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congonhas

The construction of the sanctuary began in the mid-eighteenth century. The church facade is provided with corners, pilasters, cymatium and stone trims. The frontonkind of gable that serves to crown the central part of the frontispiece of the church; usually also speak in fronton with respect to the altarpiece of the shot (the truncated fronton of St. Francis of Ouro Preto is the more dramatic). has graceful curves trimmed with stone. Inside, on the throne, the image of Jesus Crucified and, on the main altaraltar or main altarpiece of a church or chapel, positioned on the wall (St. Francis of Ouro Preto)., two torchiere angelsangel sculpture carrying torchiere or large candlestick for candles (at the Museum of Conspiracy in Ouro Preto). carved by Francisco Vieira Servas. The main chapelmajor chapel, where is the altar of a church. was built by Francisco de Lima Cerqueira, an important Rococoornamental style emerged in France during the reign of Louis XV (1710-1774) and characterized by the use of capricious curves, asymmetrical shapes and delicacy of decorative elements, such as stylized shells (rocailles), bonds, flowers, foliage, which tended a refined elegance; in Brazil last out neoclassicism (1816). architect, in partnership with Tomás da Maia Brito. The altarpieceornamental structure of stone or woodwork that rises on the back of the altar; generally according to the following classification: Jesuit or Mannerist (early seventeenth century); Portuguese national (1680-1720); Joanine (1720-1760); Rococo (1760-1816); and neoclassical (nineteenth century). His most important altarpiece is in the Church of St. Francis of Ouro Preto; drawings of São João del Rey and Carmo de Sabará. and the saints – Longinus and Veronica – are by João Antunes Carvalho, executed between 1769 and 1775. The reliquaryobject intended to guard relics in the form of bust or other (he performed a set for the sanctuary of Congonhas). busts that on the altars are by Aleijadinho.

The side altars are by Manoel Rodrigues Coelho, and have consolesprotruding and decorated parts to sustain a sculptures or support cornices and balconies (the prophets are on consoles with corbels). in place of columns, and on the top there are carved angels. Carver Jerônimo Félix Teixeira was in charge of the pulpitstribune designed to preaching in churches or sermons of the priest; the Minas Gerais’ churches usually have two pulpits – the side of the Gospel, on the left of the entrance of the church, and the the Epistle, on the right (the most important pulpits of Aleijadinho are the two on soapstone in the Franciscan church of Ouro Preto and wooden in Sabará, in the Carmelite Church).. In the main chapel, and all over the naveinner part of the church from the entrance to main chapel; it is called main nave when this space is divided by pillars, columns or arches., there are several panels depicting biblical scenes. Also in the presbyteryhigh part in the main chapel of a church. ceilings and the body of the church, there are various paintings in perspective by artists such as João Nepomuceno Correia Castro (painted between 1778 and1787), retouched by Manoel da Costa Ataíde. The scenes are the drama of Joseph and his brothers and the scenes that follow such as the seduction of Potiphar’s wife, scenes with pharaoh and dream interpretation. The scenes of the main chapel depict King David, his anointing, the fight with Goliath, farewell from Jonathan, David and the sanctified bread, or allusions to the life of Christ.

The pictorial program inside the sanctuaries is in fact a continuation of the work that had been proposed for Aleijadinho: Old Testament scenes (Prophets, dressed in the Turkish style) and New Testament (Stepssmall chapel which houses sculptures or paintings depicting scenes from the Passion of Christ (chapels of the Steps of the Passion in Congonhas with the 64 sculptures). of the Passion). Under the choir are scenes of biblical patriarchs like Abraham and Isaac and Jacob and Isaac. There are also scenes of Adam and Eve in the paradise and their expulsion, the sacrifices of Abel, Cain and his crime by killing his brother, and Noah and the flood. From the New Testament, scenes from the life of Christ and the Virgin – her birth, marriage to Joseph, Annunciation, Birth, Adoration of the Shepherds, in the Temple. From the adult life of Christ, Baptism, Sermon on the Mount, Money Change expulsion from the Temple, meeting with the Samaritan woman, and the Resurrection of Lazarus. The third cycle are the paintings related to the Passion from the Entry into Jerusalem to his Crucifixion.

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Exploring the 12 Prophets of Aleijadinho: a 3D visit

Exploring the 12 Prophets of Aleijadinho: a 3D visit

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Exploring the 12 Prophets of Aleijadinho: a 3D visit

Download PDF BAZIN, Germain
Aleijadinho e a Escultura. Rio de Janeiro : Record, 1971.

 

 

 


COSTA, Lucio.
Antonio Francisco Lisboa, o Aleijadinho. in: O universo mágico do barroco brasileiro. Emanuel Araujo (org). São Paulo : SESI,1998.


OLIVEIRA, Myriam Andrade Ribeiro.
Aleijadinho : Passos e Profetas. Belo Horizonte: Editoras Itatiaia/EDUSP,1984.


MACHADO, Lourival G.
Barroco Mineiro. São Paulo : Perspectiva, 1973.


TAVEIRO, Celso.
O Aleijadinho em Congonhas: as hipóteses de Germain Bazin. in Barroco. Ouro Preto : UFMG, nº 13, 1985.


SILVA, Soraia Maria.
Profetas em movimento. São Paulo : Edusp/Imprensa Oficial, 2001.


SMITH, Robert.
Congonhas do Campo. Rio de Janeiro : AGIR, 1973,

 

Dictionaries

CHEVALIER, Heab e GHEERBRANT, Alain.
Dicionário de Simbolos. Rio de Janeiro : Ed. José Olympio, 1990.


JENNI, E. e C. WESTERMANN.
Diccionario Teológico Manual del Antiguo Testamento. Madrid : Ed. Cristandad, 1978.


SANCHÉZ, Tomás Parra. Dicionário da Bíblia.
Aparecida : Editora Santuário, 1997.