In the sala of Capitan Tiago’s house, that door, hidden by a silk curtain leads to a small chapel or oratory such as must be lacking in no Filipino home. There were placed his household gods—and we say “gods” because he was inclined to polytheism rather than to monotheism, which he had never come to understand. There could be seen images of the Holy Family with busts and extremities of ivory, glass eyes, long eyelashes, and curly blond hair—masterpieces of Santa Cruz sculpture. Paintings in oil by artists of Paco and Ermita33 represented martyrdoms of saints and miracles of the Virgin; St. Lucy gazing at the sky and carrying in a plate an extra pair of eyes with lashes and eyebrows, such as are seen painted in the triangle of the Trinity or on Egyptian tombs; St. Pascual Bailon; St. Anthony of Padua in a guingón habit looking with tears upon a Christ Child dressed as a Captain-General with the three-cornered hat, sword, and boots, as in the children’s ball at Madrid that character is represented—which signified for Capitan Tiago that while God might include in His omnipotence the power of a Captain-General of the Philippines, the Franciscans would nevertheless play with Him as with a doll. There might also be seen a St. Anthony the Abbot with a hog by his side, a hog that for the worthy Capitan was as miraculous as the saint himself, for which reason he never dared to refer to it as the hog, but as the creature of holy St. Anthony; a St. Francis of Assisi in a coffee-colored robe and with seven wings, placed over a St. Vincent who had only two but in compensation carried a trumpet; a St. Peter the Martyr with his head split open by the talibon of an evildoer and held fast by a kneeling infidel, side by side with another St. Peter cutting off the ear of a Moro, Malchus34 no doubt, who was gnawing his lips and writhing with pain, while a fighting-cock on a doric column crowed and flapped his wings—from all of which Capitan Tiago deduced that in order to be a saint it was just as well to smite as to be smitten.
Who could enumerate that army of images and recount the virtues and perfections that were treasured there! A whole chapter would hardly suffice. Yet we must not pass over in silence a beautiful St. Michael of painted and gilded wood almost four feet high. The Archangel is biting his lower lip and with flashing eyes, frowning forehead, and rosy cheeks is grasping a Greek shield and brandishing in his right hand a Sulu kris, ready, as would appear from his attitude and expression, to smite a worshiper or anyone else who might approach, rather than the horned and tailed devil that had his teeth set in his girlish leg.
Capitan Tiago never went near this image from fear of a miracle. Had not other images, even those more rudely carved ones that issue from the carpenter shops of Paete,35 many times come to life for the confusion and punishment of incredulous sinners? It is a well-known fact that a certain image of Christ in Spain, when invoked as a witness of promises of love, had assented with a movement of the head in the presence of the judge, and that another such image had reached out its right arm to embrace St. Lutgarda. And furthermore, had he not himself read a booklet recently published about a mimic sermon preached by an image of St. Dominic in Soriano? True, the saint had not said a single word, but from his movements it was inferred, at any rate the author of the booklet inferred, that he was announcing the end of the world.36 Was it not reported, too, that the Virgin of Luta in the town of Lipa had one cheek swollen larger than the other and that there was mud on the borders of her gown? Does not this prove mathematically that the holy images also walk about without holding up their skirts and that they even suffer from the toothache, perhaps for our sake? Had he not seen with his own eyes, during the regular Good-Friday sermon, all the images of Christ move and bow their heads thrice in unison, thereby calling forth wails and cries from the women and other sensitive souls destined for Heaven? More? We ourselves have seen the preacher show to the congregation at the moment of the descent from the cross a handkerchief stained with blood, and were ourselves on the point of weeping piously, when, to the sorrow of our soul, a sacristan assured us that it was all a joke, that the blood was that of a chicken which had been roasted and eaten on the spot in spite of the fact that it was Good Friday—and the sacristan was fat! So Capitan Tiago, even though he was a prudent and pious individual, took care not to approach the kris of St. Michael. “Let’s take no chances,” he would say to himself, “I know that he’s an archangel, but I don’t trust him, no, I don’t trust him.”
Not a year
