[
    {
        "id": 211052,
        "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-1987",
        "page_number": 113,
        "title": "RAS-1987",
        "content_text": "88\n\nOur principal concern has been to document and explain the rapid growth in popularity in Hong Kong since the 1940's of the cult of Huang Daxian (on which, see Lang and Ragvald, \"Upward mobility of a refugee god\"). However, we have also been trying to trace the origins of the cult in Guangdong province, hence the research trip to the village. A report on this visit, and on the first author's initial visit to the village in 1985, has also been prepared. We are now working on a book on the history of the cult in Guangdong and Hong Kong.\n\nProbable cases of the mergings of deities include, from ancient Greece, the merging of two incarnations of Zeus (Gilbert, Murray, Five stages of Greek Religion, Garden City, N.Y., Doubleday Anchor Books, 1951, p. 48; H.J. Rose, Religion in Greece and Rome, N.Y., Harper and Row, 1959, pp. 48-49), and of various female deities in Aphrodite (Paul Friedrich, The Meaning of Aphrodite, Chicago, The University of Chicago Press, 1978, ch. 2); from Rome, the blending of Roman with Greek deities, and the subsequent apparent merging of some Roman deities with Celtic deities (John Ferguson, The Religions of the Roman Empire, Ithaca, N.Y., Cornell University Press, 1970, pp. 211-220); from the early Christian era, the probable absorption of elements of the cult of Diana into the cult of Mary (Herbert Muller, The Loom of History, N.Y. New American Library, 1958 p. 173; Durant, 1939: 183); from Mexico, the absorption of elements of the Indian goddess Tonantsi into the cult of the Virgin of Guadalupe (Ena Campbell, “The Virgin of Guadalupe and the female self-image: a Mexican case history\", in Mother Worship: Themes and Variations, ed. by Richard Preston, University of North Carolina Press, 1982).\n\n9 This translation strangely enough contains one serious (the failure to recognize Dongtian Fudi [Cavern-heavens and blessed spots] as a general Taoist concept) and a few smaller mistakes. These, however, do not affect the arguments made in this paper.\n\n10 This probable origin of the autobiography was pointed out to us by Dr. S.H. Wong of the Department of Chinese, Hong Kong University (see Wong, \"A study of Huang Ta-hsien\").\n\nThere are several slightly different versions of Shenxian Zhuan. For this translation we have used the relatively early (Song dynasty) version in Biji Xiaoshuo Daguan (A Parade of Note-form Fiction), Taibei, Xinxing Shuju, volume 4. 12 Essentially the same story is related in Huitu Liexian Quanzhuan, compiled in the 16th century by Wang Shizhen (reprinted by Zhongwen Chubanshe in 1971 on Taiwan). This is one of the major reference works on Taoist saints, with capsule biographies on some 500 of them, and covers the entire period from the beginning of Taoism until the last year of the reign of Hongzhi (1506 A.D.). This source adds only the information that during the Song and Yuan dynasties, both Huang Chuping and his brother were awarded honorary titles by the state. The story of Huang Chuping also appears in Jinhua Fuzhi (the prefectural gazetteer of Jinhua), volume no. 22 in the subsection \"xian shi\" (on fairies).\n\n13\n\nGe Hong was a native of Jurong in Danyang (present day Jiangsu province). His career included service as assistant to prime minister Sima Rui, and as counsellor and military staff officer. He was honoured by the state for his services in the suppression of the peasant revolt led by Shi Bing. However, he was also very interested in Taoist alchemy. He was a grandson, on the fraternal line, of the famous necromancer and alchemist Ge Xuan (164-244), and from a disciple of Ge Xuan's, he learned the art of refining cinnabar. When word spread that cinnabar sand had been found in Jiaozhi (the ancient name for part of Guangdong and",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522",
        "rank": 0
    },
    {
        "id": 211522,
        "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-1988",
        "page_number": 239,
        "title": "RAS-1988",
        "content_text": "215\n\n2. Hera was the sister-wife of Zeus, queen of the Olympian gods.\n\n3. The dolphin is a symbol of rescue: the dolphin is a friendly animal; it saves sea-farers. It also has a public connotation: the emblems of love to Ceres comprise a column and a dolphin.\n\n4. The letter K is the first letter of the inscription KYAIX found on the original gold coins.\n\n5. Kastor or Castor and Pollux are twin deities, Dioscouroi, DIO KOYPOI sons of Leda and Zeus. Castor was renowned as a horseman and Pollux as a wrestler. As deities they were famed for rescuing shipwrecked sailors. They were also called Polydeuces in Sparta.\n\n6. The letters ATOA are an abbreviation for AПOAAØN i.e. Jupiter, hence the thunderbolt, the symbol of his power.\n\nHistory\n\nAbout the year 706 B.C., during the 8th century, Greeks from Sparta and Laconia occupied the village of Taras on the river of the same name and founded the city of Taras. It lasted till 209 B.C. when it was captured by Fabius Maximus. From the widespread use of its coinage can be ascertained its great influence in history. The Tarentines founded a number of other cities on the Adriatic: Hydrus (Otranto), Heraclea (in Lucania) and Gallipoli (Gallipol) on the Dardanelles. Mention of Tarentum is to be found in several ancient writers.\n\nHellenic Culture in the Ancient World\n\nIn historic times the \"Yavans\" (Sanskrit word for Greek with reference to Ionians) were to be found everywhere in the East from the 7th century B.C. onwards. They were merchants, architects, soldiers, artisans, advisers, etc. (e.g. Greek mercenaries under Psammetichus, Nebuchadnezzar, Cyrus, Darius, etc., Artisans for Darius, Hystaspes etc.)\n\nThe original coin was dated between 344 and 334 B.C., i.e. before Alexander the Great had crossed the Indus in 326 to invade India. But in the 5th century a series of events increased East-West relations considerably, namely, the Persian Wars. The result of these events was that Persians had learned to fear and respect Greek power. Hostilities gave place to friendly relations, based on gold and diplomacy. They",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1988.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/ft84gb83q",
        "rank": 0
    },
    {
        "id": 215405,
        "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": 182,
        "title": "RAS-2001",
        "content_text": "131\n\nTHE FAÇADE OF ST. PAUL'S, MACAO: A RETABLE-FAÇADE?\n\nIntroduction\n\nCESAR GUILLEN-NUÑEZ\n\nThis paper will look at the façade of the church of Madre de Deus, Macao, popularly known as ruinas de São Paulo (Ruins of St. Paul's), from a perspective different to that familiar to most, including scholars. For I believe the surviving frontispiece should be classified as a fachada retablo, that is, as a retable-façade.\n\nA retable-façade is a kind of structure that has been given this appellation by modern Hispanists because of its similarities to carved Spanish altarpieces. Altarpieces, also known as retables (whence the façade's name), were as popular in Portugal as they were in Spain. Curiously, retable-façades were less frequently used in Portugal and are practically unknown in Portuguese colonies. I hope therefore that it will not seem too fanciful to start this paper by asking the question: is the surviving front of St. Paul's just such a façade? And if so, then how could such a structure have appeared in seventeenth-century Macao, Portugal's most treasured possession in Southeast Asia? (Fig. 1).\n\nBefore continuing, I must point out that part of this paper has been adapted from a thesis on the subject that I completed in 1997 for University College London. The thesis itself evolved from an unpublished youthful article written a number of decades ago, after many years' interest on the extraordinary phenomenon of the retable-façade. Eventually a few of my ideas on the façade of St. Paul appeared in a book on Macao that I wrote almost twenty years ago.\n\nSome art historians may disagree with my identification of the façade of St. Paul's as a retable-façade, mainly because of the lack of primary sources backing up the idea. Perhaps it will not be thought too irrelevant to consider that in recent years the tourist trade in Macao has readily echoed it, as is true of a small number of Portuguese researchers steeped in Lusitanian architectural traditions. Although the latter come from outside the field of the retable-façade their writings at least imply an acceptance of the idea. Unfortunately they only include a discussion...",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215406,
        "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": 183,
        "title": "RAS-2001",
        "content_text": "132\n\nof the façade as part of broader surveys on the church of St. Paul's or the architecture of the Jesuits in China and, regretfully, not much new has been added to this particular question.\n\nIn order to make clearer certain developments related to the façade of St. Paul's, a limited number of churches and altarpieces in Spain and in Portuguese India will be discussed. But because of limitations of time, any detailed references to the ground plans, elevations, and dimensions of St. Paul's or any of these structures or buildings will be left out. It is mainly the façades of buildings as they relate to the main topic that are of greater importance here. Besides these analogies, I will further explore some relevant questions on the development of Jesuit buildings in India first expressed in an article written several years ago.\n\nThe Church of St. Paul's, Macao\n\nWhat once was the Jesuit Church of Madre de Deus, or St. Paul's, is today merely a church front, some 70 feet high, with narrow sections of aisle-walls holding it up at either side at the back. This seventeenth-century ruin is the only remnant of a catastrophic 1835 fire, which destroyed the entire complex of educational and residential buildings of which it was part (Fig. 1).\n\nThe impression that it makes today, when it is mainly admired as a relic of a bygone age, is quite different from that which it made to visitors over three and a half centuries ago. At that time, the church stood in full visible splendour on a hill near the city walls, facing the Portuguese city below and the open sea beyond. Ironically, a fire in November of 1600 had destroyed a previous church, which led to the construction of the church of Madre de Deus, the one that in time became the most splendid Christian temple in a transitional Early Baroque style ever to have been built in China. Seventeenth-century visitors marvelled at what was then the new church of a university college, started two years after the November fire and at the time only recently completed with the addition of a brand new façade.\n\nThis added structure was an amazing showcase of artistic and social co-operation. Artists of East and West had created it. The Portuguese rectors had supported it. The wealthy citizens of Macao had financed it.",
        "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": 215416,
        "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": 193,
        "title": "RAS-2001",
        "content_text": "142\n\nhimself, as well as the whole of their missionary activity in Asia and the Far East, including Macao, accounts for this. Sadly, as in Macao's Madre de Deus (which apparently was popularly called St. Paul's because of the Goa college and church), today only a pitiful ruin remains of this artistic and historic treasure, with merely a section of the entrance façade with its stone portal standing (Fig. 8).\n\nThe entangled history of the church's abandonment and final decay need not concern us here. But conveniently for my main arguments, the small section that does survive displays an Arch of Triumph integrated to the wall. Here engaged Corinthian columns, paired and elegantly fluted, standing on bases decorated with diamond-shaped reliefs and carrying a broken entablature frame the half-circular entrance arch. Artistically and technically this feature is close to the sophistication of Italian Renaissance architecture.\n\nSince neither the famous college nor its church survives, Mário Chicó attempted to reconstruct the latter by means of drawings based on contemporary descriptions. He believed it to be the prototype for one of two types of Indo-Portuguese churches. He also convincingly argued that of the two types that of the façade of São Paulo is the closer to Serlio and Italian Renaissance architecture.\n\nIn Chicó's published drawing the façade of the church is shown as having three storeys, plus a pedimented attic. The three storeys are divided into three bays by projecting pilasters with entablatures, with openings for entrances and square and round windows. There is a niche for a titular image in the attic, which is joined to the floors below by the pilasters of the middle bay and by volutes.\n\nIt's an imaginative reconstruction, especially the fact that the façade has comparatively little decoration. It relies for effect on the more purely abstract lines of the design and on the main feature of its decoration, its Arch of Triumph.\n\nThe artistic and symbolic potency of the motif and its application as decoration to the façades of religious architecture was one that was not actually initiated by either the architects or the religious members of the Society of Jesus in Italy, Spain, Portugal or India. Rather it was one that the Jesuits had readily accepted and were able to effectively",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "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
    },
    {
        "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",
        "rank": 0
    },
    {
        "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",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215429,
        "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": 206,
        "title": "RAS-2001",
        "content_text": "155\n\nimpressions and variations of this image circulated at the time in Europe; 26 the Jesuit fathers had actually been instrumental in introducing similar prints to the East. Apart from prints, Charles Boxer, amongst others, has remarked how the Portuguese had carried retablos with them to Japan.27 It therefore seems equally plausible that related altarpieces might have been present in the minds of the artists of the façade.\n\nBesides the mentioned attributes, the unknown programmer of the decoration also incorporated themes from St John's Book of Revelation 12.1 and 12.3 (John 12.2 was by now conveniently glossed over in artistic representations of the theme), as well as from other sources.\n\nSuch a sophisticated and theological knowledge of Marian themes reveals the mind of a programmer ingenious enough to merit a few words. Although the identity of its author is unknown, Carlo Spinola, the architect of Madre de Deus and the artist Giovanni Nicolao, director of the art school in Japan, come immediately to mind. But I think one should also consider Dom Diogo Correa Valente as another possible candidate for authorship, mainly on account of the contents of his library in the College of St. Paul.28\n\nThe Jesuit Diogo Valente was the learned but controversial Bishop of Japan resident at the College of São Paulo from 1619 to 1624, years when the façade was probably being redesigned and its construction begun. In 1624 Dom Diogo had to leave for Goa in a hurry under the shadow of the violent quarrels that agitated Macao because members of his own order had apparently partisanly elected him as Bishop of the city. But he returned again as Bishop in 1630 and so remained until his death three years later. When he was buried in the chancel of the church of Madre de Deus the decoration of the frontispiece must have been in progress. However, this is a question that can only be settled by future research.\n\nSymbolic Meaning\n\nThe interpretation of symbols relating to Mary (and the other images) is a fascinating but complex subject that cannot be discussed in detail here. However, it is worth considering some of those adorning the façade to get a sense of their poetic and mystical quality.",
        "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": 215433,
        "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": 210,
        "title": "RAS-2001",
        "content_text": "159\n\nExtremo Oriente. Vol. 1. Tomo 1. Em Tomo de Macau, (A.H. de Oliveira Marques editor). Fundação Oriente. 1998, p.489. More recently also M. Nishiyama, \"The Church of St. Paul in Macao under the Transformation of Portuguese Architecture in their Colonies\"; a paper presented in the Modern Asian Architecture Network conferences held in Macao, 22-26 July, 2001.\n\nTo the best of my knowledge only two other papers on the Church of St. Paul's agree that its façade is a retable-façade. See G. Couceiro, \"The Church of the College of Madre de Deus\", and F.A. Baptista Pereira. \"A Conjectural Reconstruction of the Church of the College of Mater Dei', as well as C. Guillén-Nuñez's commentaries to both papers; all in Religion and Culture: An International Symposium Commemorating the IVth Centenary of the University College of St. Paul, Macao, 28 Nov.-1 Dec. 1994, Cultural Institute of Macao, and Ricci Institute. Uni. of S. Francisco, Macao, 1999, pp. 177-248. G. Couceiro's paper was adapted from his PhD thesis. \"L'Eglise de Notre-Dame de l'Assomption (ou de St. Paul) à Macao et L'Art de la Compagnie de Jesus en Chine: Art et Adaptation\". Ecole Pratique des Hautes Etudes (en Sorbonne), IV Sect. Sciences Historiques et Philologiques. It has been recently published as A Igreja de S. Paulo de Macau. Lisbon, 1997. Baptista Pereira's paper was published in As Ruinas de S. Paulo. Um Monumento para o Futuro / St. Paul's Ruins. A Monument Towards the Future, (bilingual exh. catalogue), Setúbal, 1994, pp. 63-85. Although both these papers missed or ignored a number of important arguments by previous researchers on the subject, including the original dedication of the church, the iconography of the decoration and my identification of the façade as a retable-façade, they have informative sections on the ground plan of the church and other points. Videira Pires first pointed out that the original dedication of the church was to the Assumption. Vid. B. Videira Pires, “Igrejas e Cemiterios Antigos de Macau (1)\", Religião e Patria, Ano XLVIII - No. 14, 15 Abril, 1962, p. 214 and p. 216.\n\nPioneering writings on the façade, its decoration and artists begin with J.F. Marques Pereira, \"Em prol de umas ruinas (A proposito do frontespicio do Collegio de S. Paulo, em Macau)'', in Ta-Ssi-Yang-Kuo, Archivos e Annaes do Extremo-Oriente Portugues, Lisbon, 1899-1902, Serie I, II, pp. 483-92. This is followed by J.D. Francis's article, \"Macao's San Paolo, A symbolical Ruin”, The Macao Review, Macao, 1930, pp. 3, 14. J.D. Francis first noticed that the iconography of the façade was a didactic sermon in stone. After these studies came those of J.M. Braga, \"A Igreja de S. Paulo”, Boletim Eclesiástico da Diocese de Macau, April 1932, pp. 246-7. M. Teixeira, A fachada de S. Paulo, Macao, 1940.\n\nMacau e a Sua Diocese, Macao, 1956, III, pp. 178-81, passim.\n\nPage 210\n\nPage 211",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215439,
        "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": 216,
        "title": "RAS-2001",
        "content_text": "Fig. Façade of Madre de Deus (Ruins of St. Paul's), Macao.\n\nA\n\n165",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215451,
        "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": 228,
        "title": "RAS-2001",
        "content_text": "Fig.13 Facade of Church of Madre de Deus (St. Paul's), Macao, detail of main doorway inscribed Mater Dei.\n\n177",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215452,
        "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": 229,
        "title": "RAS-2001",
        "content_text": "178\n\nBIVISO\n\nFig. 14 Madre de Deus, Macao, bronze statue of St. Luis Gonzaga (carved \"B\" for Beatus on stone pedestal, with shortened version of name).",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215453,
        "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": 230,
        "title": "RAS-2001",
        "content_text": "179\n\nFig.15 Madre de Deus, Macao, bronze statue of St. Francis Borgia (carved \"B\" for Beatus on stone pedestal, with shortened version of name).",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215454,
        "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": 231,
        "title": "RAS-2001",
        "content_text": "180\n\nFig.16 Madre de Deus, Macao, detail of first storey Ionic columns.\n\nV",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    },
    {
        "id": 215455,
        "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": 232,
        "title": "RAS-2001",
        "content_text": "Fig.17 Madre de Deus, Macau afternoon sunlight bringing out verticality of façade's column",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    }
]