic Saint Francis of Assisi
clad in his Franciscan garb fixing his gaze on the crucifix gripped by his left while his right
hand holds the knot of his cincture. On the opposite side is Saint Dominic, founder of the Order
of Preachers, robed in a Dominican habit and holding a cross staff and probably a book by left
hand, now lost.

The upper niche is occupied by Saint Michael the Archangel, invoked against
malevolent forces. He is shown here in action crushing the devil. He is wearing boots and
donned a helmet clad in armor and holding a spear by both hands crushing the defeated devil

Page 6 of 18
laid down defeated at his feet. The segmented arc at the topmost level serves a pediment
crowning the retablo. The pediment is adorned with a carved detail of a palm, lily, crown, and
sash. All of these symbolic details are attributed to Saint Ursula who was martyred along with
the other virgins, some claimed in legendary stories were in hundreds and even thousands.
The palm is a symbol of martyrdom, we know that Saint Ursula was martyred, while the lily
stands for virgins, a symbol of chastity, Saint Ursula was still a virgin during her death en-route
to her wedding. While the crown is a symbol of victory, as Saint Paul attests in his letter to the
Corinthians, “receive and wear your imperishable crown of victory and rejoicing” after you won
the battle. This crown of victory adorned the head Saint Ursula and her companions who were
all martyrs of faith.

Aside from the main retablo, there are other three retablos, a pair of which are located
on both sides of the triumphal arc also facing the nave. It bears images of popular devotion
such as that of Saint Joseph and the Immaculate Conception with billowing robes. The upper
level enshrines the images of Saint John the Baptist and Saint Roche on the left and right
respectively. These two opposite retablos are crowned broken segmented pediment
surmounted by a cross at its apex.

The fourth and the highly interesting retablo is however located in the right-side lateral
chapel of the church. It can be accessed trough a large arc on the side wall. It is a retablo of
modest size and bears images of saints not in de bulto fashion but in a series of paintings.
The retablo in itself requires another study to delve or a separate paper to discuss its rich
details. One of its kind probably in the entire Philippines. In summary, this retablo is a wooden
structure comprises of two levels and bears images of saints painted in iron sheets and set
flat in the niches, they are the oil painted images of the Sacred Heart of Jesus at the second
and topmost level, below him are the images of Saint John the Apostle, Saint Mary Magdalene,
and the beloved image of the Mater Dolorosa or grieving Mary. Summarily, all of these images
pointed to the account of the Passion of Jesus, on the cross, but instead of a crucified Christ,
it’s the Sacred Heart. We might therefore say that this retablo could be a Passion Retablo,
minus the crucifix, it can be used during the Holy Thursday vigil where a monumento is located
at one side of the church as a place of repose for the Blessed Sacrament, that’s one theory.

I will try to discuss the rich details of the retablo in brief, The niches of paintings at the
lower level are framed in pairs of fluted Corinthian columns which are decorated one third of
the height of its base by winged angels that of seraphims, having more than one pair of wings
here fashioned like telamones. The spandrel of each arches framing the paintings are
portrayed with inset of cherubims. Above the entablature of the first level are series of four
angular broken pediments opening outward instead of inward to the center. This styling of
pediment is unprecedented in the history of retablo art in the Philippines. The uppermost level
that occupied by the Sacred Heart is a triangular broken pediment. On both sides of the framed
image of the Sacred Heart are finials in stylized ramillites magnificent in size and carved in
bajo relievo bunch of flowers and foliage set with an ovolo at its center.

Page 7 of 18
Figure 4. Interior of Binangonan Church viewed from the choirloft towards the altar. The lateral
walls are punctuated by shallow pilasters. The pilasters are terminated on top by a zapata which in
turn carries the bottom chord of the wooden trusses above the nave.

Figure 5. The sanctuary of church with its altar at the center and a huge wooden retablo which
serves as the focal point of the interior. A triumphal arch sets the sanctuary from the rest of the

Page 8 of 18
nave, at either side of the of the arch’s pier are another retablos each bearing an image of saints
venerated for popular devotion.

Figure 6. One of the precious retablos belonging to Binangonan church is located along the
right side of the nave. Accessed through an arc, the old retablo is set against the wall of the
lateral chapel. Unlike the conventional retablos of churches built during the Spanish colonial
period, this particular retablo bears images of saints painted in iron sheets instead.

Page 9 of 18
 Figure 7. One of the huge urnlike finials located on either side of the pediment. The topmost
portion of the façade can be accessed through a steps which can be used to repair the roof.

Figure 8 and 9. Close up detail of the running volutes the crowned the pediment above the raking
cornice. In architectural vocabulary of the west, the pattern is called scroll, waves, or running dog,
while in the local setting, particularly in Binangonan Church, it resembles Chinese clouds much like
an ensaymada bread.

Page 10 of 18
 Figure 10. One of the precious collections of Binangonan Church is this porcelain vessel that
used to store water for the sacrarium located at the sacristy. The vessel could be a Zhangzou
porcelain (subject for further study) which signifies an active trade in the area with local and
foreign merchants and close link between Philippines and China during or even before Spanish
colonial period.

Heritage Values and Levels of Significance

The heritage attributes listed by the World Heritage Convention were used as a guide
to determine the heritage value of Morong Church. The rubrics are also presented for the
assessment of the level of significance. Each of these will be discussed separately along with
their rating. The full list of attributes is as follows:

● Historical Narrative
● Architectural
○ Form and Massing (Design)
○ Use and Function
○ Management (Ownership)
○ Location and setting (Townscape)
○ Architectural Language and Vocabulary
● Materials
○ Material Authenticity
○ Building Technology
● Social
○ Intangible Heritage
○ Social Aspects
○ Spirit of Place

Page 11 of 18
 This methodology was used for assessing the heritage value of the previously declared
heritage buildings by the NCCA. Reference was taken from the reports made by Architect
Alnie Khayzer Hayudini and Dr. Caryn Paredes-Santillan who have done previous reports akin
to this paper.

0 1 2 3

not significant has poor significance has average significance has high significance

The place was the site

Historical The place is associated or an associate site of
The area retains some
The area is not with an important an important event in the
Architectural historically significant
local significance for the
personage or organization prehistory/ history of the
Narrative community
in history people with most of the
elements still in place

The architectural attributes

are relatively distinct The place still exhibits
Form and The structure exhibits and/or significant. In much of the original
There is no apparent
Massing significance
very little of the original addition, it may have architectural innovations
(Design) design inspired or influenced the and representations of
development of other architectural heritage
architectural styles

The place is still in use and

retains some of its original
The place is no longer in
functions. However, some
use or has been The place is still in use
Use and There is no apparent areas have been re-
abandoned. However, and largely retains much
Function significance adapted to accommodate
the original functions are of its original functions.
other uses not necessarily
still somewhat legible
aligned with the original
ones

The place is actively

The place is associated maintained under the
The place is still under the
Management There is no apparent with the original users same management.
same management but is
(Ownership) significance but is no longer under Moreover, the original
not maintained at all
their management intentions and function
are largely apparent

The building and the The building and its

The place once served setting are mostly intact. setting are intact. The
as a pivotal structure The place may have place serves as the
Location and There is no apparent that impacted the growth served as a referential iconic image that
Setting significance progress of the town but point for the urban identifies the city and
the setting has severely planning and site serves as an important
eroded development of the landmark/ reference
surrounding landscape point for the area

The site hardly retains The site retains some of

Architectural The site largely retains
any of its original the original component
much of the original
Language and There is no apparent components. However, elements. However, the
components elements
Vocabulary significance the location/ layout of the location/ placement/ layout
that define its typology
(Typology) eroded elements are still of the eroded elements still
and is in good condition
somewhat legible remains legible

Extant materials are

Extant materials have Extant materials have Extant materials have
Material completely not
low authenticity (less medium authenticity high authenticity (60%
Authenticity representative of the
than 40%) (around 40%-59%) and above)
period when the

Page 12 of 18
 structure was built.

The structure does not Building technology is Building technology is

Building technology is
Building represent any building somehow representative representative of the
100% representative of
Technology technology when it was of the period but with period with minor
the period
built major interventions interventions
Table 1. The proposed rubrics for the assessment of significance

History: High Significance

The Binangonan Church possesses high level of historical and cultural significance.
The church is rich in history and replete with many events associated to the Philippine history.
The church, the convento, and the entire church complex stood as a testament to the more
than a century of the history of Binangonan. It serves as a fertile ground for the spread of
Christianity in the area, the parish was ministered by four different religious congregations
such as the Franciscans, Augustinians, Jesuits, and Columbans before it was turned over to
diocesan priests. The church survived the ravages of war such as WWII. Up to the present
time, it still part of the history of the town during important liturgical events in the life of the
church. Masses are held inside the church unceasingly since it was built which fortifies the
faith of the community. This is the first and the only parish church in the entire country
dedicated to Santa Ursula, her fiesta held in her honor is participated by townsfolks and
pilgrims from far flung places and even those coming from abroad.

Form and Massing: High Significance

The Binangonan Church exhibit outstanding architectural significance. The church

façade, belltower and the interior all possess outstanding architectural and artistic value that
represents a particular period in Philippine art and architecture. Traces in the development of
art and architecture can be found in the church which is made visible in the façade, in the
exterior, and the interior of the church. The church is a testament to the artistic prowess of
local artists who could also produce outstanding works of art. The solidity façade with the
towering belfry forms an ensemble that harmoniously resulted into a remarkable architectural
composition.

Use and Function: High Significance

In terms of its use and function, the Binangonan Church possess high level of
significance. The church is still in use today in accordance to what it was originally intended,
- as a house of worship, thus, retaining its original function. Liturgical services are held daily
inside the church. The patio serves as a gathering point and an extension of church activities
during fiesta and holy week.

Management and Ownership: High Significance

Page 13 of 18
 All structures within the church complex is managed by the parish under the jurisdiction
of the Diocese of Antipolo. Thus, the structures still belonged and managed by the Catholic
Church.

Location and Setting: High Significance

The church and bell tower are sound and well-preserved. The plaza in front of the
church serves as an active space especially for the churchgoers since the church is
strategically located at the very heart of the town. The belltower and the steps of the church
pediment serves as a lookout and watchtower guarding the town, a strategic place to afford
the view of the majestic countryside and the vast lake of Laguna. The church served as the
center of the first community and still stands today in its location. The church-plaza complex
served as the core of the townscape of Binangonan. It is a historical and cultural and landmark
of the urban fabric.

Architectural Language and Typology: High Significance

The Binangonan Church is well preserved, thanks to the able administration of its
priests through the help of its parish officers, members, and community. The design and
typology retain much of its original elements and characteristics particularly the façade,
belltower and especially the interior including all its retablos. Even the small details of the
exterior and interior of the church are intact.

Material Authenticity: High Significance

In terms of material authenticity both of the architecture and its collections, the church
possesses high significance. Church building materials have high authenticity and are
remarkably a representative of certain period in Philippine history and art. The adobe stones
are of notable quality, evenly cut and has fine surface. The wooden components of the church
possess high level of authenticity such as the trusses. The fourteen station of the cross are
still complete and intact. Similarly, the retablos and other church ornaments are remarkably
original and authentic.

Building Technology: High Significance

The building technologies and craftmanship employed in the construction of

Binangonan Church is notable, while it is representative of the period when it is erected. The
baroque façade possesses stability and elegance, the apertures are appropriately placed so
as to balance the solid appearance of the structure.

0 1 2 3

Page 14 of 18
 not has poor has average has high
significant significance significance significance

Historical Architectural Narrative

Form and Massing (Design)

Use and Function

Management (Ownership)

Location and Setting

Architectural Language and Vocabulary (Typology)

Material Authenticity

Building Technology
Table 2. A table showing the summarized significance of Binangonan Church Complex

Summary

The Binangonan Church and Convent Complex is an essential center of the community
life and identity of the people of Binangonan. It has been the witness of important town events
and its material link with the past history of the past. An outstanding example of the Laguna
de Bay or Lake Bay region’s eco-cultural resources which include vernacular, Spanish
Colonial, American Colonial, and modern Post WW2 period architecture as well as dances,
rituals, crafts, legends, language, food and more, which are manifestations of the high level of
Philippine creativity. The parish is one of the few that have been administered by three priestly
orders Franciscans, Jesuits, and the Augustinians. Also, it was ministered by the Columban
fathers after the WWII. The church complex is strategically located with mountains at the
background and as well as the lake in the foreground which made the church accessible from
the lake and all the rest of Laguna. The church’s main body is in good state of preservation
with the original adobe walls as well as a massive exposed timber roof support infrastructure
intact. The church holds an important historic statue of its patron, Santa Ursula. The church
shows how a heritage structure can provide environmental insights as its adobe walls, wooden
ceilings support superstructure of wood may all serve as reminders that certain building
materials are no longer easily available due to ecological degradation and climate change,
hence it is now extant or very rare. The interior is dominated by a monumental 19th century
retablo in Baroque Style. It has preserved a magnificent older side retablo which by comparing
its elements to other retablos such as those of Saint James in Paete, Laguna can be dated to
the 18th century due to its baroque elements. As such, the survival of the retablos of
Binangonan church that are from different eras allows for a study of the changes in styles and
tastes within one building. The side retablo houses four paintings on metal sheet depicting
Mary Magdalene, the Virgin of Sorrows, Saint John the Evangelist, and the Sacred Heart of
Jesus. This is in the manner of Pompeo Batoni. The paintings are attributed to Angono painter,
Juan Senson who was active in the area from the 19th to the early 20th century and is one of
the few in the country that hold paintings rather than sculpture in relief or in the round. The

Page 15 of 18
side retablo’s predela is festooned with carved images of Saint Catherine of Alexandria, Saint
John the Evangelist, and Saint Mary Magdalene. This combination of saints is probably unique
in the Philippines. It very likely refers to the pairing of sacrifice or martyrdom with the
contemplation of Jesus’ teachings. As such, it is very important example which illustrates how
retablos and other church imagery were used as visual aides for preaching. The side retablos
predela is also festooned with elements which suggest work of Chinese artists or of artists
trained in Chinese conventions. These elements are especially significant as they suggest a
dovetailing with Christian aspirations of eternal life as supposedly purchased by the death of
Jesus on the cross. The side retablo houses four consecutive reverse split pediments which
may very well make-up the only example of this configuration in the world! The sacristy
possesses a sacrarium with an extant vessel glazed and decorated with Chinese origins, a
demonstration that the area is in active entrepot of local and foreign trading manifested in the
art of the church. The church pediment is decorated with raking volutes akin to Chinese clouds
or ensaymada, a pattern that shows lasting influence of Chinese craftsmen to the development
of Philippine art and architecture.

Recommendations

Binangonan Church has played a vital role in different periods of Philippine history.
Beyond that, it possesses outstanding architectural and artistic significance demonstrated by
its façade and numerous ecclesiastical art collections such as the retablos bearing sculptures,
images of saints, and paintings inside the church. The baroque style of the façade is unique
and distinct among the existing baroque churches in the Philippines due to its solid yet elegant
appearance without the use of heavy buttresses. The neoclassic retablo, the minor retablos,
and especially the side retablo are also a rare example of art that survived to this very day.
The façade, and the ecclesiastical collections of Binangonan Church is a great example art
produced by local and foreign artists. The church is an embodiment of various influences, an
outstanding monument to a rich culture that is remarkably Filipino in character. Therefore, it is
highly recommended that the Binangonan Church Complex be designated as a National
Cultural Treasure owing to the layers of historical, social, cultural, architectural, and artistic
significance it possesses.

Prepared by:

Wilmer P. Godoy, UAP, RMP, EnP

External Consultants

Page 16 of 18
REFERENCES

Adam, Robert. Classical Architecture, A Comprehensive Handbook to the Tradition of

Classical Style. London: Harry Abrams Inc., 1991.

Catálogo de las Reclamaciones que por Daños y Perjuicios inferidos a la Iglesia Católica de
Filipinas presenta al Gobierno de los Estados Unidos de América el Arzobispado de
Manila y los Obispados Sufragáneos. Manila: Imprenta de El Mercantil-Beaterio 73.
1903

Cheek, Fadriquela S. “Kahoy: Wood in the Philippines Wood and its Uses from Pre-Hispanic
to Spanish Colonial Philippines.” Manila: UST Publishing House, 2013.

Clowney, Paul and Tessa. How to Appreciate Churches: The Story of Church Building.
London: Lion Book Inc. 2002.

Coseteng, Alicia M.L. “Spanish Churches in the Philippines.” Quezon City: Mercury Printing
Press, 1972s.

Craughwell, Thomas. Heaven Help Us: 300 patron Saint. Philadelphia: Quirk Books, 2007.

Cultural Center of the Philippines Encyclopedia of Art. Volume IV Architecture. Manila: CCP,
2017.

de la Cavada, Agustin. Historia Geográfica, Geológica y Estadística de Filipinas, Tomo I:

Luzon. Manila: Imp. De Ramirez y Giraudier, 1876.

de la Costa, Horacio. The Jesuits in the Philippines: 1581-1768. Cambridge, MA: Harvard
University Press, 1961.

De la Cuz, Jesselynn. Diocese of Antipolo a Pilgrimage of Faith with Mary Silver Jubilee
Celebration. Antipolo: Bishop of Antipolo, 2011.

Dilasser Maurice. The Symbols of the Church. Strasbourg: The Liturgical Press, 1999.

Ellsberg, Robert. Blessed Among US: Day by Day with Saintly Witnesses. Quezon City:
Claretian Communications Foundation, Inc., 2018.

Galende, Pedro G. O.S.A. Philippine Church Facade. Manila: Vibal Publishing, 2007.

Galvan y Guijo, Javier. Endangered Fil-Hispanic Architecture. Manila: National Archives of the
Philippines, 1998.

Hopkins, Owen. Architectural Styles, A Visual Guide. London: Quercus Editions Ltd., 2022.

Huerta, Felix. Estado Geografico, Topografico, Estadistico, Historico-Religioso de la Santa y

Provincia Apostolica de S. Gregorio Magno…, Binondo: Imprenta de M. Sanchez y
Ciá., 1865.

Page 17 of 18
Javellana, Rene S.J. La Casa de Dios: The Legacy of Filipino -Hispanic Churches in the
Philippines. Pasig City: Ortigas Foundation, Inc. 2010.

Jicai, Feng. Symbols of China. London: Yilin Press. 2009.

Jose, Regalado Trota. Curas de Almas: A preliminary listing of parishes and parish priests in
the 19th century Philippines based on the Guias de Forasteros, 1834-1898 (Volume
3). Manila: UST Publishing House. 2008

Jose, Regalado Trota. Simbahan: Church Art in Colonial Philippines 1565-1898. Makati:
Ayala Foundation, Inc. 1991.

Klassen, Winand. Architecture in the Philippines: Filipino Building in a Cross-Cultural

Context. Cebu City: USC Press, 2010.

Klassen, Winand. History of Western Architecture. Cebu City: USC Press, 2003.

Kubisch, Natascha and Seger, Pia Anna. Ornaments. Berlin: H.F. Ullmann Publishing, 1892.

Marin y Morales, Valentin. O.P. “Ensayo de Una Sintesis de Los Trabajos Realizados por Las
Corporaciones Religiosas Espanolas de Filipinas.” Manila: University of Santo Tomas,
2022.

Legarda, Benito Jr. Hispanic Philippine Churches, An Architectural Study. Pasig City: Ortigas
Foundation, Inc, 2020.

Platero, Eusebio Gomez. Catalogo Biográfico de los Religiosos Franciscanos de la Provincia

de San Gregorio Magno de Filipinas. Manila: Imprenta del Real Colegio de Santo
Tomás, 1880.

Quijano, Ernestine Aurea. CSW Binangonan Church. Manila: NHCP, 2021.

San Agustin, Gaspar. O.S.A. Conquistas de las Islas Filipinas 1565-1615. Manila:
Intramuros, 1998.

Villalon. Augusto. Lugar, Essays on Philippine Heritage and Architecture. Makati: Bookmark
Inc., 2001.

Zanlungo, Claudia and Tarabra, Daniela. The Story of Baroque Architecture. Italy: Prestel
Publishers, 2012.

Page 18 of 18