The term “paraclete” comes from the Greek parákletos, meaning the one who helps, comforts, encourages, protects, and intercedes. This is the title of the Third Person of the Christian Holy Trinity: The Lord Holy Spirit (Senhor Espírito Santo), as He is referred to by the Azoreans and how He is perceived in these islands.
The cult of the Divine Holy Spirit has a strong pagan influence, due to the symbolism of the figure of the bull/cow, and its connection to the celebration of abundance associated with the harvest period. Thus, the symbolism of decorating the animals with flowers and a paper crown and the blessing with the crown’s scepter (the “decorated calf”) marks the festivity of the Divine Holy Spirit. On Friday, the calves are decorated and later sacrificed, while, on Saturday, alms of meat will be given, and, on Sunday, the Emperor will offer lunch to his guests. On Sunday morning, the procession takes place, leaving the Emperor’s house with all the insignia of worship (the crown, the scepter, the salver, rods and flags), to the Church, where the Coronation ceremony takes place. When the celebration ends, a new procession begins to the place where lunch takes place, or to the Emperor’s house.
In all the islands, the Sopas do Espírito Santo (Soups of the Holy Spirit) reign supreme. In the Azores, particularly on islands and lands where wheat was abundant, most of the grain was either sold or used to pay land rents. Consequently, wheat bread became a luxury, rare commodity for decades, as many people primarily consumed cornbread. When paired with meat and some traditional sausages, it becomes the desired celebratory dish, and the Soups of the Holy Spirit provided a strong contrast to the rustic daily meals. These soups, made from wheat and meat, in their simplicity, also evoke the Eucharistic ceremony.
In all the islands, the memory is preserved of times when the crowns were crafted from Flanders sheet, in other words, tin, rather than silver. Poverty was rampant, and the religious worship and festivities, rooted in the local community, were not always well-received by the hierarchy of the Catholic Church. There might have been reasons for this, as the revelry was perceived as excessive during a period when the strictness of the Council of Trent recommended more sacrifices. However, it’s likely that there was also a lack of tact in seeking solutions.
The fact remains that, since the priests themselves came from the local communities and were confronted with the demand for silver crowns to uphold the dignity of worship, they found a way to provide the committees overseeing the impérios with crowns made of this noble metal, using images that had fallen out of use.
Today, all the crowns are made of silver and have evolved from four royal sceptres to six, including imperial ones. Some of the old ones are now in museums, reminding us of a more difficult time when the joy of the Divine presence was almost the only moment of relief throughout the year.
The fascination and passion for stonework, whether in decorative cobblestone or in walls, both dressed and dry stone, have a deep-rooted tradition on the island of Graciosa. Throughout the island, you can find several examples of exceptional craftsmanship. The cobblestone pavement in front of the church of Ribeirinha could have been made simply of black, basaltic stone. However, the appreciation for meticulous work and the desire to continually add a touch of quality led to the inclusion of a limestone dove here, representing the Divine Holy Spirit, as if to connect and enhance the path between the church building and the império. The white stones, precisely levelled and tightly fitted, irregularly faceted without gaps between them and perfectly aligned, create a distinct representation of the Divine and offer a small lesson in Portuguese cobblestone craftsmanship.