A Set of Five Relleve Panels
probably from a large pulpit
Visayas, probably Panay
Mid to late 19th centuryhard wood
with polychromy, paint flaking in some parts,
conservation and repair on one panel

a) St. Ambrose/Ambrosio
36 1/2" x 20" (93 cm x 50 cm)

b) St. Gregory the Great/Gregorio
37" x 19" (94 cm x 48 cm)

c) St. Jerome/Gironimo
36" x 20" (91 cm x 51 cm)

d) God the Father
33 1/2" x 18 3/4" (85 cm x 48 cm)

e) Sacred Heart of Jesus
37" x 20" (94 cm x 51 cm)

PROPERTY FROM THE DON BENITO J. LEGARDA JR. COLLECTION





by FLOY QUINTOS In catalogue entries for previous offerings from the Benito Legarda collection, we have written about the late collector’s scholarly interest in church architecture and furnishings. This set of five panels is evidence of this interest. When these relleves were discovered in the basement of the late collector’s home, they were separated from one another, helter-skelter among the wealth of large relleves and santos. Upon closer inspection, these panels revealed that they were carved from the same wood, with same folksy sculptural style, the same color palette and finish. In particular, they also shared the same recessed ridges on both top and bottom that showed that they had once been part of a bigger structure located within a church interior. But which one? The most plausible answer would be that these panels were once part of an impressive pulpit, the elevated structure usually located to the right side of the main altar, overlooking the congregation. From the pulpit, the priests would deliver their long sermons. The pulpit allowed for a little bit more of the theatricality that the holy sacrifice of the mass is known for. It presented the priest as the very Voice of God, speaking literally from above, surrounded by representations of the saints and angels. As not all priests were blessed with the powers of eloquence, insight and brevity, it was important that the pulpit from which they spoke, be at least, magnificent to look at. These five panels may have been a part of an eight-sided (ochovado) pulpit. The individual panels bear the following motifs. A.) Doctors of the Universal Church, a title given to saints recognized for their significant contributions to Theology or Doctrine formulation through their research, study or writing. Depicted in three of the panels are: 1 .) ST. AMBROSE/AMBROSIO Bishop of Milan, theologian and statesman, shown here with his Bishop’s staff and mitre. On the lower left corner, an inkwell and manuscript signifying his contributions to theology. (This panel has undergone some recent conservation and restoration.) 2 .) ST. GREGORY THE GREAT/GREGORIO He wears the three-tiered tiara that signifies his papacy. The Holy Spirit in the form of a dove is seen descending towards him. 3 .) ST. JEROME/GIRONIMO As a hermit clad in animal skins, holding on to stone that symbolized his penance and self-deprivation. The saint looks up at the heavenly trumpet declaring the teachings of God which he must now transmit to the faithful. The remaining two panels are devoted to Royal and religious seals and symbols. 4 . ) O N T H I S PA N E L , S Y M B O L S O F B O T H F A I T H & COLONIAL POWER. God the Father and two yet-to-beidentified titulary saints flank the coat -of-arms of the Spanish empire. The seal of empire is complete, from the double-headed Hapsburg eagle to the twin pillars of Hercules. Given the important association of Divine and Political power depicted, this panel may have been the centerpiece of the pulpit. 5 .) THE LAST PANEL SHOWS A M E D A L L I O N B O R N E ALOFT BY TWO WARRIOR ANGELS, WITH TWO CHERUB HEADS AT THE TOP AND THE BOTTOM. The central motif is that of the Sacred Heart of Jesus surmounted by the Galero, the traditional broad -rimmed cap with gold tassels associated with the office of cardinals.