The site that currently hosts the Basilica of Bom Jesus and the House for the Professed was historically referred to as Terreiro dos Galos, renowned for its cockfights that drew large crowds. However, in 1549, these cockfights were prohibited by the Vice-Roy, Matias de Albuquerque.
The Jesuits made their initial arrival in Goa in 1542 and subsequently acquired four significant properties in Old Goa. These included the renowned Collegio de S. Paulo, the Bom Jesus Church along with its adjoining residence, the Church of St. Roque which housed the Novitiate, and a recreational facility adorned with exquisite fountains. There were various perspectives concerning the necessity and placement of the Professed House in relation to the College of S. Paulo, where all the authorities and professed priests resided. In 1583, Provincial Alessandro Valignano was entrusted by General Father Mercurian to make the necessary decisions in consultation with his fellow confreres.
Although the Franciscans were the first to establish a presence in Goa, the arrival of the Jesuits led to a rivalry between the two Orders. The Franciscans intended to set up a convent for sisters at the site designated for the Professed House; however, the Jesuits opposed this plan, and the local authorities were also unsupportive of the Franciscans, who sought assistance from King Filipe I of Portugal to no avail.
Due to various factors, Rome established specific distances to be maintained between Churches, Convents, and similar institutions, a regulation referred to as inter cannae, with one canna measuring approximately 2.5 meters. In 1256, Pope Clement IV mandated a distance of 300 cannae between two Churches or Convents, which was later reduced to 140 cannae in the 16th Century. The Jesuit headquarters in Rome proposed a design for the Casa Professa; however, the Provincial in Goa deemed it unsuitable for the local context and opted for a European architectural plan with modifications, which was brought forth by the Italian architect Giovanni Battista Cairato. The construction was overseen by Bro. Domingos Fernandes and Julio Simão, the Chief Engineer for the Estado da India, with support from Bro. Luis Castanho and mason Diogo Ferrão.
When the Jesuits initiated the construction of the House for the Professed in 1585, they encountered significant opposition from the Senate, the Santa Casa de Misericordia, and the Franciscans. Had it not been for a strategic maneuver they employed; they might have been forced to abandon the project. In fact, they had already begun residing there by January 12, 1586. The structure that exists today is merely a remnant of the original building, which was destroyed by fire in 1663. Although it was subsequently rebuilt, it faced another fire incident. The Professed House held considerable significance as it served as the residence for the Provincial of the Jesuits and other Jesuit officials, as well as professed Jesuits.
The Basilica of Bom Jesus, renowned worldwide, is connected to this residence, housing the relics of St. Francis Xavier. The construction commenced in 1594, and it was consecrated by D. Fr. Aleixo de Menezes in 1605. In 1946, Pope Pius XII elevated the church to the status of a minor Basilica. The architectural design of both the church and the adjoining residence was executed by Bro. Domingos Fernandes, with assistance from Julio Simão. Following the expulsion of the Jesuits in 1759, the archbishop took over its administration. Subsequently, the Vicentians established a seminary on the premises, but after its closure, the house was entrusted to a Canon, who assumed the role of Administrator. Currently, an Administrative Committee appointed by the archbishop oversees its management.
This church, characterized by its vaultless, single-nave structure, features a stunning façade oriented to the west, adorned with three graceful porticos. These porticos are crowned with three large windows, above which three circular windows are positioned. The uppermost section culminates in a quadrangle, lavishly decorated with arabesques, prominently displaying the Jesuit emblem at its center. This intricate design showcases a fusion of five architectural styles: Ionic, Tuscan, Corinthian, Doric, and Composite.
Upon entering, one is greeted by two pillars that uphold the choir loft, adorned with inscriptions in both Portuguese and Latin. The Portuguese inscription states: ESTA IGREJA DE JE / SVS SE COMECOV A 24 DE NOVEMBRO DE 1594 E/CONSAGROV-A 0 REVE / RENDIS. E ILLUSTRIS. SENHOR D. FR. ALEIXO/DE MENEZES ARCE/BISPO DE GOA PRI/MAS DA INDIA ANNO/DO SENHOR 1605/15 DE MAIO (This Church of Jesus was begun on 24th November, 1594. It was consecrated by the most Rev D. Fr. Aleixo de Menezes, Archbishop of Goa and Primate of the Indies in the year of the Lord 1605, On 15th May). HANC ECCLES IAM/JESV SOLEMNI RITU / CONSECRA VIT REVE/ RENDISSIMUS ET IL / LUSTRISSIMVS D. ALEXIVS ARCHIEPISCOPVS GOENSIS INDIAE PRIMAS / ANNO DOMINI/MDCXV. MA.
Adjacent to the pulpit, one can find the cenotaph dedicated to Dom Jeronimo Mascarenhas, the founder of this Church. The pinnacle of the cenotaph is crafted from bronze, lavishly gilded, and is upheld by two lion figures. The achievements of this Captain are depicted on four plates featuring intricate deep relief, accompanied by the following inscription:SEPVL TVRA DE DOM HIERONI / MO MASCARENHAS, CAPITAM Q FOI DE COCHIM E ORMVZ, A CV / IA CVSTA SE FEZ ESTA IGREJA / EMGRATIFICACAM A COMPANHIA/DE IESV THE DEDICOV ESTE LVGAR. FALECEO NO ANNO DE 1593. (The tomb site of Don Hieronimo Mascarenhas, former Captain of Cochin and Ormuz, is located here, funded by his own resources for the construction of this Church. In appreciation, the Society of Jesus has dedicated this location in his honor. He passed away in the year 1593.).
The impressive pulpit located on the right features four sculptures representing the Evangelists and four Doctors, all rendered in striking relief. It is supported by the bare backs of seven robust figures, with the number seven holding sacred significance in the Holy Scriptures. The Church's dimensions are as follows: Length = 65.1 meters and Width = 40.6 meters. The main altar is adorned with a gilded altarpiece that showcases a statue of St. Ignatius of Loyola, the founder of the Society of Jesus, standing at a height of 2.86 meters. Clad in Mass vestments, he raises his right arm while gazing heavenward; the sculptor captures Ignatius's expression at the moment he fervently declared, How doth the earth fill me with disgust when I lift my eyes to heaven’. Beneath this statue lies an image of Bom Jesus, which was added later. At the top, there is a sculpture of the Holy Trinity, and below it, the emblem of the Society of Jesus
The lateral altars are consecrated to St. Michael and Our Lady of Hope. Within the transept, there exist two vaulted chapels on either side; the chapel on the left was previously dedicated to St. Francis of Borgia, the patron saint of Portugal and its colonies. The opposing chapel is dedicated to St. Francis Xavier. In 1622, the image of St. Francis of Borgia was relocated to the side altar, while the relics of St. Francis Xavier were placed in its original location. However, in 1655, these relics were permanently moved to the Chapel where they are currently housed, and the tabernacle that was situated there was transferred to the Chapel of St. Francis of Borgia.
Since 1779, the empowering ceremony for the Vice-Roy and Governor has been conducted in this Church. During this ceremony, the Bishop formally presented the staff to the Governor, who returned it only upon the conclusion of his term.
The passage leading to the sacristy is adorned with nine exquisite canvases. The sacristy features a richly carved teak door, embellished with deep relief sculptures of four saints: Peter, Paul, Ignatius, and Xavier. This door is further enhanced by elegant foliage designs. Inside, the sacristy boasts a vaulted ceiling adorned with intricate stucco work. Recognized as the largest and most opulent in Goa, the sacristy contains four massive chests of drawers in each corner, with an additional four along the sides.
These chests, crafted from black wood, showcase elaborate foliage and floral motifs, complete with gilt labels denoting their contents. The current sacristy was established in 1653, replacing the previous one. Additionally, it houses a stunning collection of twelve oil paintings depicting the apostles, created in Cochin at the request of Fr. Gonçalo Martins. A silver statue of St. Francis Xavier, a votive offering from Francisca Sopranis, the wife of Urban Durati from Italy, is also present in the sacristy. This offering, made in 1670, amounted to 4800 xerafins, with the remaining funds contributed by Provincial Antonio Botelho.
The corridor leading to the sacristy is embellished with nine remarkable canvases. The sacristy itself is graced by a richly carved teak door, featuring deep relief sculptures of four saints: Peter, Paul, Ignatius, and Xavier, complemented by elegant foliage designs. Within the sacristy, one can observe a vaulted ceiling adorned with intricate stucco work. Recognized as the largest and most luxurious in Goa, the sacristy contains four substantial chests of drawers positioned in each corner, along with an additional four along the sides.
These chests, made from black wood, display elaborate foliage and floral patterns, complete with gilt labels indicating their contents. The current sacristy was established in 1653, replacing an earlier structure. Furthermore, it houses a remarkable collection of twelve oil paintings representing the apostles, commissioned in Cochin by Fr. Gonçalo Martins. A silver statue of St. Francis Xavier, a votive offering from Francisca Sopranis, the wife of Urban Durati from Italy, is also located in the sacristy. This offering, made in 1670, amounted to 4800 xerafins, with additional funds provided by Provincial Antonio Botelho.
The flying buttresses, on the northern side of the basilica were incorporated during the latter part of the 19th century. In the early 1950s, the renowned Portuguese restorer Baltazar da Silva Castro undertook the significant task of removing the white plaster from the basilica, resulting in a striking alteration of its external façade by revealing the underlying laterite stone.