[
    {
        "id": 215425,
        "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": 202,
        "title": "RAS-2001",
        "content_text": "151\n\nthey stand free of the wall in a way that is not usual in the more orthodox building practices of architects, but which had many precedents in sixteenth and seventeenth-century Iberian altarpieces. They appear in the four storeys of the front as if they were delineating the nine vertical bays of a large post-Tridentine altarpiece (Fig. 17).\n\nAlthough both Hugo-Brunt, of the Department of Architecture of the University of Hong Kong, and Professor J. B. Bury have already noted that they are freestanding, their arguments for the façade follow a different line. As an architect, Hugo-Brunt was sensitive to the fact that much of the architectural elements of the façade were used in a highly unorthodox decorative way.23 But neither Hugo-Brunt nor J.B. Bury connect this feature to either retables or retable-façades.\n\nHowever, Professor George Kubler, of Harvard University, has noted that the theme of the projecting column with entablature, in which a continuum is formed in order to lead the eye upwards, is one that would later become a characteristic feature of Latin American retable-façades.14\n\nLikewise in the façade of St. Paul's each column supports the column directly above it in order to create a vertical ascent that leads the eye upwards.\n\nThe columns' bases, shafts and capitals were laboriously carved from three separate granite blocks, with practically all the shafts carved out of one piece. They could almost be the highly decorative wooden supports of an altarpiece, with no genuine functional purpose. Although the unorthodox employment of classical columns and other architectural features is characteristic of Italian Mannerism, this kind of decorative, juggling use of supports and pinnacles is much more typical of the artistic idiom of Mannerist altarpieces in Spain and Portugal.\n\nContemporary accounts are obviously right in praising the classical erudition shown by the designer of the façade. However, closer inspection reveals that not all details conform to orthodox classical canons. Some of the subsidiary sculptures adorning the façade are of Chinese or Japanese origin. At the extreme sides of the two upper attics, right next to obelisks, there are four Chinese lions emerging in front of squat corner obelisks or ornamental balls on pedestals (Fig 18). Another",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215436,
        "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": 213,
        "title": "RAS-2001",
        "content_text": "162\n\n1993, p. 154. Morais, Carlos Alexandre de, Cronologia Geral da Índia Portuguesa, Lisbon-Macao, 1993. Ms. Amita Bairg, UNESCO heritage consultant on India, kindly provided number of churches and convents in 17th century Velha Goa.\n\n10 Arches of Triumph appeared in church portals at the time in Andalusia, in Southern Spain. For Vandelvira's career and famous treatise on architecture, see Barbé-Coquelin de Lisle, Tratado de Arquitectura de Alonso de Vandelvira, 2 vols. Albacete, 1977.\n\n\"V. Fraser. \"Architecture and Imperialism in sixteenth-century Spanish America”,\n\nArt History, 9, No. 3, Sept. 1986, pp. 325-35.\n\n\"The Architecture of conquest: building in the Viceroyalty of Peru, 1535-1633\", 2 volumes, Ph.D. diss., Uni. of Essex, Colchester, 1984.\n\n12 George Kubler's classic thesis on the plain style of Portuguese architecture forms the subject of his book, Portuguese Plain Architecture: Between Spices and Diamonds, 1521-1706, Middletown, Conn., Wesleyan University Press, 1972. For a recent discussion of this style, see Miguel Soromenhos' article, \"Classicismo, italianismo e ‘estilo chão'. O ciclo filipino\", in História da Arte Portuguesa, direcção Paulo Pereira, Volume 2, Lisbon, 1995, pp. 377-403. See in particular pp. 383-86.\n\n13 David M. Kowal, \"Innovation and Assimilation: The Jesuit Contribution to\n\nArchitectural Development in Portuguese India\", in The Jesuits, Culture, Sciences, And The Arts, 1540-1773, University of Toronto Press, 1999, pp. 482 and 488. It is somewhat ironic that D. Kowal uses the term \"retable-like\" for the\n\nportal decoration of the façade of São Paulo. Professor J.B. Bury dismissed an exact term in the first assessment of my MPhil thesis (see note 1) as not precise enough, one which I eventually gave up.\n\n14 See flap of vol. 2, in Barbé-Coquelin de Lisle, op. cit, for illustration of the\n\nseldom reproduced portal of Saint Elizabeth Church.\n\n15 Documenta Indica, (edited by Josef Wicki) Rome, “Monumenta Historica Soc. Iesu\", 18 vols, 1948-1988. For São Paulo, see vol. 4, pp. 726-27; vol. 8, pp. 584-86; vol. 9, p. 491. For an interesting reconstruction of the site of Church and College see, Schurhammer, G., Francis Xavier, vol. 8, Jesuit Historical Institute, Rome, 1980, p. 457.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    }
]