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interventions like this one, which falsify what they claim to preserve. The entire texture of the paintings has been altered, countless details have been added, others removed, the colors have changed their tones, the volumes and contours have changed. In fact, we're looking at a copy, because all that's really left of the original is the overall composition. The whole effect is that of a new work, even though it resembles the one that originated it. To study art and history on the basis of testimonies that have been tampered with to such an extent is to learn false things that lead to misleading conclusions and nonsense. That's not educating, that's not documenting the facts correctly, that's creating an artificial reality. This distorted knowledge ends up multiplying, creates tradition and becomes a truer history than the authentic truth that we insisted on hiding under layers of 'creative' paint, even though it may have been done with the best of intentions.
200:
188:. It was brought from Caxias in procession and, since then, a tradition of pilgrimages to the chapel has developed. Later, the community gathered to build a masonry church and pottery was improvised to manufacture the bricks for the structure of the temple, while the carved stone remained for the adjoining bell tower. The building was inaugurated in 1890. In 1900, the bell tower clock, built by Augusto Rombaldi, was installed.
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173:), was a 12 square meter wooden chapel with a small porch at the entrance built by immigrants Antônio Franceschet and Pasqual Pasa due to the lack of a temple in the area, which forced them to hold services inside their homes. After it was finished, donations allowed the space to be extended to accommodate 100 people.
433:, and to a confessional room on the other side. A series of modern panels with images and text were also installed in the chancel as a memorial to the former priests who served the parish. The temple has an audio system that narrates the apparition of the Virgin in Italy, the history of the shrine and its traditions.
428:
There are two murals on the walls of the chancel depicting scenes of healings sponsored by the Virgin of
Caravaggio made by Cremonese. The ceiling is a half-dome made of wood with similar decoration to the nave ceiling. On the side are two ogival windows with colored stained glass and doors that lead
441:
To the left of the church stands a stone belfry with several openings, a clock and a neo-Gothic crown with pinnacles and double openings for the three bells imported from Italy, which, according to tradition, have the power to ward off hailstorms with their ringing. The belfry is topped off by a
227:
Restoration, unlike what was done here, is a process based on respect for the original work, in which its distinctive characteristics are kept exactly as they are so that they can say what they have to say, fulfilling their role as an authentic and legible document, without entirely arbitrary
219:- IPHAE), along with the rest of the sanctuary complex, due to its importance to history, art and culture. Between 2005 and 2012, the chapel underwent restoration work led by Marinês Gallon. The result was criticized as disastrous by Ricardo Frantz, the former coordinator of the
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In 2012, the process of listing two surrounding areas was launched in order to create a landscape and cultural complex. The main pilgrimage currently attracts between 200,000 and 300,000 faithful and is the largest religious festival in the northeast of Rio Grande do Sul.
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ceiling is made of light blue wood dotted with tiny golden stars and stands on a wide cornice decorated with a frieze in a floral motif. In the middle of the nave, a door opens on each side and on the left is a simple wooden pulpit with a
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On May 26, 1921, the parish received the status of a diocesan shrine and a permanent secular clergy to attend worship and organize pilgrimages. In 1959, Our Lady of
Caravaggio was declared patroness of the
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There are two neo-Gothic carved altars next to the crossing arch painted white with green and natural wood details, with marbled panels and different images of saints. The one on the left is dedicated to
196:. After 1963, the temple, unable to accommodate the influx of devotees, transferred its status as a parish church to the building next door, which had a capacity for around 2,000 people.
398:, along with other secondary saints. The arch has pilasters decorated with marbled paint and above it is a painted scene with angels and God with open arms appearing between clouds.
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at the back with a predominance of the neo-Gothic style. The entrance is located under a wooden choir supported by two slender octagonal columns and decorated with simple paintings (
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brought from Italy in 1876 by Natal Faoro and lent by him to the community. In 1885, a statue of the Virgin of
Caravaggio was acquired from the Italian sculptor
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and another unidentified saint) in three medallions along the parapet. Also under the choir are two wooden confessionals, one on either side of the entrance.
305:. Another cornice just above, more ornate, extends and outlines the entire pediment, interrupting in a round arch at the base to house an oculus occluded by
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and has a rare statue of the Virgin Mary as a baby wrapped in cloths and tied tightly with straps at the base. The altar on the right is in honor of
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stands out. At the base of the altarpiece is the celebration table, on a podium with three steps, under which is a scene in relief depicting the
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in the state until the 1960s. In 2006, it was declared a state heritage site due to the historical, cultural and social importance of the site.
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The first place of worship dedicated to Our Lady of
Caravaggio in the old Linha Palmeiro, formerly part of the Dona Isabel Colony (currently
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The nave is lined with ogival windows, side columns and a foliate relief above. The walls are decorated with ornamental paintings by
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with a cross at the top and inscribed 1890, the date of the inauguration. On the side there are two slender circular pilasters with
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Currently, the shrine gathers around 140 families and seven subordinate chapels. In 2006, it was listed as a landmark site by the
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386:. The benches are also made of wood with discreet carving and the floor is decorated with tiles in various geometric motifs.
732:"Relações de hospitalidade na Romaria ao Santuário de Nossa Senhora de Caravaggio – Farroupilha/RS: a ótica do acolhedor"
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645:"Santuário de Caravaggio e a modernização de espaços sacralizados: notas etnográficas de uma romaria na Serra Gaúcha"
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A large triangular pediment sits above the block, separated from the structure below by a cornice adorned with a
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for statues. A pair of images depicting the patroness blessing the kneeling seer
Joaneta made by the Atelier
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865:"Escultura religiosa na Colônia Caxias: um estudo sobre a obra de Pietro Stangherlin e Tarquínio Zambelli"
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707:"Santuário de Caravaggio: a patrimonialização de um espaço edificado a partir das relações da comunidade"
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425:. Also attached to the altarpiece are rare processional candle holders in worked and painted metal.
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is a neo-Gothic wooden construction with several levels, pinnacles with a pierced work and several
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elements. The facade has a traditional classic triangle-over-square layout raised above a small
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887:"Imagem do Sagrado Coração de Jesus retorna ao Santuário de Caravaggio após restauração"
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797:"Como estão os preparativos para a 144ª Romaria de Caravaggio, em Farroupilha"
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Instituto do Patrimônio Histórico e Artístico do Estado do Rio Grande do Sul
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Historical and
Artistic Heritage Institute of the State of Rio Grande do Sul
772:"Sala dos ex-votos do Santuário de Caravaggio, em Farroupilha, está cheia"
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with a single central door and an arched opening. The door has a discreet
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911:"Mirante das Graças e base do campanário em Caravaggio serão reformados"
675:"Santuário de Nossa Senhora de Caravaggio, oásis de fé no sul do Brasil"
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composed of a thin frame in relief imitating carved stone, crowned by a
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839:"122 anos de criação da Paróquia de Nossa Senhora de Caravaggio"
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to the former sacristy, now converted into a storage room for
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286:. In the two side openings, at a high level, there are small
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Official website of the
Sanctuary of Our Lady of Caravaggio
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Image of the patron saint on the altarpiece in the chancel.
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chancel is separated from the nave by a step and a marble
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King David with the psaltery, painting in the choir.
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at the top and marbled effects on the pilasters and
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Torchbearers next to the altarpiece in the chancel.
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730:Schneider, Mônica; Santos, Marcia Maria (2013).
127:Antigo Santuário de Nossa Senhora de Caravaggio
50:The chapel at the beginning of the 20th century
31:Antigo Santuário de Nossa Senhora de Caravaggio
442:large figure of an angel blessing the people.
1000:Buildings and structures in Rio Grande do Sul
207:before and after the restorer's intervention.
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325:Aspect of the interior facing the entrance.
612:"Santuário de nossa Senhora de Caravaggio"
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313:on the corners and a cross on the apex.
254:The chapel has simple architecture with
176:The venerated image was an engraving of
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119:Old Sanctuary of Our Lady of Caravaggio
110:Roman Catholic Diocese of Caxias do Sul
25:Old Sanctuary of Our Lady of Caravaggio
290:windows with simple frames in relief.
16:Catholic temple in Farroupilha, Brazil
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583:"SANTUÁRIO DE N. SRA. DE CARAVAGGIO"
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157:. It was the center of devotion to
147:Sanctuary of Our Lady of Caravaggio
19:Church in Rio Grande do Sul, Brazil
533:Old sacristy with ex-voto crosses.
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521:Altar of Saint Anthony the Abbot.
495:Altar of Saint Anthony the Abbot.
205:Miracle of Our Lady of Caravaggio
145:), is located inside the current
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995:Roman Catholic church buildings
885:Lemos, Cristiano (2021-06-05).
221:Rio Grande do Sul Museum of Art
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985:Churches in Rio Grande do Sul
649:Ciencias Sociales y Religión
643:Lopes, José Rogério (2012).
557:History of Rio Grande do Sul
149:, in the Brazilian city of
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337:The interior has a single
705:Rodrigues, Luiza (2018).
545:Detail of the bell tower.
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863:Lazzari, Nátali (2013).
194:Diocese of Caxias do Sul
752:Frantz, Ricardo André.
333:Aspect of the interior.
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309:. There are two small
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237:Architectural features
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159:Our Lady of Caravaggio
915:Farroupilha City Hall
815:"História da Devoção"
736:Revista Hospitalidade
396:St. Anthony the Abbot
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129:), also known as the
509:Altar of Saint Anne.
297:with a semicircular
961:29.1734°S 51.3460°W
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203:Antonio Cremonese:
143:Capela dos Ex-Votos
966:-29.1734; -51.3460
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182:Pietro Stangherlin
178:Our Lady of Loreto
153:, in the state of
139:Chapel of Ex-Votos
39:Chapel of Ex-Votos
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362:Antônio Cremonese
155:Rio Grande do Sul
131:Old Mother Church
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679:Vatican News
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618:. 2021-06-27
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288:round-arched
268:frontispiece
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86:Architecture
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964: /
423:Last Supper
301:simulating
223:collection:
151:Farroupilha
105:Archdiocese
64:Farroupilha
979:Categories
952:51°20′46″W
949:29°10′24″S
921:2024-03-19
896:2024-03-19
849:2024-03-19
843:Caravaggio
824:2024-03-19
819:Caravaggio
782:2024-03-19
684:2024-03-19
622:2024-03-18
592:2024-03-18
587:Caravaggio
563:References
437:Bell tower
411:altarpiece
407:balustrade
351:King David
260:neo-Gothic
123:Portuguese
616:Jornal PP
353:with the
311:pinnacles
137:) or the
91:Completed
551:See also
431:ex-votos
419:Zambelli
392:St. Anne
371:garlands
355:psaltery
317:Interior
276:pediment
264:basement
60:Location
446:Gallery
403:apsidal
375:plinths
364:, with
343:chancel
303:corbels
284:capital
282:and no
280:fluting
272:cornice
165:History
891:Leouve
415:niches
384:canopy
377:. The
341:and a
295:frieze
274:and a
242:Facade
80:Brazil
77:
872:UFRGS
868:(PDF)
758:UFRGS
714:UFRGS
710:(PDF)
299:motif
738:(1).
401:The
339:nave
258:and
117:The
94:1895
801:GZH
776:GZH
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817:.
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