[
    {
        "id": 205214,
        "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-1966",
        "page_number": 170,
        "title": "RAS-1966",
        "content_text": "164\n\nNOTES AND QUERIES\n\nand transcribed in a variety of ways by native-speakers of Cantonese.\n\nThe origins of words such as amah are hidden in the obscure labyrinths of time but are still as fresh as a new-born babe. Such words contain the elements of English mammy, ma, French maman, Latin mater and so on, for they represent the infant mouth opening to bawl and sometimes the closing of the tiny lips over the mother's teat. Such words exist in all languages even as a rejecting, spitting series for the father: pater (in Latin), English daddy, Cantonese papa mimic the child's rejection of his father's milkless breasts.\n\nIt is unnecessary to derive Cantonese amah from an Arab source. Similar forms, demonstrably not of Semitic origin, occur in many languages; in those of the Iberian peninsula, ama may or may not be an Arabism. In India, it was one of the common Indo-Portuguese words for a children's nurse. It is this word which came to Canton either in the Portuguese lingua franca which preceded pidgin English as the jargon of the China coast or in pidgin English itself. The documents of the nineteenth century are rich in derivatives of this word and even today wash-amah and baby-amah are widely used expressions in Hong Kong. Chow-amah (wet-nurse) disappeared at the introduction of patent infant formulae.\n\nThe only problem is whether amah, which sounds as exotic in Cantonese as kowtowing once did in English, entered the dialect directly from a Portuguese dialect or was introduced by way of English. My understanding is that amah is seldom used by the Hong Kong Portuguese in the sense of servant and that the word, though Portuguese in origin, is an early English loan to Cantonese, the forerunner of pa-si (bus), mhodhang nreoezir (modern girl), bheazao (beer) and the hundred and one other loans found in the Cantonese spoken in Hong Kong today.\n\nUntil more evidence is forthcoming, the derivation of sz tsai and sz tau will seem far-fetched. Nor is there enough proof to convince that fa wong is a calque (translation) of Urdu malik, even though the semantic extensions of wong and malik appear to coincide. I cannot tell which are the foreign words from which we are supposed to derive kwuntim, sz-naai and tai pan and have yet to be convinced that Cantonese natuk is in fact the",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811",
        "rank": 0
    },
    {
        "id": 210533,
        "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-1985",
        "page_number": 140,
        "title": "RAS-1985",
        "content_text": "8\n\n121\n\nprovincial community such as Lyons, we may take it for granted that in the second century A.D. the religious outlook of the populace ranged from open disbelief to a willingness to suffer, and even to die horribly, for one's convictions. Nor should this occasion surprise: even if we discount for the moment the matrix of cultural forces which condition religious sentiments, such as social status and educational attainment, it should be remembered that for more than six centuries Rome's rule stretched from the Atlantic Ocean to the banks of the Euphrates, and that throughout this long period the Romans presided over populations of striking social and cultural dissimilarity. Rome subjugated the primitive tribes of Britain, the Iberian peninsula and the Danubian basin as well as the culturally sophisticated and highly urbanized inhabitants of Greece and the Near East. Diversity of belief is to be expected in such an environment, but for anyone who wishes to analyze the parts or the whole, it also poses difficulties that are all but insuperable.\n\nFirst, there is the question of evidence. In matters of religion, as in all else regarding classical antiquity, it is notoriously imperfect. We are handicapped above all by its capricious character. We know a great deal about some cults, but of others, almost nothing. Even in the case of well-documented cults, however, a caveat is necessary: the literary sources, upon which we are heavily dependent for information, not only vary widely in reliability but are also unevenly distributed. Too much of the evidence stems from Rome itself, but even here we know a great deal more about some periods than we do about others. Hence even when the source is trustworthy, too frequently it still remains unclear whether the particular passage that interests us reveals behaviour current only at this one point in space and time, or has a wider application.\n\nConfronted with such difficulties, it is hardly surprising that classical scholars have tended to shy away from ambitious syntheses in favor of the more modest task of tracing the spread of particular cults and elucidating their contents.12 To be sure, there have been exceptions, the most notable being Nock's seminal work on conversion;13 in scope it compares favorably with the global view of Chinese religion advocated by J.J.M de Groot, Marcel Granet, and C.K. Yang.14 It is, however, only a noteworthy exception: in the literature on",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1985.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/gt54s866x",
        "rank": 0
    },
    {
        "id": 215407,
        "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": 184,
        "title": "RAS-2001",
        "content_text": "133\n\nit, following social precedents with roots in the great cathedrals of the Middle Ages in Europe.\n\nThe testimony of the English merchant, Peter Mundy, today well known to historians of Macao, is a good example of the effect that this novel façade produced. He had actually arrived as one of the English factors in the fleet of Captain John Weddel, which first entered Macao waters on the fifth of July 1637. In fact, Peter Mundy formed part of a party that was allowed by the Portuguese to disembark in Macao on the twenty-eighth of the month, with a missive from Charles I of England to the Captain-General of the city.\n\nOn the very day of landing he and the others went to visit the College of St. Paul's and its church at the invitation of the Jesuit fathers. Mundy waxes lyrical about the splendours of the façade and the church claiming that, 'there is a New Faire Frontispiece to the said Church with a spacious ascent to it by many steppes; the 2 last things mentioned of hewen stone.'5\n\nOne cannot help wondering if Peter Mundy's admiration of the frontispiece was not equally due to the fact that he had before his eyes an impressive retable-façade, something that in all likelihood he has never seen before.\n\nRetable-Façades\n\nBefore continuing, it may be necessary to briefly make clear some basic facts about retable-façades. What are they? When did they acquire this rather peculiar name? As already briefly mentioned a retable is a kind of Iberian wooden altarpiece, one that was often elaborately carved. One could argue that altarpiece-façade is just as accurate a term as the invented phrase retable-façade; but for a number of sensible reasons on which it is not necessary to comment here contemporary art historians have opted for the latter. In certain formal and functional aspects they are not unlike medieval English reredos, although there are important differences.\n\nThe history of what one could call their discovery as types is quite recent. It was mainly during the last century that specialists began noticing groups of unusual church façades in Spain and Latin America",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215410,
        "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": 187,
        "title": "RAS-2001",
        "content_text": "136\n\nIn imitation of a real altarpiece the Dormition of Mary is followed higher up by an image above a rose window representing the Assumpta, or the Assumption of Mary into heaven, a favourite theme of Iberian retables, often combined with the theme of the Dormition. Above her there is a high relief of the Trinity with a Golgotha group at the summit. These images are quite typical of the iconography of contemporary retables and follow the sometimes-convoluted theological arguments of the Christian art of the period.\n\nAs the intricacies of the Late Gothic style gave way to the Italian Renaissance, the artistic potency of retable-façades persisted under different forms, dimensions and styles, and in different places. It spread to Southern Spain after the Reconquista, where it developed its own Renaissance characteristics. Later, mainly in a Mannerist style, it appeared in Portugal. Finally some of the most amazing examples of the genre sprouted in Spanish colonies in Mexico and Peru in a Baroque and Rococo style, sometimes displaying the artistry, or otherwise, of indigenous craftsmen.\n\nAlthough such structures are not usually found in Portuguese colonies, there are nonetheless unusual developments in the decoration of some Jesuit church façades in Portuguese India, which can give insights to later developments in their Macao church. The study of these Indian examples is also useful in another respect. Instead of studying the Macao church in isolation, as is usually done, a comparison with these and a selected number of buildings in India can help us obtain a more coherent chronological and stylistic perspective for the façade of Madre de Deus.\n\nTo trace back some of these developments in Jesuit architecture the city of Goa, today known as Velha Goa, is an obvious starting point because of its importance within the Portuguese empire in Asia. In fact, soon after Afonso de Albuquerque captured it from Yusuf Adil Khan in 1510, it came to be considered by the Portuguese as the capital of the whole Portuguese Empire in the East. It eventually became not only the seat of the vice-royalty, but equally of a huge Bishopric, which encompassed the entire region from the Cape of Good Hope to China. In the seventeenth century it counted some seventy religious establishments, including thirty-one churches.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215411,
        "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": 188,
        "title": "RAS-2001",
        "content_text": "137\n\nSome of the aspects of Christianity introduced by the religious orders, including the Jesuits, are rather disturbing as they harked back to the Dark Ages, with street spectacles of burning heretics and bleeding flagellants. But in all fairness it should be pointed out that the gruesomeness of these spectacles was nothing new to the East. Moreover, there was also a much more positive, Renaissance side to Iberian colonisation, as seen in the unique buildings of the period that have survived in Velha Goa and elsewhere in India.\n\nVelha Goa reached its greatest period of administrative importance and commercial prosperity during the last three decades of the sixteenth century, a fact reflected in the mentioned civic and religious buildings. For this very reason the passage to India and the sojourn in Goa was practically mandatory for many of the great Jesuit missionaries, scientists and artists arriving from Lisbon under the wing of the Portuguese padroado on their way to Macao, China or Japan.\n\nThe Arch of Triumph motif\n\nIt is not possible in this paper to give an adequate survey of what some term Indo-Portuguese churches. Instead I would like to focus on the Arch of Triumph, a characteristic architectural theme used in the decoration of façades that is linked in very interesting ways to that of the retable-façade.\n\nAs will be mentioned later in these pages, it has been argued that a couple of Jesuit church fronts in Goa have arches of triumph as decoration that resemble retables. Moreover, there are some church fronts in Goa that seem to me to have been influenced by the type of façade known as a capilla abierta, or open chapel, used above a main entrance for the display or celebration of the Eucharist. It may be inferred from this that the probable use of retable inspired façades by the Jesuits or others in Goa makes it more plausible that they chose this particular decorative structure for their Church in Macao, albeit in a radically different and more elaborate style. But as will be seen, that style itself was part of a clear process of stylistic development already started in Goa.\n\nThe Arch of Triumph is a well-known structure that was used by Italian Renaissance architects for the decoration of the elevation of",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
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    },
    {
        "id": 215412,
        "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": 189,
        "title": "RAS-2001",
        "content_text": "138 \n\nbuildings. The Arch of Triumph motif is also found in Renaissance Spain, where the architect Alonso de Vandelvira seems to have been one of its main exponents.10 \n\nThe number of Arches of Triumph appearing at this time on the portals of both Spanish and Portuguese buildings at home and in the colonies is very large. It was particularly favoured in the decoration of church façades. We must remember that this is the period of the Counter-Reformation, or what some prefer to call the Catholic Reformation. Although architects could be flexible in their use of it, its more symbolic connotations for Spaniards and Portuguese in their newly conquered territories were, broadly speaking, mainly twofold: to celebrate their secular victories in battle and to celebrate the triumph of the Church over paganism. \n\nIn Spanish colonial architecture of the sixteenth century it appeared at a time when building decoration had not yet acquired the richer, more elaborate styles of the seventeenth and eighteenth centuries. Many of the buildings in question were often technically solid but with little exterior ornamentation and this particular motif often formed the most striking decorative element of the elevation. \n\nIn respect of Spanish Colonial architecture in South America, Dr. Valerie Fraser of the University of Essex, in the U.K., has brought the motif into disrepute. Dr. Fraser carried out a comparative study of contemporary sources and colonial church façades in South America. She came to the conclusion that in these colonial façades the symbolic meanings previously given to the motif by Italian Renaissance architects, such as triumph over death, etc., was gradually mutated into a symbol of Spanish cultural superiority.\" \n\nThe civilizations the Spanish encountered in the New World had no knowledge of the arch prior to the arrival of Europeans. After the Spanish Conquest their degree of cultural development came to be judged according to Spanish cultural values. Consequently, the employment of the Arch of Triumph in colonial South America served ideological as well as artistic purposes, expressing the perception the conquistadors had of the conquered. \n\nAlthough I cannot discuss the pros and cons of Iberian colonialism",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215414,
        "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": 191,
        "title": "RAS-2001",
        "content_text": "140\n\nhave prompted its choice.\n\nThe Arch of Triumph seen in the entrance to Baçaim Fort is another variant on the motif (Fig. 6). This example is in a style that, without generalising too much, could be said to have belonged to a Late Renaissance Iberian style in architecture. For self-evident reasons specialists have given it the name estilo chão (plain style) for Portuguese buildings and estilo desornamentado (unadorned style) for Spanish ones.\n\n32\n\nThin moulded pilasters frame a rectangle into which the entrance arch is built. The latter was framed by both moulded pilasters and paired Corinthian columns in the round, today missing. Topping the arch is an entablature with a low relief showing the royal arms of Portugal. Above it one may see a niche framed by coupled half-columns for an image of a Christian saint, a feature that differentiates it from a classical Roman Arch. The columns of the niche and the ones below stood on bases decorated with a simple diamond shape.\n\nThese two examples show a characteristic use of the motif in secular structures. But it is its use in religious architecture that is of greater relevance for this discussion. In this respect the Sé or Episcopal Church, Damão, shows one of the most illuminating examples.\n\nConstantino de Bragança, Viceroy of India, captured the Muslim city of Damão, which lies in the southern coast of Gujarat, in 1559. One of the most satisfactory uses of the Arch of Triumph in a plain style in India is to be found in the portal of the city's Sé or Episcopal Church (Fig. 7).\n\nThe charmingly provincial mathematical simplicity of its elevation consists of an acute triangle placed on a rectangle. The triangle in fact delineates a steep gable with a round window, while the rectangle on which it rests is the wall of the main façade. Its ground plan and interior are equally simple, the latter displaying picturesque whitewashed walls.\n\nThe only embellishment on the façade is the large Arch of Triumph, which stands austere in granite in front of the wall. It is quite similar to that of the ruins of Baçaim Fort, except that here paired classical columns on tall pedestals frame only the main arch. On the entablature above flat pilasters and a pediment, united to the lower storey by segmental",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
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    },
    {
        "id": 215415,
        "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": 192,
        "title": "RAS-2001",
        "content_text": "-reinfo\n\n141\n\nbrackets, enclose a window. Typical Late Renaissance ornaments and geometric designs of various kinds, such as spheres on pedestals, top the entablature and pediment.\n\nJesuit Churches in India\n\nPerhaps the most ingenious exploitation of the motif in India was by the Jesuit Fathers, whose building schemes form such an important part of the history of art of Colonial Iberian architecture in Asia and the Americas. It can be seen not only on the façade of the now vanished collegiate church of São Paulo in Velha Goa, but also in the Church of their College of São Paulo in Baçaim.\n\nThe Arch of Triumph decoration of their Baçaim church is of great interest for my main argument because at least one art historian has noticed its structural similarities to that of retables. David M. Kowal's recent article implies that not only the façade of the Baçaim collegiate church, but also that of Velha Goa should be so considered and he describes them as \"retable-like.\" Not all art historians would classify any of the church fronts in Portuguese India as retable-façades, including those of the Jesuits, although it is difficult to dismiss D. Kowal's claim for these two churches.13\n\nThe name of the church at Baçaim, built between 1561-1579, is actually Nome de Jesus (Name of Jesus). Its large Arch of Triumph indeed resembles those appearing in a number of Renaissance retable-façades in Southern Spain, such as that of the church of St. Elizabeth, in Seville.\n\nAs far as the Arch of Triumph motif itself is concerned, the most important sixteenth-century example in India may be seen in the Church of São Paulo in Velha Goa. Moreover, one could take 1560, the year when building of the new college and church of São Paulo were initiated, as signalling a more ambitious phase in the Society of Jesus' architectural projects in India.\n\nWhen it was completed in 1572 São Paulo was not only the first major church built by the Jesuits in India, it was also one of the most masterful Portuguese churches in Asia, attesting to the importance that the Jesuit fathers attached to it.15 Its association with St. Francis Xavier",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
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    },
    {
        "id": 215419,
        "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": 196,
        "title": "RAS-2001",
        "content_text": "145\n\nThe Façade of São Paulo, Macao\n\nThese novel trends in Jesuit architecture in India occurring at about the turn of the century may have reached their apogee in the church of their new college in Macao, opened to the public on Christmas day, 1603 (Figs. 1, 13).\n\nHowever, amongst other important differences with churches in India, here there is no Arch of Triumph as such; there is not even an entrance arch, but straightforward lintel-and-post doorways. Could the reason for its absence be that Portugal never did conquer Macao? This is an attractive conjecture, although a more likely explanation is that the architect or designer of the façade of St. Paul's was simply following St. Charles Borromeo's recommendations to architects concerning the façades of ecclesiastical buildings. In his influential Instructions of 1572, Charles Borromeo recommends the use of lintel and post for entrances of Christian churches instead of the arch, which he considered a pagan structure18. Be that as it may, the idea that the façade of Madre de Deus represents a symbolic arch of triumph of sorts, although one not based directly on an Arch of Triumph but on some other structure, should not be discarded altogether.\n\nApparently, seventeenth-century visitors, many of whom had seen the churches of the Jesuits in Goa, did not find the lack of arches too unusual. What they do imply in their chronicles is that this façade was something particularly surprising within the architecture of the Society of Jesus, not only in Asia but elsewhere. The way they reacted not only to the magnificent interior of the church but also to its façade is significant. In the case of the latter, were they looking at something not merely visually striking but also quite novel? As already surmised at the start of this paper, were they in fact looking at the first retable-façade in China?\n\nThis is not as improbable as it may seem. Today, once certain historical and art-historical associations are made, the surviving façade of the church recalls the outburst of altarpiece construction that took place in the Iberian Peninsula and its overseas colonies from the last decades of the sixteenth century.\n\nUntil the Portuguese revolt of 1640 and the restoration of the House",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
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    },
    {
        "id": 215422,
        "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": 199,
        "title": "RAS-2001",
        "content_text": "148\n\nkept in the archives of the Society of Jesus in Rome and elsewhere, indicate that they were understandably interested in the names of their martyrs, but much less so in those of their artists, no matter what names contemporary researchers may have been able to find. Nevertheless, the sculptures of Chinese lions and the reliefs of Japanese flora, which decorate the façade, show that under their wing these mainly anonymous Asian artists were at least free to express their native sensibilities.\n\nThe 1644 Annual Letter\n\nWhat cannot be established, except through a careful examination of the façade, is if these artists were under the influence of contemporary altarpieces. But again it should be recalled just how important the design of retables had become in the Iberian universe. Latin American Baroque and Rococo retable-façades clearly testify to the ascendancy of the features of retables over those of retable-façades.\" I would argue that a similar influence was already at work in the design of the façade of St. Paul's.\n\nThe Litterae Annua of 1644 for the Japan Province penned by António Ferreira, in the archives of the Historical Institute of the Society of Jesus, in Rome, is an exceptional document of exceptional relevance for this paper. It is already known to scholars from competent but slightly inaccurate eighteenth-century transcripts by Fr. José Montanha in the Archivo Histórico Ultramarino in Lisbon, and has been quoted since 1955 by Fr. Videira Pires and others. But the original manuscript has remained quietly filed and largely ignored in the Archives of the Society of Jesus in Rome. The original passage in the Annua that describes the façade as it reached completion in 1644, and which I would like to quote to the honourable audience and members of the Royal Asiatic Society in Hong Kong for the first time in public form my translation of the Portuguese text, reads as follows:\n\nAlms were given this year to crown the main façade of this Church, which is all of carved stone in a Roman manner. From top to bottom it has three orders of columns with their pedestals, six arched niches in good proportion; four of the ones which are half domes are on the first frieze amongst the orders of the second order of columns, each by itself next to the opening of the three windows of the choir: in them there are the half length figures of our Saints Ignatius, Xavier, Borja and Gonzaga,",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
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    },
    {
        "id": 215424,
        "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": 201,
        "title": "RAS-2001",
        "content_text": "150\n\nMontanha's transcripts, is the fact that the main altar of Madre de Deus, long lost after the 1835 fire (if not before), had statues of the four Jesuit saints in an order that echoed that of the façade. This third point implies that the design of the façade of Madre de Deus may have been conceived in relationship to that of the main retable inside. The religious and artistic interaction between a retable-façade and a main retable is a development known in some Latin American retable-façades at a later date, of which that of the Jesuit College in Tepozotlán, outside Mexico City, may be the most remarkable example.\n\nThe Architectural Structure of the Façade\n\nOne of the most remarkable features of this work's design is the use of projecting classical orders as main structural elements. However, it is not the use of the orders per se that relates this design to contemporary retables.\n\nFrom the point of view of architecture, what the use of the Ionic order for the first storey, the Corinthian order for the second and the Composite for the third and fourth reveals is a rather sophisticated knowledge of the canons of ancient Roman architecture (Fig. 16). This is perfectly compatible with contemporary architectural practice. At the time Renaissance and Mannerist theorists had made these canons accessible to architects throughout Europe in a number of illustrated publications.\n\nWhoever designed the façade of St. Paul's had evidently had a thorough grounding on these canons. How did he get such knowledge? Most likely from the sixteenth-century illustrated books by Serlio, Palladio or Vignola. Editions of their books circulated not only in Italy but also in the Iberian Peninsula. As the researches of Sylvie Deswarte show, knowledge of the Vitruvian orders had reached Lisbon, Portugal, quite likely around 1549 via Da Pintura Antigua by the Portuguese Francisco de Holanda. Holanda had underhandedly appropriated his main ideas from Serlio and published them in a luxurious edition as his own.22 In Spain, Francisco de Villalpando had already translated Books III and IV a few years before Holanda's book appeared, and his translation was known in Portugal.\n\nThese classical columns are important for my arguments because",
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    },
    {
        "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",
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        "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": 215432,
        "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": 209,
        "title": "RAS-2001",
        "content_text": "158\n\nThe prolific use of symbols for the decoration of the façade and the mystical poetry thus created is typical of the way images were used in the decoration of carved wooden retables. It is a topic that could be elaborated at great length, although unfortunately it is not possible here.\n\nConclusion\n\nIn this talk I have endeavoured to elucidate my main contention concerning the façade of St. Paul's by pointing out the way certain of its principal features relate to retables, such as the uniquely decorative nature of its classical supports and the strongly Eucharistic connotations of its decoration.\n\nThis fact connects it to Spanish retable-façades, a kind of structure not typically Portuguese but also appearing in Portuguese architecture at this time. Moreover, two significant artistic developments in Jesuit architecture in Portuguese India could be said to prefigure the originality of the façade of St. Paul's. Firstly, there is some evidence of incipient retable-façades decorating a few of the churches of the Society of Jesus in India in which the Arch of Triumph is used as principal decorative motif. Although not possible here, Secondly, at the turn of the century the Jesuits in India were willing to admit the use of a more elaborate artistic idiom for the façades of their churches, in contrast to the plain styles preferred in the Iberian Peninsula during the latter half of the sixteenth century.\n\nHopefully my extended inquiry has provided convincing answers to the intriguing similarities I believe exist between the unusual features seen in the façade of St. Paul's and those more characteristic of a retable-façade, even if the façade discussed remains an elusive artistic work sui generis.\n\nNOTES\n\nGuillén-Nuñez, César, “The Relationship of the Façade of the Jesuit Collegiate Church of Madre de Deus, Macao, to Retable-Façades”, M.Phil. Thesis, University College London, 1997. Guillén-Nuñez, C., Macau (Images of Asia), Oxford University Press, Hong Kong, 1984, pp. 52-3.\n\n2 Vid. Rafael Moreira, “As Formas Artísticas”, in História dos Portugueses no",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215437,
        "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": 214,
        "title": "RAS-2001",
        "content_text": "163\n\n- Mario T. Chico. \"Algumas observações acerca da arquitectura da Companhia de Jesus no distrito de Goa: igrejas, fachada, planta e espaço interior\", Garcia de Orta. Lisboa, número especial 1956, pp.257-72.\n\nSee Professor Giorgio Bonsanti's elucidating article dealing mainly with St. Francis Xavier's mausoleum in the Bom Jesus, published in Velha Goa, exhibition catalogue of A. Martinelli's photos. Fundação Oriente, Macao. September 15, 2000. (Unnumbered). However, vid. D.Kowal, op. cit., p. 488, who states the Jesuit Domingo Fernandes, aided by J. Simão were architects of Bom Jesus.\n\nAlso Documenta Indica,\n\n**For Charles Borromeo's Instructions, see E.C. Voelker, “Charles Borromeo's Instructiones Fabricae et Supellectilis Ecclesiasticae, 1577. A Translation with Commentary and Analysis\". Ph.D. dissertation, Syracuse University, 1977.\n\n\"L.E. McCall. \"Early Jesuit Art in the Far East\". Artibus Asiae, XI. Ancona, 1948. pp. 62-9. Y. Okamoto, The Namban Art of Japan, (translation by R.K. Jones of Namban Bijutsu. Tokyo, 1965), Weatherhill/Heibonsha, New York-Tokyo, 1972, pp. 99-103. See also more recently, Gauvin Bailey. \"The Art of the Jesuit Missions in Japan in the Age of St. Francis Xavier and Alessandro Valignano”. lecture in the 450th Anniversary of St. Francis Xavier's Arrival in Japan. International Symposium '98, Sophia University 1998, pp.7-22.\n\n\"Guillen-Nuñez, C., \"Retablo and Imafronte: A Study of the Influence of the Retable on the Church-façade in Mexico and Peru\", (unpublished M.A. dissertation), University of Penn., 1973.\n\n\"H. Rodriguez-Camilloni. \"The Retablo-Façade as Transparency: A Study of the Frontispiece of San Francisco, Lima\", in Anales del Instituto de Investigaciones Esteticas, 62, Mexico, 1991, pp. 111-22.\n\nSylvie Deswarte, \"Francisco de Hollanda et les Etudes Vitruviennes en Italie”, in A Introdução da Arte da Renascenca na Península Iberica, Coimbra, 1981, pp. 254-80.\n\n* Hugo-Brunt, op. cit., p. 11.\n\nKubler and Soria, op. cit., p. 24.\n\nSee Hugo-Brunt, op. cit., p.13, note 24.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 216480,
        "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-2003",
        "page_number": 239,
        "title": "RAS-2003",
        "content_text": "189\n\nbair mentioned in the letter in the pocket of her New Ladies Companion Book where it is still kept.\n\nPersian adventures\n\nCornell Plant remained in the Reigate for another two years leaving her as an Ordinary Seaman in 1883. He then spent a year in the SS Iberia on the Pacific Steam Navigation Company's Australian Service and another year in the iron ship Mermerus as an Able Seaman. In 1885 Plant returned to the Reigate as Third Mate and left the following year after having obtained his Second Mate's certificate. From there he joined Lynch's Euphrates and Tigris Shipping Company, serving in the River Steamer Khalifa.\n\nIn 1891 he was offered the command of Shushan, a stern wheel paddle steamer, built by Alfred Yarrow on the Thames and shipped out in parts to Egypt for the expedition up the Nile to relieve General Gordon at Khartoum.\n\nShushan was 98 feet in length including the paddle wheel, 18 feet in width and had an eighteen inch draft. A boiler with a tall funnel was at the bow end of the flat main deck with the engine that drove the stern mounted paddle wheel at the after end. A wooden saloon containing some cabin accommodation stood in the centre of the main deck with the conning position above it from where the wheel controlled a triple rudder. Access to this position was by a wooden ladder and awnings to protect the main deck were spread forward and aft although how they were kept clean and white just astern of a wood fed boiler is hard to understand. No photograph or drawing of the Shushan has yet been found although there are representations of many of the other similar river craft built by Alfred Yarrow. He was acknowledged at the time as the best builder of those vessels that were used to extend and protect British interests along the rivers of Africa, Asia and beyond. They were built to a standard pattern in watertight sections that could be shipped anywhere in the world and bolted together on site. It was claimed that those required by the expedition to rescue General Gordon were ready for shipment within 17 days of the order being placed. (Yarrow - the first 100 years)\n\nIt is quite evident that young Cornell Plant was immensely proud",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390",
        "rank": 0
    }
]