函館・五稜郭と同じ稜堡式要塞で、フィリピン最古最小で俯瞰すると三角形になっている。
サン・ペドロ要塞はスペインのレガスピにより築造された。現在残っている要塞は、１７３８年までに築造されたものとのこと。要塞の２面は海側に面し、残る１面が陸側を向く３角形である。防壁の高さは２０フィート（６．１ｍ）で厚さが８フィート（２．４ｍ）である。
小さな砦であるので、設置されている大砲も数が少なく、用をなしたのか多少疑問でもない。要塞のなかにはギャラリーがあり、当時の鉄剣や帆船模型、下のレガスピとラプラプの肖像画などが展示されている。
ラプラプの顏には刺青がなく身体部分のみで、北タイとはずいぶん様子が異なる。
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場所はサント・ニーニョ教会の南隣りで、小さなチャペルの中におさまっている。
マゼランの十字架とは、マゼランが１５２１年３月１５日にセブ島に到着した時に、持ち込んだ木製の十字架である。
この十字架には奇跡の力があると云い、多くの人が削り取った。現在はそれを防止するためカバーに覆われていいるということである。多くの人々が訪れ、お祈りしていた。
尚、向かい側はセブ市庁舎である。
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サント・ニーニョ教会はセブ大聖堂から徒歩数分である。この教会はフィリピン最古のキリスト教会で、セブでは最もポピュラーである。訪ねたときは日曜礼拝の最中で信者が鈴なりであった。
教会の祭壇には、マゼランから贈られたカトリックの守護聖人”サントニーニョ像”が安置されているらしいが、日曜礼拝の最中で写真を写す訳にはいかない。尚、サントニーニョ像とはイエスの幼年時代の像である。
この教会にはMuseumが付属している。入館料は１人３０ペソである。
中に入ると時代時代のサントニーニョ像が展示してある。時代によって少しづつ様子がことなる。司祭の祭服をキャソックと呼ぶそうだが金糸と銀糸、更には赤色の服地も用いられ、まさにキンキラキンで馴染めない。
毎年１月第３日曜日にサントニーニョを祝う行事と云うか祭事が行われる。それをシヌログと呼ぶのだが、各グループの先頭の踊り子がサントニーニョ像を捧げて練り歩く、その後には色とりどりのコスチュームやマゼランやラプラプの巨大像まで登場し、まるでカーニバルである。少し古いが当地で見物した過去の写真を掲げておく。
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South sea (South east Asian) old ceramics have fish patterns. Many are twin fish patterns. I am thought that the influence of the twin fish palace which is the zodiac signs of Indian origin is thought, but there are many things where the twin fish were placed in the 【陰陽：Yin and Yang】, and it is generally thought of as influence of China.
On the other hand, there are many single fish patterns. We can see a single fish pattern in the kiln of various parts of the South east Asia, but I feel Sukhothai ceramics is more than that.
Along with that single fish pattern, you can also see three fish patterns. I will not introduce much, but I would like to introduce the representative three fish patterns below.
(Sankampaeng ceramics ware:Kamuraten collection)
More than ten years ago, I was surprised to see this plate from the director at the Southeast Asian Ceramics Museum in 【京都・北嵯峨：Kitasaga Kyoto】. With the three fish patterns so as to be migrating to the right in the cavetto, grass is drawn in the center, but these heads (the bottom lower part) is fish, strictly speaking is four fish pattern. This design is outstanding in Sankampaeng.
There are other three fish pattern of cavetto. Below is three fish pattern of Si Satchnalai.
(at BKK university South East ceramics museum)
There are few examples of introductions, but examples in the above are present in northern Thailand. The three fish pattern can also be seen in Myanmar ceramics.
(Tin-Lead glazed green color three fish pattern plate: Haripunchai national museum)
Exvavated ceramics ware from the ruins of Myanmar (although it seems to be a robbery in many cases) was fired for a long period of time, but the lower three fish pattern seems to be around the 15th and 16th centuries.
(Net auction exhibition tile)
In general, there are many pairs of animal warrior statues and a pair of female statues, but for some reason it is three fish pattern. I am introduced some three fish pattern.
They are Thai and Myanmar ceramics, and Khmer and An Nan Ceramics do not see three fish pattern ... There are doubts as to why this is three fish pattern with the question that this is why.
This seems to be the influence of the West. It will be Trimurti. It is Hindus theory. Trimurti is that Brahma, Vishnu and Shiva are the same and these gods are equal in power relationship and are only three aspects that differentiate functions manifested from a single sacred existence It is a theory.
In other words, the three fish can be regarded as brahma, vishnu and shiva. This Trimurti will be the same as the Trinity of Judea. Especially in Judaism we regard three as a sacred number.
Trimurti would have been incorporated into Buddhism as well. Sampo 【三宝】is that. Sampo are Buddha, Law, Monk. Being a Buddhist by devoting to Sampo.
In this way, three fish pattern will be affected by the West. However, there are three fish pattern in China.
The picture is a wooden lacquered cup of early Han (2nd century before), excavated from 【Hubei Province：湖北省荊州市江陵鳳凰山１６８号墓】, three fish are migrating clockwise.
In the 2nd century BC it is before the Buddhist arrival to China. Therefore it is unlikely that it is the influence of the three of sacred number in the west, but was three fish pattern independently created in China? · · · It does not have an accurate answer.
In China, "three" means that the pronunciation is similar to "property", so it means that it has accumulation and good fortunate. Together the eggs of fish are prolific, which means family prosperity. It seems that it was adopted as a pattern.
So I wrote that three fish patterns appear in Myanmar and North Thailand, the influence of the West will be great.
However, a climate that can not be explained by itself is present in the southern part of Yunnan and northern Indochina, also in northern Thailand. It can be seen in ornaments worn by hill tribes.
The case to introduce is considered to be a very few part, one is the necklace designed the fish of the Lisu tribe, the second is the same necklace of the Thai tribe in northern Vietnam as seen in the Hanoi women's museum.
(Necklace Lisu people: Ciangmai hill trive museum)
(Necklace Thai people: Hanoi Women's museum)
Many of these hill tribes are people who have been chased by Chinese (Han tribe) and escaped to the south or southwest. Whether the motif of this fish is influenced by the 【Han tribe ：漢族】or the creation of hill tribe, I do not have the technique to know the details, but can also be read as if they have influenced each other mutually.
The next picture is to complicate the story.
(Necklace,Unknown ethnicity name: KL national museum)
It is a necklace seen at the Islamic Art Museum in Kuala Lumpur. There is no ethnic name in caption. It can be thought of as an ethnic group of the Malay Peninsula.
Trying to think about it in the ancient times the influence of West and India, that is, Brahmin or Hindu. Therefore, although it is considered as an easy conclusion, it seems that ancient people were brothers of all ethnicities and had a similar ethnic story. Although it was a story without a conclusion, it seems that the fortune story like three and three fish were global.
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日本相撲協会お前もか！・・・とまでは云わないが。遣っていることが？だ。冷静に行動を振り返って欲しい。
連日満員御礼の垂れ幕である。みると桟敷も含めて観覧席に空きが目立つ。なのにどうして満員御礼か？・・・きつい表現で申し訳ないが、偽装以外の何ものでもない。
昨日の千秋楽、結び前の栃ノ心と松鳳山の一戦、仕切りで両手つきしていなかったかどうか、自分の眼がついていっていないものの、取り組みは成立していたであろう。勝敗がついてから物言いはないであろう。もと武双山、親方名が思いだせないのだが、手を挙げていたとのこと、それを行司は見落としたようだが・・・。なぜ武双山は、大声なりジェスチャーで勝負がつく前に主張できなかったか。
取り直しの一番で栃ノ心は敗れた。栃ノ心は勝っていたのである。この無様な対応はどうであろうか。対応方法について行司と審判部の面々は真剣に討議して欲しい。不様な相撲協会はみたくない。
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