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pair emerges at the back of the fourth storey. These six lions obviously served the same purpose as the gargoyles of Gothic churches, and may be void of iconographic meaning. In this case more important than classical orthodoxy for the Jesuits was evidently the incorporation and integration of Chinese and Japanese decorative motifs.
Purpose of Decoration
One of the most striking features betraying the influence of retables is the profusion of religious symbols adorning the walls of the frontispiece, an esoteric hieroglyphic language growing in iconographic intensity as it moves towards the top. In purely architectural terms this richness of imagery appears to be mainly artistic and non-functional, and is not found to this extent in the decoration of more conventional church façades. However, it is something typical of Counter-Reformation altarpieces, one of its main purposes being a didactic one. Not only the structure, but also the decorative dialogue of the façade also reveals it to be a mixture of medieval scholasticism and Renaissance classicism.
Another characteristic of retables found in the façade is the hierarchy and progression of symbols and sculptured images that goes from bottom to top. For example, instead of the geometric decoration of the first storey, the second storey's bays display naturalistic bas-reliefs of palm trees. The bronzes themselves start with images of blessed and saints, above which appear those of the Virgin and Jesus.
The upper half of the façade consists of a third storey united to those below by carved volutes, and a fourth storey or attic joined to it by segmental brackets and crowned by a large pediment displaying the dove of the Holy Spirit.
In this upper half there are several Chinese inscriptions, further attesting to the didactic purpose of the decoration. Although these apparently were not the work of Chinese artists knowledgeable of calligraphy,25 they are quite legible and visible from the upper steps and the entrance courtyard below. There can be little doubt that their main purpose was to make the iconographic and calligraphic messages of the frontispiece, largely concentrated in the upper half of the façade, clear to the Chinese population and to potential Chinese converts.
152
pair emerges at the back of the fourth storey. These six lions obviously served the same purpose as the gargoyles of Gothic churches, and may be void of iconographic meaning. In this case more important than classical orthodoxy for the Jesuits was evidently the incorporation and integration of Chinese and Japanese decorative motifs.
Purpose of Decoration
One of the most striking features betraying the influence of retables is the profusion of religious symbols adorning the walls of the frontispiece, an esoteric hieroglyphic language growing in iconographic intensity as it moves towards the top. In purely architectural terms this richness of imagery appears to be mainly artistic and non-functional, and is not found to this extent in the decoration of more conventional church façades. However, it is something typical of Counter- Reformation altarpieces, one of its main purposes being a didactic one. Not only the structure, but also the decorative dialogue of the façade also reveals it to be a mixture of medieval scholasticism and Renaissance
classicism.
Another characteristic of retables found in the façade is the hierarchy and progression of symbols and sculptured images that goes from bottom to top. For example, instead of the geometric decoration of the first storey, the second storey's bays display naturalistic bas- reliefs of palm trees. The bronzes themselves start with images of blessed and saints, above which appear those of the Virgin and Jesus.
The upper half of the façade consists of a third storey united to those below by carved volutes, and a fourth storey or attic joined to it by segmental brackets and crowned by a large pediment displaying the dove of the Holy Spirit.
In this upper half there are several Chinese inscriptions, further attesting to the didactic purpose of the decoration. Although these apparently were not the work of Chinese artists knowledgeable of calligraphy, 25 they are quite legible and visible from the upper steps and the entrance courtyard below. There can be little doubt that their main purpose was to make the iconographic and calligraphic messages of the frontispiece, largely concentrated in the upper half of the façade, clear to the Chinese population and to potential Chinese converts.
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