Historia Filipinas: Don Pedro Pablo Róxas

Don Pedro Pablo 'Perico' Róxas Castro (1847-1912)

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Don Pedro Pablo Róxas Castro was a Spanish-Filipino businessman, capitalist, industrialist, financier, and patriot. Don Pedro, or Perico as he was called by his friends and family, was born on June 28, 1847 in Manila. His parents were Don José Bonifacio Róxas Ubaldo and Doña Juana Castro. Don José Bonifacio Róxas Ubaldo was the son of Don Domingo Róxas Ureta, one of the founders of today's Ayala Corporation. He was also the younger brother of philanthropist-industrialist Doña Margarita Róxas Ubaldo de Ayala. All are members of the influential and illustrious Róxas family which include siblings Jacobo, Alfonso, and Mercedes Zóbel de Ayala Róxas, brothers Antonio and Eduardo Róxas Gargollo, Don Andrés Soriano Róxas, and Róxas and Company chairman Pedro E. Róxas Olgado. Other members of the Róxas family include Don Enrique Brias Róxas, former Manila mayor Don Félix María Róxas Fernandez, architect Félix Róxas Arroyo, the late president Manuel Róxas Acuña, and now-DILG secretary Manuel Róxas Araneta.

Note: Names are written in standard Spanish naming custom. Spanish names are written without the Filipino 'y'. So, for males (or single females), it would be [given name][paternal family name][maternal family name]. For married females, it would be [given name][paternal family name][maternal family name]de[husband's family name]. For widows, it would be [given name][paternal family name][maternal family name]vda.de[husband's family name].

Don José Bonifacio Róxas Ubaldo (1818-1880) © Ayala Corporation

Don Perico was educated in Manila at the Colegio de San Juan de Letran in the walled city of Intramuros. Showing interest in Philippine affairs, he earned his father's trust by letting him vote during an election in their town in Calauan, Laguna, where their vast hacienda is located. Don Perico had shown interest in the family business his forbears had been working hard for. So, at a young age, Don Perico helped his father in the business by assisting in their palm distillery, sugar and rice estates in Nasugbu, Batangas. 

Don Perico, already an established figure in Manila society, married his first cousin Doña Carmen de Ayala Róxas, daughter of Doña Margarita Róxas Ubaldo de Ayala and Don Antonio de Ayala Urbina. Their union secured the wealth of the Róxas-de Ayala family for generations. After he had married his cousin, Don Perico worked for his wife's company at Ayala y Compañía. After the death of his father, Don Perico had inherited all Róxas family interests, which included the vast estates in Calatagan, Nasugbu, Calauan, and San Pedro de Macati. Don Perico did not keep the inheritance for himself, he distributed many of the Róxas lands to other family members such as the Hacienda de San Pedro de Macati to the Zóbel-Róxas, and the Hacienda de Calauan to the Soriano-Róxas family. 

Already one of the country's richest men, Don Perico made his wealth even larger by becoming San Miguel's financier and manager. Established in 1890 through a royal grant by Don Enrique María Barreto Ycaza, San Miguel needed financiers and capitalists for it to grow. So, Don Perico financed its operation and became one of its major shareholders, along with Don Gonzalo Tuáson Patiño, and Don Benito Legarda Tuáson. Because of this, the Róxas family had the majority number of seats in the board, appointing his cousins, nephews, and even grandchildren. Don Perico's tenure at San Miguel was cut short when he was forced to leave the islands in exile to France in 1896.

Filipino exiles in Paris. From L-R seated: F. de Almores, Felipe Agoncillo, Don Pedro Pablo Róxas Castro, Antonino Vergel de Dios. L-R standing: B. Villanueva, Antonio Róxas de Ayala, Enrique Brias de Coya, P.A. Róxas. © Philippine-American War, 1899-1902

Don Perico, a mestizo with criollo parents, supported the Filipino cause of independence, in which he inherited through his father and grandfather's liberal views. The Róxas family is known to have liberal views, in which cost one of their relatives' life. Don Francisco L. Róxas Reyes, Don Perico's second cousin, was executed along with twelve other patriots for supporting the Katipunan movement. As a result of his cousin's death, all persons bearing the Róxas family name were ridiculed and insulted by the Spanish colonial authorities. Don Perico, being the wealthiest Róxas family member, was suspected of financing the Katipunan and the independence movements. So, he was forced into exile in Paris, France. While in exile, the Spanish colonial government charged him with treason and had all of his properties confiscated. Don Perico was not the only exile in Paris, his friend Don Gonzalo Tuáson also left the islands for Europe. According to Félix María Róxas Fernandez's book, The World of Félix Róxas, it is said that Don Perico managed to survive in Paris while in exile through the help of Don Gonzalo Tuáson, in which he wrote to Tuáson's family to send funds immediately. 

Don Félix María Róxas Fernandez (1864-1936), former Mayor of Manila, and second cousin of Don Pedro Pablo Róxas Castro. Róxas, along with the great diplomat Felipe Agoncillo, represented the newly-independent Philippine Republic at the Treaty of Paris in 1898. However, the Philippine Republic was denied in participating in the talks between Spain and the United States. © Philippine-American War, 1899-1902

While in exile, Don Perico had already developed an illness even before he left the Philippines. Don Perico never again returned to the Philippines as he passed away on February 14, 1912. In Manila, news of his death was relayed throughout the family. According to The World of Félix Róxas, Mayor Félix Róxas recalled his nephew, Antonio Róxas de Ayala, calling him to come to their house for an important matter. 

"Felix Roxas y Fernandez — that patrician raconteur of Spanish Manila — recalled how, in 1912, his nephew Antonio Roxas de Ayala [son of the first cousins Pedro Pablo Roxas y de Castro and Carmen de Ayala y Roxas] had urged him to come to their house quickly by telephone. Felix rushed to the Roxas-de Ayala residence [designed by his father, Felix Roxas y Arroyo] along Calle General Solano in the posh San Miguel District, was met by the Spanish maid named Marcelina, and proceeded directly to the masters’ bedroom where the grieving Roxas family was gathered. There, he was informed that his dear second cousin, Pedro Pablo Roxas, had already passed away in Paris and that his remains would have to be brought back to Manila. His nephew Antonio Roxas declared that he and his uncle Felix would leave for Paris immediately." (excerpt from Remembrance of things Awry)

Don Perico's grave in Paris. His remains would later be brought back to Manila to be interred in the family plot at San Agustín Church in Intramuros. © Paquito dela Cruz

San Agustín Church, Museum and Monastery

San Agustín before the powerful 1880 earthquake. © Life (Photo retrieved from Goldwin + Vina)

Women go crazy when they hear this church, saying that it is their dream wedding church. Because of its elegant interiors, this is the place of choice for weddings. For many, this is truly the most beautiful church, not just in Manila, but in the entire Philippines as well. Dubbed as the 'Wedding Capital of the Philippines, the San Agustín is the oldest stone church in the country.

The location of the San Agustín inside the walled city.

Concealed inside the 64-hectare walled city of Manila is the San Agustín Church. The church was a monument to the Spanish conquest of the Philippines. It was the first church to be built by the Spaniards in Luzon after relocating the capital from Cebu.

The church courtyard is adorned by several granite sculptures of Chinese lions, given by Chinese converts to Catholicism. The layout of the church is in the form of a Latin cross. It has fourteen side chapels and a trompe l'oeil ceiling painted in 1875 by Italian artists Cesare Alberoni and Giovanni Dibella. Up in the choir loft are hand-carved 17th-century seats of molave, a tropical hardwood.

The church contains the tomb of Spanish conquistadors Miguel López de Legazpi, Juan de Salcedo and Martín de Goiti, as well as several early Spanish Governors-General and archbishops. Their bones are buried in a communal vault near the main altar.

Tombs of some of the well-known scions in Philippine society. © Simbahan.net

Tombs of Spanish-Filipino industrialists Don Jacobo Zóbel Zangróniz and Don Antonio de Ayala. © Flickr/Jun Acullador

 The mortal remains of the Adelantado Don Miguel López de Legazpi interred in San Agustín. © Flickr/The Traveler Who Likes To Stay At Home 

The present San Agustín is the third structure erected on the same site. The first was made of bamboo and nipa, and was completed in 1571. It was destroyed by fire in 1574 during an attempted invasion of Chinese pirate Limahong. The second structure was made of wood and was again destroyed by fire in 1583. The fire started when a candle touched the drapes during the funeral of then Governor-General Gonzalo Ronquillo de Peñalosa. In 1586, construction of the final structure started based on the designs of Spanish architect Juan Macías. The third and final structure was made of adobe stone which was quarried from nearby towns of Binangonan, San Mateo and Meycauayan. 

The San Agustín still bearing its other belfry, circa late 1700s. © Arkitekturang Filipino

San Agustín became operational in 1604 and was declared complete in 1607 and was named Iglesia San Pablo de Manila. In 1762, the British forces invaded Manila during the Seven Years War, which involved Spain and Great Britain. During the British occupation of Manila, San Agustín's valuables were looted.

The interior of San Agustín's nave viewed from the choir loft. © Augustinian Churches and History

In 1854, Spanish architect Luciano Oliver was commissioned to renovate San Agustín. Then in 1875, two Italian painters Cesare Alberoni and Giovanni Dibella were commissioned to paint the ceiling of San Agustin. The two painters used the trompe l'oeil style where in a painting would look like a 3D figure.

  San Agustín's ornate and Renaissance-like trompe l'oeil ceilings. The ceilings were painted by Italians Dibella and Alberoni. © Flickr/Juan Paulo

"Sedate and direct to the point, the facade follows the style of High Renaissance. The symmetrical composition is prefixed by pairs of Tuscan columns that flank the main door of the two-tiered facade. The vertical movement of the paired columns is adapted at the second level by equally paired Corinthian columns. At the second level, mass and void alternate in a simple rhythm of solid walls and windows. The two levels, emphasized by horizontal cornices, are then capped by a pediment that is accentuated with a simple rose window.

Some of the trompe l'oeil details found inside San Agustín. © Simbahan.net

The facade’s hard composition is held together by two towers; unfortunately, the missing left belfry further exaggerates the lackluster facade. It was taken down after a destructive earthquake hit the church in 1863 and 1880, splitting the tower in two.

The trompe l'oeil dome at the transept crossing looks like the Renaissance churches in Europe. © Simbahan.net

The facade has a touch of Baroque by the ornately carved wooden doors that depict floras and religious images. Baroque is also evident in the carved niches that quietly reside between the paired lower columns. The church is bequeathed with Chinese elements in the form of fu dogs that emphatically guard the courtyard entrances." (excerpt from the Heritage Conservation Society)

Large glass chandeliers adorned the church's interior. The chandeliers were installed in the 19th century and were imported from France. © A Muse Astray

San Agustín measures 67.15 meters long and 24.93 meters wide. Its elliptical foundation has allowed it to withstand the numerous earthquakes that have destroyed many other Manila churches. It is said that the design was derived from churches built by the Augustinians in Mexico. The façade is unassuming and even criticized as "lacking grace and charm", but it has notable baroque touches, especially the ornate carvings on its wooden doors. 

Inside the nave, glass chandeliers adorned the church's interior. According to Fr. Pedro Galende, O.S.A., curator of the San Agustín Museum, the chandeliers were purchased and imported from France during the 19th century. The chandeliers survived the 1863, 1880 earthquakes and recently survived the Battle of Manila in World War II. 

In 1863, a devastating earthquake hit Manila which led to the destruction of most buildings. Only San Agustín was left undamaged. Then in 1880, a series of powerful earthquakes struck Manila. But this time, the earthquake left San Agustín with a huge crack on its left belfry. The belfry was eventually repaired, but soon after, it was permanently removed as it appears at the present time.

San Agustín after the devastating 1880 earthquake which left a huge crack on the left belfry. © Arkitekturang Filipino

In 1898, San Agustín became the place of surrender of the Spanish troops after the mock battle of Manila Bay during the Spanish-American War.

San Agustín with its left belfry removed. © Intramuros Manila

47 years later, San Agustín became a target of artillery pieces. During the final days of the Battle of Manila, the Japanese retreated inside Intramuros and used it as a defense barrier because of its thick and high walls. Long before the war, Intramuros was considered a 'holy city' because of the number of religious institutions situated in the 64-hectare city. San Agustín became a hospital and an internment camp.

The pews in the nave of San Agustín are in a mess. The church became a hospital and later an internment camp. © Flickr/dennis_raymondm19

After the liberation, all of Manila was reduced in rubbles. Important districts of the city were gone such as Sta. Cruz, Binondo, Ermita, and Tondo. Intramuros was the most devastated district with almost all buildings wiped out. Only San Agustín was left standing.

American GIs pause for a prayer in front of San Agustín during the Battle of Manila. © LIFE (photo retrieved from Tropicalpenpals.com)

San Agustín after the liberation. San Agustín was the only structure in Intramuros left standing. © Flickr/John Tewell

In 1993, San Agustín along with other four churches was designated by UNESCO as a World Heritage Site for its contribution to Philippine history. 

San Agustín as it looks in the present time. © Philippine Weddings