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His bride, Bernarda Monicha, was a Chinese mestiza of the neighboring hacienda of San Pedro Tunasan, who had been early orphaned and from childhood had lived in Biñan. As the coadjutor priest of the parish bore the same name, one uncommon in the Biñan records of that period, it is possible that he was a relative.
"The Tunasan cross grows while the Matahong cross sweats which do you think is more miraculous?" Aunt Isabel reflects, shakes her head, and murmurs, "To grow, to grow is a greater miracle than to sweat. All of us sweat, but not all of us grow." "That's right, Isabel; but remember that to sweat for the wood of which bench-legs are made to sweat is not a small miracle.
The band of Pagsanhan belonging to the escribano must not be lacking nor that of San Pedro de Tunasan, at that time famous because it was directed by the maestro Austria, the vagabond "Corporal Mariano" who, according to report, carried fame and harmony in the tip of his baton.
"What do you think, Isabel? Shall I make a donation to the cross of Tunasan or to the cross of Matahong?" asked the solicitous father in a low voice. "The cross of Tunasan grows, but that of Matahong sweats. Which do you think is the most miraculous?" Isabel thought for a moment, moved her head and murmured: "To grow to grow is more miraculous than to sweat. We all sweat, but we do not all grow."
Maria Clara, the soul of the house, lies sick in bed and her condition is reflected in all the faces, as the sorrows of the mind may be read in the countenance of an individual. "Which seems best to you, Isabel, shall I make a poor-offering to the cross of Tunasan or to the cross of Matahong?" asks the afflicted father in a low voice.
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