1752 – Project for a fountain in the courtyard of the Palace of the Governors, in Vila Rica (the contractor master of this work was his father and the master project José Fernandes Pinto Alpoim).
1757 – He attended the seminary of St. Francis of Assisi (up to 1759), dedicated to vocational mechanical trades (theoretical and practical): carpentry, architecture, sculpture, painting and others. There lectured his father, the medalist João Gomes Batista – with which learned to open the wedges (coins) and make the reliefs in soapstone -, the sculptors and carvers Francisco Xavier de Brito – who had worked in ornamentation of the main chapel of the Mother Church of Our Lady of Pilar in Ouro Preto – and José Coelho de Noronha – first altar on the Mother Church of Caeté.
1757 – Fountain drawing on Priest Faria neighborhood of Alto da Cruz in Ouro Preto.
1760 – He performs altar in Mother Church of Caeté along with Jose Noronha Coelho.
1760 – First altars of the arch of triumph of Chapel of Our Lady of the Rosary in the district of Santa Rita Durão, Mariana.
1761 – First work in soapstone, a Muse bust to the fountain of the priest Faria da Cruz Alto, near the Church of St. Ephigenia in Ouro Preto.
1761 – New work with José Noronha Coelho for the triumphal arch of the Mother Church of Barão de Cocais.
1763 – First working as an architect with the line of the facade and towers of the Mother Church of Barão de Cocais.
1766 – He draws the facade of his masterpiece, the Church of St. Francis of Penance, of the third Franciscan brothers of Ouro Preto.
1767 – His father dies at age 70 and Aleijadinho is not included in the will.
1768 – He enlists in Infantry Regiment of the Mulattoes Men. Receives the order of the cover and relief sculptures for the facade of the Carmelite church of Ouro Preto. Adjusts his military service with the architecture profession. Performs the pulpits in soapstone of the Franciscan church of Ouro Preto.
1770 – Renovation of the frontispiece of the Third Order Carmelite church of Sabará aided by Francisco Lima Cerqueira. Sculpts two side altarpieces of the triumphal arch in the Rosary Chapel in Santa Rita Durão, Mariana district. They are considered his first two individual works. Organizes his workshop and controls the contracts. Assists the remodeling of Carmo of Ouro Preto.
1771 – Hired to evaluate the implementation of the third Carmelite church of Ouro Preto, designed by his father.
1772 – Designs and sculpts the two pulpits in soapstone, with drums with sculptures, for the church of St. Francis of Ouro Preto. For being a sculptor and carver – wood work – he was part of the Brotherhood of St. Joseph of the Mulattoes and performs the main altarpiece of this Ouro Preto church.
1773/1774 – Main chapel drawing of the Church of St. Francis of Ouro Preto. Ends the facade of the Church of Carmo in Ouro Preto.
1774 – Church of St. Francis design in São João del Rey. There is a design with the signature of the master on this project whose facade was modified by Francisco Lima Cerqueira. He performed the cover and medallion of the Virgin on the facade. He designed the main altar, modified by Francisco Lima Cerqueira. He designed the altars of the nave that were executed in the nineteenth century, following skillfully the line of the master. Sculpts Nossa Senhora da Piedade for the sanctuary of the same name, in Caeté and another for camp, today Felixlândia.
1774 – This year, Aleijadinho had to travel to Rio de Janeiro where he can admires the two doors of the Third Order of Carmo church, in limestone with rococo ornaments. The first church to have rococo ornamentation in Rio de Janeiro was the Santa Rita in 1752. Later this year, ends the cover, the buckle and the ornaments of the pediment of the Carmelite Church of Sabará.
1775 – Started last year, the facade ornamentation of the Franciscan church of Ouro Preto was completed in soapstone with two angels based on the portal scrolls, Franciscan shields and medallion of the Virgin, crown and above the medallion of St. Francis of Penance. Main chapel line of the church of Mercy and Pardons in Ouro Preto (demolished in 1805).
1776 – Aleijadinho is called up for military work in Rio Grande do Sul, goes to Rio de Janeiro, is called off and returns to Minas Gerais.
1777 – Start of a degenerative disease with atrophy of the members – toes and fingers. The instruments are tied to continue working. Oversees the work of Mercy. Continues the work of the Franciscan toilet.
1778 – Carves the distaff pictures (only head and hands) of the saints, with Pedro Nolasco and Raimundo Nonato, for church of Mercy.
1778 – Carves soapstone for all the cover of the Church of St. Michael and Souls in Ouro Preto.
1778/1779 – He sculpts in cedarwood the entire hoist assembly to the Chapel of Jaguará farm, which in the 20th century was all transferred to the Mother Church of Nova Lima. It is noteworthy the whole work of the Holy Trinity in the crowning of the main altarpiece. All this work is only in cedarwood, without polychrome: altar, two side altars, railings, pulpit and altar of the sacristy.
1779 – Completes the toilet in the sacristy of the Church of St. Francis of Ouro Preto, dated, in soapstone. Starts studies of the interior decoration of Church of Carmo de Sabará and gets the job to the wind – screen – the Mariana cathedral.
1779/1783 – Works in the ornamentation of the interior of the nave of the church of the Third Order of Carmo de Sabará with the following works: two pulpits in polychrome wood with relief, the choir with curvaceous design supported by two Atlanteans, the chandelier, the balustrade of the nave and the images of St. Simon Stock and St. John of the Cross to the altars of the triumphal arch.
1785 – Evaluates the work in Mother Church of Barão de Cocais, scratching triumphal arch and sculpts the image of the patron St. John the Baptist prepared on a niche of facade.
1790/1794 – Begins to be called Aleijadinho. For four years working on implementing the main altarpiece for the Church of St. Francis of Ouro Preto, considered his masterpiece altarpiece. It includes the work of Franciscan saints medallions and an angel with a basket of flowers on the ceiling of main chapel. He is aided by a pulley team of Henrique Gomes Brito, Luís Ferreira da Silva and Faustino da Silva Correia. Receives the first praise for his works according to a survey by the captain Joaquim José da Silva. Carries out the design of the side altars of this Franciscan church – Saint Lucius and Saint Bona and the remaining terminated by Valentim Alves da Costa in 1829.
1795/1796 – Sculpts images for the chapel of the Serra Negra farm, in the present city of Esmeraldas. Ends the facades of the churches of São João del Rey, St. Francis and Carmo.
1796/1799 – Moves to Congonhas to run the 64 sculptures in cedar, life-size, of the seven Steps of the Passion, arranged in six chapels: Step of the Last Supper (line Aleijadinho Chapel), the other six being built in second half of the nineteenth century, namely: Step of the Garden (with the Angel of Sorrow), Step of the Prison (with St. Peter with the sword), Step of Flagellation (with Christ in the column) and Crowning with Thorns (with the Christ of Cold Stone, Step of the Cross on His Back and the last Step of the Crucifixion, with the two thieves). Soldiers are works of his studio as well as other figures. The incarnation was run by painters Manoel da Costa Ataíde and Francisco Xavier Carneiro. The figures of the Steps passed by several restorations in the 1950s.
1800/1805 – For five years sculpts the 12 sculptures of the prophets with the help of his assistants (Tomás da Maia and Antônio Gomes) in soapstone – steatite. Works on the top of the figures, 11 of them being made in two parts. The works are arranged in the churchyard of the Sanctuary of Bom Jesus de Matosinhos in Congonhas.
1803 – Sculpts and builds two of the altars of the Franciscan church of São João del Rey, with their respective images of St. Louis, King of France, and St. Francis of Assisi. The remaining altars were executed in 1829 and did not receive gilding.
1804/1808 – Performs other works for the church of the sanctuary in Congonhas, as organ case, chandelier, candelabra and reliquaries busts.
1806 – Altarpiece project of the main chapel of Church of Carmo de Sabará.
1807/1808 – Latest work in Ouro Preto and in the Carmo church, performs two side altars: of Mercy and of St. John the Baptist.
1810 – Last work as an architect: he draws the frontispiece of the Mother Church pf St. Anthony in the city of Tiradentes.
1812 – In Ouro Preto, already very ill, the altars that he designed are performed by Justino Ferreira de Andrade, in his workshop.
1814 – Dies on November 18, at 76 years and is buried at the base of the side altar (to the right as you enter) of Our Lady of the Good Death, in the Mother Church of Our Lady of Conception of Antônio Dias, the same in which he was baptized and manumitted. This altar belongs to the Brotherhood of Mulattoes Men, but his wish was to be buried in the church of St. Ephigenia of the Black Men.
Aleijadinho et la sculpture baroque au Brésil. Paris : Éditions du Temps, 1963.
Aleijadinho e a escultura barroca no Brasil. Rio de Janeiro : Ed. Record, 1972.
BRETAS, Rodrigo José Ferreira.
Traços biographicos relativos ao finado Antonio Francisco Lisboa, distincto escultor mineiro, mais conhecido pelo appellido de Aleijadinho. in Correio Official de Minas, n. 169 e 170, Ouro Preto, 19 e 23 de agosto de 1858. Republicado em Antonio Francisco Lisboa, o Aleijadinho. Diretoria do Patrimônio Histórico e Artístico Nacional, n. 15. Rio de Janeiro : MES, 1951, p. 23-35.
OLIVEIRA, Myriam Andrade Ribeiro de. e outros.
O Aleijadinho e a sua oficina Catálogo das esculturas devocionais. São Paulo : Editora Capivra, 2002.
TEIXEIRA, José de Monterroso.
Aleijadinho, o teatro da fé. São Paulo : Metalivros, 2007.