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Other Images
A salutation in St. Alfonso's Office praises the palma patientiae and the cedrus castitatis. This allusion to both cedar and palm trees derives from Ecclesiasticus, 24, 17-18. When it comes to the date palms of the second storey, it is very much a part of the stock-in-trade immaculist symbols, particularly dear to southern Spanish poets and painters and also known from early prints, all praising Mary's Immaculate Conception. But these may equally refer to the triumph of the Society of Jesus, with the canonisation of its main protagonists, Sts. Ignatius of Loyola and Francis Xavier in 1622 and the recent beatification of Francis Borgia and Luis Gonzaga.
In the fourth storey or attic The Child Jesus raises his right hand and holds an empty left hand forward. The latter undoubtedly held the lost orb mentioned in the 1644 Annua. It is a pose and attribute typical of the kind of devotional religious image known as an infant Salvator Mundi, that is, Infant Jesus Saviour of the World. The type of "Menino Jesus" as Salvator Mundi was well disseminated in Portuguese colonies in the East during the seventeenth-century, as a large number of Indo-Portuguese and Chinese ivory statuettes, usually nude, tend to confirm. Here the Child Jesus is framed by reliefs of angels displaying the Arma Christi, or symbols of Christ's suffering on the Cross. According to Christian theology, the ironically named arma are the “weapons” Christ used in his earthly battle against evil in order to redeem humankind. They were profoundly mystical symbols popularised in devotional literature and images since Medieval times in Europe.
The pediment is decorated with the large bronze of the Holy Spirit, originally gilded and emerging from rays, with four stars framing it. Next to it are square slabs of the sun and moon, with which the iconography of the main image of the Assumption is finally brought to full completion.
The dove of the Holy Spirit hovers over both Mother and Child with wings far outspread in an image that seems uncannily like a visual illustration of the Holy Spirit in the opening lines of John Milton's Paradise Lost. As bronze sculpture it is impressive enough today; with its original gilding it must have appeared awe-inspiring to the citizens of Macao and to seventeenth-century and later visitors before the fire.