Goan Churches: Architectural Analysis

GOAN CHURCHES
ARCHITECTURAL ANALYSIS
26-08-2017 HISTORY OF ARCHITECTURE III 1

INTRODUCTION
Geographical Location
Goa is surrounded by Arabian Sea in West, Maharashtra state in the North and Western Ghats of Karnataka in the
west and south. Old goa or Velha Goa (Velha means Old in Portuguese) is located 10km east from capital of
Goa, Panaji.
Figure 1: Map of India, Map of Goa, UNESCO Monument (Source: NASA, Google Map)

Background of Goa The city was captured by
the Portuguese in 1510
Old-Goa was founded in the 15th century as a port on the from the ruler of Bijapur.
banks of river Mandovi by the rulers of Bijapur Sultanate Old-Goa was thus a
and was the second capital of Bijapur under the rule of Adil Portuguese colony and a
Shah. principal city of Eastern
Empire. Ruled by
Portuguese ruler for almost
four centuries, it has a
number of Churches and
convents which are date
back to 16th Century and
are the best examples of
Manueline and Gothic
architecture with intricate
detailing and
ornamentation.
The Monuments of Old-Goa are the blend of Hindu, Mughal
and Portuguese styles of Architecture. Several churches and
convents are constructed from 15th to 17th century A.D.
These are constructed with laterite stones and lime plaster
which displays the fusion of Renaissance and Baroque styles.

Monuments and styles of architecture
The Portuguese induced the western

culture in Goa through their monuments
during their four hundred years long
imperial rule. Several monuments of Old-
Goa like churches and convents are
constructed during the period of 15th and
17th century A.D. These structures are
constructed of laterite stones and lime
plastered which displays the affluent
Architectural fusion of Renaissance and HISTORY OF ARCHITECTURE III
Baroque styles.
There are about fifty heritage sites and

monuments in the Heritage areas of Old-
Goa. Few of these are identified and
managed by the ASI and State Archaeology.
Remaining is managed by the local (1) Chapel of St. Catherine (2) Church of St. Francis of Assisi
authorities. The UNESCO has declared (3) Church of Our Lady of the Rosary (4) Basilica of Bom Jesus
seven monuments as world heritage (5) Se- Cathedral (6) Church of St. Cajetan
monuments and sites namely: (7) Church and Convent of St. Augustine in the year 1986.
26-08-2017 4
Monuments and styles of architecture
The Portuguese induced the western

culture in Goa through their monuments
during their four hundred years long
imperial rule. Several monuments of Old-
Goa like churches and convents are
constructed during the period of 15th and
17th century A.D. These structures are
constructed of laterite stones and lime
plastered which displays the affluent
Architectural fusion of Renaissance and HISTORY OF ARCHITECTURE III
Baroque styles.
There are about fifty heritage sites and

monuments in the Heritage areas of Old-
Goa. Few of these are identified and
managed by the ASI and State Archaeology.
Remaining is managed by the local (1) Chapel of St. Catherine (2) Church of St. Francis of Assisi
authorities. The UNESCO has declared (3) Church of Our Lady of the Rosary (4) Basilica of Bom Jesus
seven monuments as world heritage (5) Se- Cathedral (6) Church of St. Cajetan
monuments and sites namely: (7) Church and Convent of St. Augustine in the year 1986.
26-08-2017 5
Location
map of
the goa
heritage
sites.

THE SE CATHEDRAL, VELHA GOA
Name: se cathedral de Santa Catarina

Location: old goa
Country: India
Denomination: roman catholic
History
Founded: 1619
Dedication: cathedrine of Alexandria
Consecrated: 1640
Architecture
Status: cathedral
Style: Portuguese - gothic

History
One of the most ancient and celebrated religious buildings of The word S is Portuguese for See.
Goa, this magnificent 16th century monument to the Roman
The Se Cathedral was built to commemorate the
Catholic rule in Goa under the Portuguese is the largest church in
victory of the Portuguese under Afonso de
Asia.
Albuquerque over a Muslim army, leading to the
capture of the city of Goa in 1510. Since the day
of the victory happened to be on the feast of
Saint Catherine, the cathedral was dedicated to
her.
It was commissioned by Governor George Cabral
to be enlarged in 1552 on the remains of an
earlier structure. Construction of the church
began in 1562 in the reign of King Dom
Sebastio. The cathedral was completed in 1619
and was consecrated in 1640.
It had two towers, but one collapsed in 1776 and
was never rebuilt.

ARCHITECTURE
The Se Cathedral is built in the
Portuguese-Manueline style. This
sumptuous, composite style of
architecture was extremely popular in the
late 16th Century. It combine elements of
Late Gothic architecture with the Spanish
Plateresque style, Mudejar, Flemish
architecture and Italian Urban design.
The exterior of this great cathedral is of
the Tuscan order of architecture, notable
for its plainness and simplicity.
The church is 250 feet (76 m) in length
and 181 feet (55 m) in breadth. The
frontispiece stands 115 feet (35 m) high.

The church is a false basilica (no
clerestory windows between the nave
and aisles) with nave, two side aisles
and side chapels, transept and choir.
The faade shows three bays with

portals in the first storey and rectangular
windows in the second.
The additional central bay linked to its

sides through curved walls resolves the
height difference between nave and
aisles and hides the roof behind it.
An entablature between the storeys

marks the gallery floor level over the
entrance.
Portals, windows and niches have

detailed, erudite architectural frames,
very close to the figures shown in the
treatises, especially those of Serlio.

The church is a false basilica (no
clerestory windows between the nave
and aisles) with nave, two side aisles
and side chapels, transept and choir.
The faade shows three bays with

portals in the first storey and
rectangular windows in the second.
The additional central bay linked to

its sides through curved walls
resolves the height difference
between nave and aisles and hides
the roof behind it.
An entablature between the storeys

marks the gallery floor level over the
entrance.
Portals, windows and niches have

detailed, erudite architectural frames,
very close to the figures shown in the
treatises, especially those of Serlio.
The Cathedral has been built on a
raised plinth of laterite, covered over
with lime plaster.
There is a long nave , two aisles and

a transept. A bell tower is located to
the southern side of the faade. The
nave is barrel-vaulted while the
crossing is rib-vaulted.
Massive pillars support the vault in

the nave and the choir, while the
chapels on either side are separated
by internal defences.
The building is oblong on plan but

has a cruciform layout in the interior.
Nave trancept
Aisle bell tower

with lime plaster.
There is a long nave, two aisles and a

transept. A bell tower is located to
the southern side of the faade. The
nave is barrel-vaulted while the
crossing is rib-vaulted.
Massive pillars support the vault in

the nave and the choir, while the
chapels on either side are separated
by internal defences.
The building is oblong on plan but

has a cruciform layout in the interior.

with lime plaster.
There is a long nave, two aisles and a

transept. A bell tower is located to the
southern side of the faade. The nave
is barrel-vaulted while the crossing is
rib-vaulted.
Massive pillars support the vault in the

nave and the choir, while the chapels
on either side are separated by internal
defences.
The building is oblong on plan but has

a cruciform layout in the interior.

The main entrance in the faade has
Corinthian columns on plinths supporting a
pediment containing an inscription in Latin.
There are four chapels on either side of the

nave, two of which have perforated wooden
screens across the entrance. The screens
have a high degree of filigree carving which
has transformed wood into most delicate
insinuations of foliage.
On the right of the nave, is the other

screened chapel, the Chapel of the Cross of
Miracles.
Towering above the main altar is the huge

gilded reredos. Scenes from the life of St
Catherine, to whom the cathedral is
dedicated, are carved on its six main panels.


nave, two of which have perforated
wooden screens across the entrance. The
screens have a high degree of filigree
carving which has transformed wood into
most delicate insinuations of foliage.

Miracles.



nave, two of which have perforated wooden
screens across the entrance. The screens
have a high degree of filigree carving which
has transformed wood into most delicate
insinuations of foliage.

Miracles.


In the nave are two wooden pulpits
projecting from two columns on the right.
In the transept are six altars, three on

either side of the main altar.
The arches accommodating four of these

altars are decorated with paintings
depicting scenes from the lives of the
saints.
In the nave, near the altar, to the right is a

projecting gallery on which is kept an 18th
century organ.
In the nave near the altar are seats for the

canon and a throne for the archbishop.
To the right is a door that leads to the

sacristy, which is a barrel-vaulted structure
with gilded altar showing a church
modelled after St. Peter's Church in Rome.



saints.

century organ.


sacristy, which is a barrel-vaulted structure
with gilded altar showing a church 3 altars on either side of main main altar
modelled after St. Peter's Church in Rome. altar



saints.

century organ.


sacristy, which is a barrel-vaulted
structure with gilded altar showing a
church modelled after St. Peter's Church
in Rome.
ARCHITECTURAL
PROPORTIONS IN THE
SE CATHEDRAL OF
GOA.
As the Cathedral of Goa

is a Latin plan church,
the starting point of the
proportion analysis was
its crossing. Firstly
consider the crossing,
including the built
elements, i.e., the piers
supporting the groin
vault. The side of this
square was
denominated with the
letter A.

Proportional analysis of facade based on module A

Proportional analysis of the interior section and elevation based on module A.

If we consider only the
crossings free space
without angulation, we
get another square,
which is nominated B.
Proportional analysis
based on module B.

Proportional analysis of the faade based on module B.
Proportional analysis of the interior section and elevations based on module B.

BASCILICA OF BOM JESUS
Name: borea jezuchi bajilica

Location: old goa
Country: india
History
Founded: 1594
Consecrated: 1605
Dedication: st francis Xavier
Architecture
Status: minor bascilica

Style: baroque architecture

HISTORY
The Bom Jesus Basilica, perhaps Goa's
most famous church and among the
most revered by Christians worldwide,
is partially in ruins but still a model of
simplicity and elegance, and a fine
example of Jesuit architecture.
This Church is dedicated to Bom

Jesus, the word Bom Jesus refers as
Infant Jesus or Good Jesus.
It was designed by 17th century

Florentine sculptor, Giovanni Fogginni.
Construction was started in 1594 and
completed in 1605 on May 15th.
The Church holds the burial place and

mortal remains of St. Francis Xavier. His
remains are ensconced in a glass
container encased in a silver casket in
the Basilica.
ARCHITECTURE
The Basilica of Bom Jesus is a monument typical of

the classic forms of plane architecture, introduced by
the Society of Jesus, otherwise known as the Jesuits.
The faade, which is of granite, represents features of

five styles of architecture: Roman, Ionic, Doric,
Corinthian and Composite.
It measures 183 ft in length,55 ft in breath, and 61 ft

in height. The main altar is 54 ft high and 30 ft broad.
The interior of the church is built in Mosaico-

Corinthian style and is remarkable for its charming
simplicity.

The imposing facade built
out of black granite in an
exquisite combination of
the Doric, Corinthian and
composite styles, is
remarkable for its
simplicity.
The pillars and detail are
carved from basalt which
was brought from
Bassein, some 300 kms
away.

The roof was originally tiled.
The church is cruciform on plan.
The flying buttresses on the northern side of the

church are recent additions. A single-storeyed
structure adjoining the church on its southern
wing connects it with the professed house.
The three-storeyed facade of the church shows

ionic, doric and corinthian orders.
It has a main entrance flanked by two smaller

ones, each having corinthian columns supporting
a pediment.
There are two chapels, a main altar and a

sacristy besides a choir inside the church itself.
There is a belfry is at the back.




a pediment.
There are two chapels, a main altar and a sacristy

besides a choir inside the church itself. There is a
belfry is at the back.




a pediment.





a pediment.


As one enters, beneath the choir, to the right
is an altar of St. Anthony and to the left is an
exceedingly well-carved wooden statue of St.
Francis Xavier.
In the middle of the nave on the northern wall

is the cenotaph of the benefactor of this
church, Dom Jeronimo Mascarenhas, the
Captain of Cochin, who died in 1593,
bequeathing the resources out of which this
church was built. The two columns supporting
the choir bear slabs inscribed in Portuguese
and Latin the dates of beginning of
construction and the consecration.
Opposite the cenotaph, projecting on the

southern wall is a profusely carved wooden
pulpit with a canopy on top. The pulpit has on
its three sides the figures of Jesus, the four
evangelists and four doctors of the church. The
bottom of the pulpit depicts seven figures as
though supporting it.

As one enters, beneath the choir, to the right is
an altar of St. Anthony and to the left is an
Francis Xavier.



As one enters, beneath the choir, to the right is
an altar of St. Anthony and to the left is an
Francis Xavier.



A projecting gallery, which was
intended for the use of dignitaries on
solemn occasions, runs along the two
longer sides of the Church.
The main altar at the end of the nave

is flanked by two decorated altars in
the transept, one dedicated to Our
Lady of Hope and the other to St.
Michael.
In the transept on the northern side is

the Chapel of the Blessed Sacrament.
In the southern side in the transept is

a chapel with gilded twisted columns
and floral decorations of wood, where
the sacred relics of the body of St.
Francis Xavier are kept. The interior of
this chapel is richly adorned with
wooden carvings and paintings,
depicting the scenes from the life of
the Saint.
The main altar at the end of the nave

is flanked by two decorated altars in
the transept, one dedicated to Our
Lady of Hope and the other to St.
Michael.


a chapel with gilded twisted columns Chapels flanking the
Main altar
and floral decorations of wood, where main altar
the Saint.
The main altar at the end of the nave is

flanked by two decorated altars in the
transept, one dedicated to Our Lady of
Hope and the other to St. Michael.
In the transept on the northern side

is the Chapel of the Blessed
Sacrament.
In the southern side in the transept is a

chapel with gilded twisted columns
the Saint.
The main altar at the end of the nave is

flanked by two decorated altars in the
transept, one dedicated to Our Lady of
Hope and the other to St. Michael.


a chapel with gilded twisted columns
the Saint.

Adjoining the Chapel of St. Francis Xavier is a
corridor that leads to the sacristy, entered
through an exquisitely carved wooden door.
It is an oblong vaulted structure with an apse
at the end.
In the altar at the apse in an iron chest

containing a golden rose blessed by the Pope
Pius XII and gifted to this city in 1953.
Inside the basilica the layout is simple but

grand. A simple wooden one has now
replaced the original vaulted ceiling. To the
left of the door as you enter the basilica is a
statue of St. Francis Xavier, but the visitor's
attention is drawn to the huge and ornate
gilded reredos which stretches from floor to
ceiling behind the altar.

ARCHITECTURAL PROPORTIONS IN
THE CHURCH BOM JESUS.
Faade, Church
As the church Bom Jesus has not a of Bom Jesus.
cruciform plan, the approach taken to the
proportions analysis was completely Dimensions in
different from that of the se Cathedral. goa palms
The starting points were the churchs

original major width and the form and
proportion of the courtyard .Of the two,
the churchs original major width is no
longer evident because of the late 1650s
amplifications of the lateral chapel.
the original width is now easily

recognizable on the north side, which
stands free as it sticks out of the main
building.
This original major width was denominated

A and is roughly 122 goa palms.

Plan of the entire
complex, Church of
Bom Jesus.
Dimensions in goa
palms

Interior elevation and section, Church of Bom Jesus. Dimensions in goa palms.

Proportional analysis of the plan of
the complex of the Church of Bom
Jesus based on module A.

Proportional analysis of the
faade based on radius r,
Church of Bom Jesus.

Proportional analysis of the plan of the complex of the Church of
Bom Jesus based on radius r

Proportional analysis of the
faade based on module A
and radius r, Church of
Bom Jesus.

CHURCH OF ST.FRANCIS OF ASSISSI
name: church of st.francis of assissi

Location: old goa
Country: india
History
Founded:1616
Architecture:
Status: church
Style:

Church and Convent of St. Francis of Assisi, are the reminder of
the Franciscan friars, who came to Goa in the early 16th
century. After their arrival in 1517, with their consistent efforts
they constructed a small chapel with three altars and a choir.
Eventually in the year 1521, the chapel was modified into a
church and dedicated to the Holy Ghost in 1602. Later, the
church was pulled down and the present church was
constructed on the same spot in 1616, retaining only the black
stone gateway.

To the west of the Se Cathedral is the
former palace of the Archbishop that
connects the Se Cathedral to the Convent
and Church of St. Francis of Assisi. The
structure is built of laterite blocks and is
lime-plastered.
The church faces west and has a nave with

three chapels on either side, a choir, two
altars in the transept and a main altar.
To the north of the main altar is a belfry

and a sacristy. The convent, which forms
an annexure to the church, now houses
the Archaeological Museum.
The exterior of the Church is of the Tuscan

Order while the main entrance is in
Manuline style.
The main altar is Baroque with Corinthian

features. There are no aisles but only a
nave, which is rib-vaulted.
and Church of St. Francis of Assisi. The
structure is built of laterite blocks and is
lime-plastered.


and a sacristy. The convent, which forms
an annexure to the church, now houses
the Archaeological Museum.
Nave chapels altars
Order while the main entrance is in Transept main altar
Manuline style.

and Church of St. Francis of Assisi


and a sacristy.
The convent, which forms an annexure to

the church, now houses the Archaeological
Museum.
Belfry sarcistry
Manuline style.

and Church of St. Francis of Assisi


and a sacristy.
The convent, which forms an annexure to

the church, now houses the
Archaeological Museum.

Manuline style.

The internal buttress walls,
separating the chapels and
supporting the gallery on top,
have frescoes showing intricate
floral designs.
In a niche on the faade, stands a

statue of our lady of miracles
brought from Jaffna in Sri Lanka. A
wooden statue of St. Francis of
Assisi adorns a pedestal bearing
the insignia of the Franciscans. A
wooden pulpit, richly carved with
floral designs is to the left as one
enters.
Beneath a ribbed vault with

frescoes showing floral
decorations, is the main altar,
which is gilded and has a richly
carved niche with a tabernacle
supported by the four evangelists

floral designs.

enters.


floral designs.

brought from Jaffna in Sri Lanka.
A wooden statue of St. Francis of
enters.


floral designs.

brought from Jaffna in Sri Lanka.
A wooden statue of St. Francis of
enters.


floral designs.

enters.


floral designs.

enters.


THANK YOU
KRISHNAM RAJ AKILESH ANANTHARAMAIAH NALLURI SRI SAI AKHIL
KETAN NAIDU K ROKR DARSHAN KARTHIK SHETTY

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GOAN CHURCHES

26-08-2017 HISTORY OF ARCHITECTURE III 1

26-08-2017 HISTORY OF ARCHITECTURE III 2

26-08-2017 HISTORY OF ARCHITECTURE III 3

The Portuguese induced the western

There are about fifty heritage sites and

The Portuguese induced the western

There are about fifty heritage sites and

26-08-2017 HISTORY OF ARCHITECTURE III 6

Name: se cathedral de Santa Catarina

26-08-2017 HISTORY OF ARCHITECTURE III 7

26-08-2017 HISTORY OF ARCHITECTURE III 8

26-08-2017 HISTORY OF ARCHITECTURE III 9

The faade shows three bays with

The additional central bay linked to its

An entablature between the storeys

Portals, windows and niches have

26-08-2017 HISTORY OF ARCHITECTURE III 11

The faade shows three bays with

The additional central bay linked to

An entablature between the storeys

Portals, windows and niches have

There is a long nave , two aisles and

Massive pillars support the vault in

The building is oblong on plan but

Aisle bell tower

26-08-2017 HISTORY OF ARCHITECTURE III 13

There is a long nave, two aisles and a

Massive pillars support the vault in

The building is oblong on plan but

26-08-2017 HISTORY OF ARCHITECTURE III 14

There is a long nave, two aisles and a

Massive pillars support the vault in the

The building is oblong on plan but has

26-08-2017 HISTORY OF ARCHITECTURE III 15

There are four chapels on either side of the

On the right of the nave, is the other

Towering above the main altar is the huge

26-08-2017 HISTORY OF ARCHITECTURE III 16

There are four chapels on either side of the

On the right of the nave, is the other

Towering above the main altar is the huge

26-08-2017 HISTORY OF ARCHITECTURE III 17

There are four chapels on either side of the

On the right of the nave, is the other

Towering above the main altar is the huge

26-08-2017 HISTORY OF ARCHITECTURE III 18

In the transept are six altars, three on

The arches accommodating four of these

In the nave, near the altar, to the right is a

In the nave near the altar are seats for the

To the right is a door that leads to the

26-08-2017 HISTORY OF ARCHITECTURE III 19

In the transept are six altars, three on

The arches accommodating four of these

In the nave, near the altar, to the right is a

In the nave near the altar are seats for the

To the right is a door that leads to the

26-08-2017 HISTORY OF ARCHITECTURE III 20

In the transept are six altars, three on

The arches accommodating four of these

In the nave, near the altar, to the right is a

In the nave near the altar are seats for the