On my way out from the Central Library, I’d always noticed the spires of a cathedral rise up amid the familiar jumble of other urban buildings, interjecting the sky-scape with its curious domed spires. Unable to restrain my curiosity any further, I decided to go across the road to take a look. Though its entrance was hidden from road level by a thicket of bushes, its ornate facade looked even more impressive from close-up, and I was pleasantly surprised by the wealth of history I discovered behinds its gates.
St. Joseph’s Church, I discovered, had been a bastion of the Portugese Eurasian community since the early 20th century. The community resulted from the inter-marriage of Portugese colonisers with indigenous women in Malacca during the 16th and 17th centuries, and like many other Eurasians retained some aspects of the culture of their European forbears, including their religion. The church’s adjoining parish house, which was constructed with aid by a Bishop of Macau named Joao Paulino d’Azevedo e Castro, is itself just one of the many pieces of evidence showing the ties the community maintained with other members of the Portugese diaspora. The building of the church itself was completed by the Scottish architect David McLeod Craik in 1912, and the parish house was used as the headquarters for the Portugese Mission shortly after.
Besides its religious uses, being the official residence of the Bishop of Macau on his visits to the island, the parish house became a centrepiece of the social and cultural life of its congregation. The ground floor was used as a meeting area, and hosted many a church reunion dinner. The parish canteen was opened to devotees in 1960, and hosted its first wedding just five years later. In addition, the parish house library was an important gathering area for the Patrician Movement, a branch of the Legion of Mary which consisted of lay volunteers for the Roman Catholic Church. While two priests still live in the building today, the austere quiet that lay over the church buildings did hardly else to betray their rich legacy.
The most visible reminder of the building’s Portugese roots still lay in its exterior. The cathedral itself was a fine piece of Baroque architecture, with its tall grey ceiling frescoes and imposing central spire giving it a regal air and harking back to the eminence of the architectural form in Portugal in the seventeenth and eighteenth centuries. The spires were supported by fluted Gothic arches and pinnacles, another reminder of the dominant European styles of architecture at the time of its construction. The faded baby blue that trimmed its ceilings would also called to mind the distinctive Portugese Azulejo tiles that the church is known for. A sign outside the cathedral mentioned worship services for Our Lady of Fatima, further cementing the visceral spiritual connection this community held with the Iberian Peninsula.
While I was unable to view the interior of the cathedral on my visit, I was nevertheless captivated by what I already saw before me. I had to take a moment to crane my neck up towards the domed spires, conscious of how they dwarfed me, and let the weight of its rich background and significance settle over me as the setting sun drew its shadow across the concrete.