Regalado trota jose biography of christopher columbus

Pelagia Mendoza y Gotianquin (1867 – 1939)

by Eloisa May P. Hernandez, Ph.D.

Pelagia Mendoza y Gotianquin was born on June 9, 1867 in Pateros, Rizal. Her parents were Venancio Mendoza and Evarista Gotianquin. She was the second child in a family of five children. Pelagia displayed an interest in art since she was a child. According to Gregorio Zaide in Great Filipinos in History: An Epic of Filipino Greatness in War and Peace, “Since early childhood, she manifested a remarkable talent for art. When she was yet a little girl she loved to sketch beautiful landscapes, to embroider exquisite designs on handkerchiefs, and model clay figurines people, animals, birds, and flowers” (340).

Pelagia is the first known woman sculptor in the Philippines. She studied modeling under D. Manuel Flores (Zaragoza 374). She was the first female lärling to be accepted at the Escuela de Dibujo y Pintura. Mendoza was twenty-two years old when Lorenzo Rocha, dir

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Ambeth R. Ocampo's Post

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When University of Santo Tomas Archivist Regalado Trota Jose brought me inre the UST Rare Book room last year it reminded me of a hospital maternity ward. Instead of asking a sjuksköterska to wheel in our babies, a librarian brought out the oldest book in the library "La guerra Judaica" (1492), and the most significant, Copernicus "De revolutionibus Orbium Coelestium (1543) one of only 250 copies of the rare first edition known in the universe.

Overwhelmed, I forgot to ask about the first editions of Rizal's novels, one of which fryst vatten inscribed by the author on the title page.

I must return to UST when libraries, archives ,and museums are allowed to reopen.

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Jun Naranjilla

When Rome suppressed the. Society of Jesus, the Jesuits left their books to the Dominicans in UST. They didn’t claim it back when they came back in the 19th century.

Suggest you ask to see those books.

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Patch Barbacena-

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Façade of San Joaquin Church

The Newsletter 95 Summer 2023

Patrick Flores

The façade of the Church of San Joaquin in the city of Iloilo on the island of Panay in the Philippines is as intriguing as it is compelling [Fig. 1]. While many of the colonial churches in the Philippines built across the long duration of Spanish colonialism (16th-19th century), mainly reveal ornamentation, the images of sacred figures, and the bare nature of the architectural material, this particular façade uniquely stages a narrative of a war. It is a war that did not even happen in the locality.

The scene of a war intertwined with a Catholic church is not, however, totally strange. In fact, the relationship between war and colonialism is foundational, as it inheres in the very project of colonialism. The image of Santiago Matamoros (Saint James, the Moor Slayer), a prominent icon of the Reconquista in Spain (8th century to 1492), is the dominant trope to be seen at the main gate of Fort Santiago