142
himself, as well as the whole of their missionary activity in Asia and the Far East, including Macao, accounts for this. Sadly, as in Macao's Madre de Deus (which apparently was popularly called St. Paul's because of the Goa college and church), today only a pitiful ruin remains of this artistic and historic treasure, with merely a section of the entrance façade with its stone portal standing (Fig. 8).
The entangled history of the church's abandonment and final decay need not concern us here. But conveniently for my main arguments, the small section that does survive displays an Arch of Triumph integrated to the wall. Here engaged Corinthian columns, paired and elegantly fluted, standing on bases decorated with diamond-shaped reliefs and carrying a broken entablature frame the half-circular entrance arch. Artistically and technically this feature is close to the sophistication of Italian Renaissance architecture.
Since neither the famous college nor its church survives, Mário Chicó attempted to reconstruct the latter by means of drawings based on contemporary descriptions. He believed it to be the prototype for one of two types of Indo-Portuguese churches. He also convincingly argued that of the two types that of the façade of São Paulo is the closer to Serlio and Italian Renaissance architecture.
In Chicó's published drawing the façade of the church is shown as having three storeys, plus a pedimented attic. The three storeys are divided into three bays by projecting pilasters with entablatures, with openings for entrances and square and round windows. There is a niche for a titular image in the attic, which is joined to the floors below by the pilasters of the middle bay and by volutes.
It's an imaginative reconstruction, especially the fact that the façade has comparatively little decoration. It relies for effect on the more purely abstract lines of the design and on the main feature of its decoration, its Arch of Triumph.
The artistic and symbolic potency of the motif and its application as decoration to the façades of religious architecture was one that was not actually initiated by either the architects or the religious members of the Society of Jesus in Italy, Spain, Portugal or India. Rather it was one that the Jesuits had readily accepted and were able to effectively
142
himself, as well as the whole of their missionary activity in Asia and the Far East, including Macao, accounts for this. Sadly, as in Macao's Madre de Deus (which apparently was popularly called St.Paul's because of the Goa college and church), today only a pitiful ruin remains of this artistic and historic treasure, with merely a section of the entrance façade with its stone portal standing (Fig. 8).
The entangled history of the church's abandonment and final decay need not concern us here. But conveniently for my main arguments, the small section that does survive displays an Arch of Triumph integrated to the wall. Here engaged Corinthian columns, paired and elegantly fluted, standing on bases decorated with diamond- shaped reliefs and carrying a broken entablature frame the half-circular entrance arch. Artistically and technically this feature is close to the sophistication of Italian Renaissance architecture.
Since neither the famous college nor its church survives, Mário Chicó attempted to reconstruct the latter by means of drawings based on contemporary descriptions. He believed it to be the prototype for one of two types of Indo-Portuguese churches. He also convincingly argued that of the two types that of the façade of São Paulo is the closer to Serlio and Italian Renaissance architecture."
In Chico's published drawing the façade of the church is shown as having three storeys, plus a pedimented attic. The three storeys are divided into three bays by projecting pilasters with entablatures, with openings for entrances and square and round windows. There is a niche for a titular image in the attic, which is joined to the floors below by the pilasters of the middle bay and by volutes.
It's an imaginative reconstruction, especially the fact that the façade has comparatively little decoration. It relies for effect on the more purely abstract lines of the design and on the main feature of its decoration, its Arch of Triumph.
The artistic and symbolic potency of the motif and its application as decoration to the façades of religious architecture was one that was not actually initiated by either the architects or the religious members of the Society of Jesus in Italy, Spain, Portugal or India. Rather it was one that the Jesuits had readily accepted and were able to effectively
No comments yet.
Private notes are available after approval.