JOSÉ Rizal was a true Renaissance man: He was a poet, fictionist, artist, linguist, physician, humanist and hero. It?s rare for a national hero to have encompassed such sterling attributes. And with his martyrdom in the fields of Bagumbayan, he has become immortal.

It is not for this article to take part in the rather contentious debate whether or not he was a national hero promoted by the American colonizers to perpetuate their colonial rule. Suffice it to say that the images of Rizal that have become dominant since the American period are those that portray him as a learned person, as a scholar and, corollarily, a man of peace.

Today, as one travels to towns, cities, schools and civic halls, one sees the statue of Rizal, standing forlornly in a plaza or key public place. He is dressed in an overcoat with books in his hand or by his feet.

Though undoubtedly the most important?and most photographed?monument to the great hero is the one by the Swiss sculptor Richard Kissling which was erected in 1913 in Luneta, the first monument to honor the hero had been set up in Daet, Camarines Norte, in 1899.

It is a simple obelisk, with his name, the three stars of the Philippine republic, and the books he wrote inscribed on the austere monument.

In the first three decades of the 20th century, brought about by an earnest public subscription, more towns erected monuments in honor of this hero. The style of the monuments similarly reflected the mood and architecture of the times.

Artistic mood

With the introduction of Beaux Art at the end of the 19th century, a shift to the form and grace of the human body reflected the artistic mood even on the monuments dedicated to Rizal. The pedestals became elegant platforms with graceful forms and enhanced and articulated embellishments.

Rizal who usually stood alone would be flanked by the allegories of Filipino virtues. Dressed in the elegant baro?t saya of the day, these statuesque images of Filipiniana were supposed to inspire people to practice the ideals of a true Filipino.

Though today these statues may appear dated, their messages cast in plaster and concrete still resonate with a very vital message to the youth? about respect, industry, education and hard work, all essential qualities in a people?s aspiration for progress, security and a brighter future.

Streamlined look

By the 1950s, simplicity became the byword in designing Rizal?s monuments. Gone were the accompanying arrays of Filipina beauties and the elegant pedestals. In their place was a simple block topped by a solitary Rizal.

Though his costume was a constant?he would be in immaculate coat and overcoat that were somewhat inappropriate for the tropics?the national hero still stood with dignity, albeit toned down in line with the very functional and streamlined look and architecture of the day.

As most Philippine towns now have monuments to our national hero, their day-to-day upkeep is at best rendered through a new coat of paint every now and then.

Some towns interestingly have a more imaginative manner of enhancing our national hero with a more up-dated look?through the colors rendered on his clothes or the application of paint makeup on his face.

This somehow makes sure that Rizal in the 21st century remains fashionably stylish (though at times Rizal is made to look like Charlie Chaplin).

As we celebrate Rizal Day on Dec. 30, it is but fitting that we pay homage to his valor by putting relevance and significance to this most important of days.

Though balloons and cakes may not necessarily be the choice mode of merrymaking, a visit to his nearest monument, situated usually in every town?s central plaza, would suffice in celebrating the special day.

Looking at his visage, we should reflect on the life he had lived and the ultimate sacrifice he had made for the universal cause of man and the special cause of Filipino truth, justice and freedom.

The author is a licensed architect and an architecture historian. He teaches at the College of Architecture of the University of Santo Tomas.