[
    {
        "id": 215417,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-2001",
        "page_number": 194,
        "title": "RAS-2001",
        "content_text": "143\n\nexploit for the decoration of the façades of some of their Indian churches of the last third of the sixteenth century and the beginning of the next. The theme would later be adapted to the more ornate decoration of the façades of the churches of their Casa Professa in Velha Goa and of the Jesuit College in Diu.\n\nMinor Basilica of Bom Jesus and the Diu Collegiate Church\n\nNot only the Bom Jesús, but, as we shall see, the façades of the collegiate churches in Diu and of Madre de Deus in Macao point to a further stylistic development of the architecture of the Society of Jesus in Asia.\n\nIt could be argued that the façade decoration of the three mentioned buildings reveals a transitional phase, one in which a Late Mannerist decorative idiom is elaborated to the utmost. Moreover, in the Church of Madre de Deus in Macao this idiom already heralds the Baroque style.\n\nIn India even before Jules Simão's appointment as chief of the cathedral works the Jesuits had begun work on what was to be their finest building project in India. This was their Casa Professa, or Profess House, begun in 1583-85, whose cloisters were also designed by Simão (Figs. 9,10).\n\nToday the church of the Profess House, originally dedicated to the Child Jesus, is better known as the Minor Basilica of Bom Jesus. It was started on the 24 November 1594 to the plans of G.B. Cairatti, an Italian architect from Milan, and completed about twelve years later. Perhaps its chief attraction today is the so-called incorrupt body of St. Francis Xavier and its magnificent 1690s funerary monument by Giovanbattista Foggini.17\n\nThe design of the front of the Bom Jesús, if not of its ground plan, indicates that the architect followed the general lines of the façade of St. Paul as reconstructed by M. Chicó (Fig. 9). There is the same division into three storeys and three bays, plus attic and pediment joined to the storeys below by gracefully curved brackets. Not only the façade but the whole building is crowned by numerous Herreresque spheres on bases placed as accents to the line of rising unifying pilasters. The Arch",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215418,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-2001",
        "page_number": 195,
        "title": "RAS-2001",
        "content_text": "144\n\nof Triumph theme itself has been incorporated here into a more sumptuous design and at first glance is not immediately apparent.\n\nAlthough 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.\n\nHowever, 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).\n\nStarted 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).\n\nIn 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.\n\nBoth 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.\n\nPage 195\n\nPage 196",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    }
]