Origin, History and Briefing Information of the Religious Icons Paraded during the Holy Week Celebration


Made in 1840. Commissioned as a gift to Martha Alonzaga – Valendez by her husband, Vidal Valendez. Originally created with two changeable heads-one for Holy Thursday and the other head with tears for Good Friday. The image is also used during the dawn Easter Sunday procession. Its silver halo made from silver Spanish coins was burned down with her original costumes in the 1973 fire.

Its sculptor was Cipriano “Maria Piano” Carabio, father of renowned Bantayanon sculptor, Severino “Ma Benoy” Carabio. (Courtesy of the Bantayan Parish Museum)


The said image is one of the 18 images that once belonged to the parish and was given by Don Juan Cayro (The image was part of June 1887 inventory under the classification of Imagenes de bulto y estampitas).

The image was made of whole wood; the eyes are of splints from fluorescent bulb and the hair of piña fiber. At the present time, the camarero of the image are the descendants of Tomasa Villaceran- May. The image is used for the two-day procession. It follows the images of the “Tres Marias” and Sta. Veronica. (Courtesy of Gerard Desquitado)


The image is one of the 18 images that once belonged to the parish. (The image was part of June 1887 inventory under the classification of Imagenes de bulto y estampitas).

According to the present camarera the image was obtained by their paternal grandmother Hilaria Ybañez- Batuhan. Made of whole wood, the eyes are of splints from fluorescent bulb and the hair of piña fiber. The original body was burned down during the 1973 fire that hit Barangay Suba. The present body of the image is made by the famous Cebuano sculptor, Araneta the following year. (Courtesy of Gerard Desquitado)

SAN PEDRO (Repentant Peter)

The image is one of the 18 images that once belonged to the parish and distributed to some prominent families of Bantayan (The image was part of June 1887 inventory under the classification of Imagenes de bulto y estampitas).

The image was obtained by Pio Jagdon and was passed to his daughters, Carmen Jagdon Barretto and Mercedes Jagdon. It was made of whole wood and the eyes are of splints from fluorescent bulb. For the past seven years, they used a live rooster for the procession in replacement of the carved rooster. The rooster symbolizes that Peter denied Jesus three times (Courtesy of Gerard Desquitado).


Owned by Remedios Hubahib vda. De Yap, this image which was originally sculpted by Severion “Ma Benoy” Carabio in 1965 was finished by Antonio Tinga in 1973 and is now restored regularly by Cicero Carabio, a native of Bantayan. It is made of Santol Tree, the eyes are of fluorescent splints and the hair is of piña fiber. The annual preparation cost is between Twenty Thousand Pesos (Php 20, 000.00) which is shared by family members.

JESUS IS TAKEN DOWN FROM THE CROSS (Ang pagtangtang kang Jesus sa Krus)

The 13th station of the Cross is owned by the Pestaño Family. It was commissioned to Severino “Benoy” Carabio in 1952 at the request of then Councilor Cesar C. Pestaño and wife Petra Layese. Despite of his deteriorating health, Benoy Carabio who was married Silvestra “Betsay” Escalona, was able to finish seven images out of Ten figures before his death. In 1956, the saints were complete, the rest of the figures were finished in 1957. Another figure created by Antonio Tinga was added to the images in 1977.


This religious image presently owned by Mabugat Family has a very interesting story. The sculpted figure of Jesus is said to have been brought from Spain to Escalante in Cadiz, City by a Jesuit priest named Father Cordon sometime in the 1500. Because there was a little space in the church where the figure was supposed to be placed, Fr. Cordon transferred the statue to the house of his mistress with whom he sired a daughter named Amalia Juarez. At about the same time, a traveler by the name Marcelino Luzon, went to Escalante to speculate. While looking for work, he went around with a small boy who acted as guide and carrier of his personal belongings, who always complained that the things were heavy and said in vernacular, “MABUG-AT, MABUG-AT. Because Luzon wanted a familiar name, he used this coined name as his Family name. He first applied as a helper in one of the haciendas in Escalante. Because he was determined to make a name for himself, he saved his earnings which he used to buy properties. True enough, he was able to own almost half of Tiglawigan Island in Negros. He met and married a woman from Bantayan surnamed Caracena and sired a son named Perfecto Mabugat. Perfecto Mabugat who was then the Cabeza de Barangay of Bantayan, married Amalia Juarez in Escalante. They were blessed with nine children namely, Mercedes, Perfecto, Ramon, Vicente, Querubin, Asuzena, Venus, Sol and Jupiter. When Caracena died, Luzon married a Pastoriza from Bantayan and later brought the image to Bantayan. For some time, the image was under the care of the Pastoriza and Mabugat Family. Today it is under the care of the Mabugat Family and the statue of the blessed mother was sculpted in Bantayan because the original which was supposed to join the image of Christ was never brought to Bantayan because of Luzon’s death.


JESUS MEETS THE WOMEN OF JERUSALEM (Ang Pagtagpo sa mga Babaye sa Jerusalem)

Owned by Dr. Rosca Ybañez, this religious icon is believed to have been sculpted in 1968 by Mr. Antonio Tinga. Considered as a realization of their mama Era’s dream, this icon is dedicated to her. Today, a Carabio Family member, son of Gevelencio Carabio takes charge of the annual preparation. The icon estimated to be five feet tall is made from Santol tree. The eyes of fluorescent bulb, the hair is of “gubhay” or piña fiber and the eyelashes are of cat hair. The annual expense of the family is estimated at Thirty Thousand Pesos (Php 30,000.00) which they share among themselves.


Owned by the Arcenas Family, this religious image believed to have been brought from Spain in 1880 more than one hundred years ago, was originally under the care of Marcelino Villacin Arcenas, father of Benedicto, Ramon and Rosita Arcenas. Today, Inting Arcenas takes care of the annual preparation and the cost is between 20 Thousand Pesos to 25 Thousand Pesos.

The 13th station of the Cross is owned by the Pestaño Family. It was commissioned to Severino “Benoy” Carabio in 1952 at the request of then Councilor Cesar C. Pestaño and wife Petra Layese. Despite of his deteriorating health, Benoy Carabio who was married Silvestra “Betsay” Escalona, was able to finish seven images out of Ten figures before his death. In 1956, the saints were complete, the rest of the figures were finished in 1957. Another figure created by Antonio Tinga was added to the images in 1977.



JESUS IS NAILED IN THE CROSS (Ang Pag Langsang kang Jesus sa Krus)

Owned by the Sayson Family, these images of “tanhas” is believed to have originated from Fr. Francisco Sayson which they inherited from their great grandfather. They cannot trace the exact year of its origin nor could they trace the sculptor. Before the family acquired its own caro in 2000, the caro was borrowed from other families. Today the cost of the activity is shouldered by family members. Made from santol, the eyes are splints from fluorescent bulb, and the hair of piña fiber, which was later replaced by imported fiber. Huge generating sets from BASNIGAN also supply electricity during the procession. Today, the annual procession is managed by the Miñoria Family because a Carabio daughter Jesusa Carabio, was married into the family of Antonio C. Meñoria. The annual expense is equally shared among family members.

THE CROWNING OF THORNS (Ang pagpurong-purong ni Jesus ug Tunok/Paciensia deJesus)

Owned by the Du Family, the sculpted figure whose face is made of ivory, was given by a Spanish Priest to their Lola Tomasa, who married a Chinese, believed to have belonged to the Chinese wearing long hair, who took a raft from mainland China. It was during the time when the church decided to distribute religious icons to well-off families of Bantayan in the Spanish period. They could not trace the sculptor and the exact date and place of origin of the icons, but the family believes that it originated from Spain more than hundred years ago. The original caro was destroyed during the 1973 fire, so the family has to provide a new caro.

JESUS CARRIES THE CROSS (Ang Pagpas-an ni Jesus sa Krus/Jesus meets his sorrowful Mother)

The caro is owned by the Nolasco Family. The religious figures, estimated to be five feet tall made of santol and sambag, were sculpted by Antonio Tinga, a well-known sculptor of Bantayan. The hair is made of fiber and the clothes are of silk. The caro is designed by one of the sons, Jose Bob Nolasco, first joined the procession in 1975. The power supply is from the generating sets of a Basnigan and the family spends more than Thirty Thousand Pesos annually, from the over-all preparation to the flowers and food they prepare for their tenants who join the procession.

ANG PAGHISUKAMOD NI JESUS (Owned by the Escario Family)


ANG PAGPAHID NI VERONICA SA NAWONG NI JESUS (Veronica wipes the face of Jesus)

Owned by the Family of Oneseferio Pacina, this was the dream of his wife Marcelina Batayola, a compassionate woman who was gifted to heal “luas” or mouth thrush, who wanted to honor and thank God for all the blessings He has showered upon the family, especially after the nine siblings graduated from college. Established in 1965 before the big fire hit that hit Bantayan, the figures were sculpted by Antonio “Maning” Tinga.


This caroza is owned by the Arcenas Family and is presently managed by Benjie Arcenas. They inherited the statue from their great grandparents who were one of the recipients of some religious icons that were distributed by the church to well-off families. The icon which is five feet tall, was shipped from Spain but the family could no longer trace the original sculptor of these images. The eye is made of splints from fluorescent bulbs and the hair is of imported fiber. Some clothes and gadgets have been revised but the images are still original. During the 1973 fire that razed Barangay Suba, barely a week before the Holy Week, the sculpted figures were thrown into the sea. They were later retrieved for the procession. The family spends Thirty Thousand Pesos every year for the activity, a portion that they get from the proceeds of their family owned land.

THE SCOURGING AT THE PILLAR (Ang paghampak kang Jesus sa Haligi nga bato

Severino Carabio, a well-known sculptor who is native of Bantayan, sculpted the figure for the family. It was first managed by one of the sons of the old Carabio, Gavelencio Escalona Carabio. Oneof his grandsons Sicero Carabio now manage the retouching of the icons. Estimated to be more than a hundred years old and five feet tall.



The Last Supper is owned by the Despi-Villo Family. Toto Ortiz, a native of Bantayan who lived in Naga, Cebu, sculpted all the thirteen statues designed by Tinong Despi in 1970. After 2 years of work it was finally finished in 1972 where it first joined procession. The statues are made from 30 santol trees, the eyes are made from fluorescent bulb, the hair is of piña fiber, and the eyelashes from goat hair. The annual operational cost of designing and decorating the caroza ranges from Thirty Thousand Pesos and above, which includes the flower, cloth and other materials. They also hire the services of well-known designers like Niki Croduo. Tinong Villo, one of the family members who is in charge of managing the yearly preparation of the caroza, used to import the flowers from Baguio, but it came out to be expensive. Today, they grow their own flowers in their own backyard, mostly anthoriums and the banana family. The original costumes are made of alfagena, through the years from 1972 to the present, some costumes have been changed but they have preserved the original clothing. Since the caroza has the greatest number of icons, they are prepared a week before the procession by washing them in coconut water.

The caroza came about as a realization of their Lola Pracidex’s dream during a prolonged illness wherein she promised God that she will build the Last Supper if she will be healed of her illness. Upon her death, the family honored their mother’s promise although she succumbed to illness. (Courtesy of the Bantayan MPDC)

PAG-AMPO SA TANAMAN SA GETSEMANI (The Agony in the Garden of Gethsemani)

The Agony in the Garden is owned by the Montemar Family. It was inherited by Manuel Montemar from his parents in 1938 and was handed down from one family member to the other. The icons which made of wood are believed to have come from Spain and are more than Twenty years old. Like all the others, they prepare the caroza one week before the procession and the annual operational cost ranges from Ten Thousand to Fifteen Thousand Pesos (Php 10,000.00 -15,000.00)



The Betrayal is owned by the Gillamac Family. Finished in 1992, it first joined the procession in the same year. The religious icons and the caroza which are made of wood were created by Father Yap of Bogo, Cebu. The initial cost to build the caroza was Two Hundred Thousand Pesos and the family spends more than Fifteen Thousand Pesos for the flowers alone.


Basilio Desphy, a Filipino from Bantayan Island was recruited by the Spanish Government to become a soldier to fight for the First World War. The recruited Filipinos were galleoned to Spain for its purpose.

Before going to war, he prayed before an image of a Sto. Intierro in a church in Barcelona. With fervent prayer, he promised that if ever he will survive, he will make a replica and will bring it to the Philippines particularly in Bantayan Island, Cebu. Basilio’s wish was granted and his promise was fulfilled.

But being advanced in age and weary in battle, he was not able to bring the replica himself instead requested Victorina Rubio-Maderazo to bring the replica to Bantayan. Thus Sto. Intierro is taken care of by the family of Victorina until its legacy is handed down from generation with love and devotion. (Courtesy of the Desphy Family)


Owned by Hospicio and Rosario Tinga of Barangay Suba. The said Paso was the first locally made in Bantayan after the 2nd World War. Severino “Ma Benoy” Carabio was commissioned by the couple to sculpt it because Rosario wanted to own one. Ma Benoy conceptualized the idea of making a Paso that could be use for the two-day procession. Ma Benoy thought of making the tableau that shows Christ before Pontius Pilate for the Holy Thursday procession and the same images will be use again to depict the tableau of Christ stripped off of his garments for the Good Friday procession. This includes the image of Pontius Pilate, a boy holding a basin, a Roman soldier and Christ Jesus. The Paso first joined the two-day Holy Week procession in 1950. It was the pride of the family of Hospicio and Rosario because they were the first one to join in the Holy Week two-day procession together with the existing Pasos found in the 1887 inventory. In the later years, Julie Seville added another Roman Soldier. (Courtesy of Gerard Desquitado)

ANG PAGHUBO SA SAPOT NI JESUS (Jesus Stripped off by his Garments)

The Paso is owned by Hospicio and Rosario Tinga. The provenance of this Paso is the same with the tableau that shows Christ before Pilate. The images used were the same images of Jesus Christ and the Roman Soldier from the Paso made by Ma Benoy when it started to join in the Good Friday procession. In 1988, Antonio Tinga, the 5th son of Hospicio and Rosario sculpted another image of Jesus Christ together with one additional Roman Soldier that would best fit in to the Good Friday Paso (Stripping off of Garments of Jesus) which is still used up to the present. (Courtesy of Gerard Desquitado)

Jesus was crucified between the Two Thieves (Ang Pag Lansang kang Jesus ug sa Duha ka Kawatan)


The Paso is owned by Manuel and Praxedes Ribo. It is made by a local Bantayanon sculptor named Antonio Tinga in 1968. The five icons are all made of wood particularly from a Santol tree. The Paso includes the image of the dead Christ, the Sorrowful Mother, St. John, the beloved Apostle, Joseph of Arimathea and Nicodemus. The Paso was made as a thanksgiving offering of the family for the grace they received. (Courtesy of Gerard Desquitado)