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Popular Jesuit devotional manuals of the times prove useful. A good example is a 1617 book of poetry that was quickly disseminated after its author's death. The Officium parvum Immaculata Conceptionis, or Small Office, by the Spanish Jesuit St. Alfonso Rodriguez intersperses a brilliant cluster of Marian symbols amongst its prayers. Besides the Fountain, the Spotless Mirror, the Enclosed Garden and the Cypress, the Small Office also sings the praises of the Palm tree, the New Star of Jacob, the Eastern Door of the Temple of Jerusalem, the Port of Shipwrecks and others. Thus, the closed door underneath the decorative pyramid topped by a globe seen on the farthest right-hand bay of the façade can be equated to Rodriguez's porta orientalis of the Temple of Jerusalem, taken from Ezekiel, which remained ever closed after the Lord Yahweh had passed through it.
Other carved symbols can be deciphered with other contemporary texts. For instance, one of the three left bay reliefs carved on the base of the third storey shows the seven-branched candlestick of the Jewish Tabernacle. Here it is reasonable to infer that this is a literary conceit typical of much of sixteenth century Mannerist literature in Europe. Thus, through allusion Mary's immaculate earthly body has been likened to a tabernacle and related to the Eucharistic mystery. This is because Mary carried the baby Jesus in her womb in the same way that the consecrated host is housed in a tabernacle, a cryptic simile known from Counter-Reformation religious literature.”
Such an interpretation is further confirmed by the reliefs decorating the section of the base of the third storey below the two adjoining bays, as well as the left volute. They show a stylised vine and a small monstrance amid branches with berries.
These reliefs correspond to the flowering plants that adorn the mirror on the right. Like the flowered pedestals of the columns, these plants seem to be more decorative than symbolic, depicting specimens of Chinese or Japanese flora in which Far Eastern artists have been encouraged to integrate more traditional painterly images with images of Western origin. As is the case with the gargoyles in the form of Chinese lions, they attest to the significant role played by Chinese and Japanese artists in the design and execution of the decoration of the church.