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of Triumph theme itself has been incorporated here into a more sumptuous design and at first glance is not immediately apparent.
Although it is not possible to discuss it in detail, one should at least take note of the articulation of the façade. Its luxuriously applied decoration is executed in a soft local stone and stands out from the brick wall, once coated in white plaster. It starts with Corinthian columns on three bays of the ground floor that connect to Doric and Corinthian pilasters in the two storeys above and a fanciful Mannerist Composite order with decorative shafts in the attic. But the overall design is highly compartmentalized by means of large buttresses framing the corners and central bay in the shape of classical brick pilasters rising on all storeys.
However, in spite of similarities, one can see a marked difference to the churches the Jesuits has built previously. Quite novel are the Mannerist carvings now embellishing practically the whole design of the façade of the Bom Jesus. The rendition of the symbol of the Society of Jesus in the attic, inside an oculus framed by a Mannerist cartouche upheld by eight angels, as well as other unusual details, is typical of the Mannerist style (Fig.10).
Started in 1601 the Collegiate Church of the Society in Diu is the second most important example of a new development in Jesuit churches in India. Its proper name is Espírito Santo, or Church of the Holy Spirit. The design of the front elevation basically reproduces that of the Bom Jesús, except that it has been greatly unified by the abolition of the third storey and the compartments created by the buttresses in that building (Figs. 11,12).
In ornamental extravagance its carved white stucco decoration outdoes the Bom Jesús and it has been argued that this is partly due to the influence of Indian architecture.
Both the influence of retables claimed by D. Kowal for the Jesuit portals showing arches of triumph in Velha Goa and Baçaim, as well as the decorative complexity of the fronts of the Bom Jesus and Espiritu Santo are new developments. They point the way towards the even more novel departures seen in the façade of the Church of Madre de Deus in Macao.
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of Triumph theme itself has been incorporated here into a more sumptuous design and at first glance is not immediately apparent.
Although it is not possible to discuss it in detail, one should at least take note of the articulation of the façade. Its luxuriously applied decoration is executed in a soft local stone and stands out from the brick wall, once coated in white plaster. It starts with Corinthian columns on three bays of the ground floor that connect to Doric and Corinthian pilasters in the two storeys above and a fanciful Mannerist Composite order with decorative shafts in the attic. But the overall design is highly compartmentalized by means of large buttresses framing the corners and central bay in the shape of classical brick pilasters rising on all storeys.
However, in spite of similarities, one can see a marked difference to the churches the Jesuits has built previously. Quite novel are the Mannerist carvings now embellishing practically the whole design of the façade of the Bom Jesus. The rendition of the symbol of the Society of Jesus in the attic, inside an oculus framed by a Mannerist cartouche upheld by eight angels, as well as other unusual details, is typical of the Mannerist style (Fig.10).
Started in 1601 the Collegiate Church of the Society in Diu is the second most important example of a new development in Jesuit churches in India. Its proper name is Espírito Santo, or Church of the Holy Spirit. The design of the front elevation basically reproduces that of the Bom Jesús, except that it has been greatly unified by the abolition of the third storey and the compartments created by the buttresses in that building (Figs. 11,12).
In ornamental extravagance its carved white stucco decoration outdoes the Bom Jesús and it has been argued that this is partly due to the influence of Indian architecture.
Both the influence of retables claimed by D. Kowal for the Jesuit portals showing arches of triumph in Velha Goa and Baçaim, as well as the decorative complexity of the fronts of the Bom Jesus and Espiritu Santo are new developments. They point the way towards the even more novel departures seen in the façade of the Church of Madre de Deus in Macao.
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