661:
649:
588:
731:
376:
39:
473:
568:
340:
563:
Ouro Preto and São João d'El-Rei, not only corresponds to the taste of the time, reflecting the
Portuguese bases of the Colony but is already distinguished from the Luso-Colonial Baroque solutions, by such and such a denguice, by a more sensual and enchanting grace, by such a gentle 'delicacy', eminently Brazilian."
631:
style' do not constitute a novelty in themselves. The originality is in their combination, in the way they were employed and harmonized. The clearest and striking aspect is the external ornamentation carved in high-relief. Thus, although the decoration of façades with carvings and sculptures was not
622:
Still, in
Oliveras' opinion, "what is extraordinary, in our view, is that the extent of these modifications has resulted in a work of such quality, produced by the sensitivity and technical expertise of Lima Cerqueira, and should consequently be evaluated in its values and not compared to an initial
320:
was essentially finished, with the collaboration of the master
Francisco de Lima e Silva. The main altar was built from a project by Aleijadinho, modified by Cerqueira, and executed by Luís Pinheiro de Souza. Cerqueira was also responsible for the execution of almost all the sculptures and carvings,
792:, held between September 12 and 17. Such festivities usually have large popular participation and feature music by colonial and contemporary authors, including pieces composed especially for local Franciscan worship. Music featuring ancient works is also often associated with common Sunday worship.
584:, such as Lúcio Costa and Germain Bazin, tended to consider Cerqueira a traitor of Aleijadinho's legacy, and some still think so today, but his contribution has been reviewed, notably by Myriam Ribeiro de Oliveira, among others, as an important collaborator and a creative artist in his own right.
562:
has ever invented. And what I find absolutely genius in this invention is that it contains some of the most intimate, most rooted, and most ethnic constants of the national psychology, it is a prototype of
Brazilian religiosity. This type of church, immortally fixed in the two Francis churches of
366:
In the early 20th century, the church underwent several restoration works, carried out by the Serviço do Patrimônio Histórico e Artístico
Nacional (SPHAN, now IPHAN), including the restoration of the choir and the throne of the high altar. In 1954, electric lighting was installed, and in 1956 the
677:
bench, from which columns rise supporting a round arch with canopy, on whose frontispiece are angels holding medallions. The structure surrounds a large central niche for statuary, with smaller ones on the sides. Another canopy, larger, crowns the ensemble, with a large vertical railing. The two
579:
The modifications introduced by
Cerqueira, although considerable and object of great controversy, contributed to an increase in its originality, particularly in the solution he found for the towers, as pointed out by John Bury, who is one of the basic references for the study of colonial art in
782:
Since its early days, the church's worship and festivities have been characterized by the richness and inclusion of orchestral and vocal music. In the 18th century, the participation of a musical group was registered, which later split and reorganized itself in the 19th century as the Lira
738:
There are many legends associated with the Church of Saint
Francis. One of them refers to the statue that adorns its main altar stating that it miraculously appeared from nowhere. Legend adds that the bell ringer was removed from the belfry, arrested, and
406:
also follows the dominant trends of the period, with a tripartite scheme composed of a central rectangular block for the body of the building and two lateral towers. The entrance is done through a single monumental door, adorned with a carved
553:
engaged in the study of the colonial past, when this topic appeared at the beginning of the 20th century as a fulcrum for the nationalist aspirations of intellectuals and the search for the "true" cultural identity of the country, stated:
632:
exactly a novelty in the churches of the XVIII century, the ornamentations attributed to
Aleijadinho are unprecedented for their complexity, and, above all, for the delicacy of their ornaments. Such complexity and delicacy, common in the
611:, simplifying its design. According to Oliveira, modifications to the original designs were a constant practice in colonial times, and he believes that if the original had been carried out in its entirety, it would be "the most genuinely
787:
festivities and those of the church's patron saint, whose name is celebrated on
October 4, but with celebrations over nine days. The other important festivities occur in the Quinquenas of St. Francis, which mark his reception of the
743:
for the crime he had "committed," but this narrative does not have any historical basis, although it was in fact a custom to remove the clapper from the bell and temporarily chain it when its operator died in activity.
668:
Its interior is richly decorated with detailed carving on all the altars and pulpits, whose design was by
Aleijadinho, in a style that merges influences from Joanine Baroque and Rococo. He also designed an image of
774:
the image of Our Lord of the Steps in the Procession of the Deposits, held at night and by torchlight, which then takes part of the Procession of the Meeting in the Largo da Câmara, and receives the image of
623:
project that was not obeyed, as has been done until today", and for Bury, the Church of St. Francis shows "an exceptionally high artistic sensibility in its design and decoration". The historian continues:
52:
751:: The city gained fame for this as the place "where the bells speak," and the bells of Francis are still used today in a traditional "battle of bells" that dates back to colonial times, held in the
795:
For the beauty of its interior and the majesty of its external setting, the church is one of the most sought-after for weddings, and its square is where the stage for many cultural events is set.
367:
access staircase was stabilized. In 1959, the altar was restored. Later, the white paint covering the nave altars, considered a late addition, was removed, leaving them with the apparent wood.
660:
599:
A comparison between the original project of the façade and the work seen today shows that Cerqueira interfered in the towers, giving them a rounder profile, modifying the design of the
472:
324:
By 1804, the nave and the other works in the body of the church had been finished and in 1809, Aniceto de Souza Lopes completed the towers and the choir, besides executing, according to
503:, "the rich composition of the doorway, with emphasis on the magnificent carvings that are organized in an elegant design" can be noticed. There appear the winged coats of arms of the
534:, if not in all Minas Gerais," and admired the work done by a master who was told to execute his works "with instruments adjusted by an assistant to the stubs representing his arms."
699:
558:"Aleijadinho, arising from the lesson of Pedro Gomes Chaves, comes to genialize his manner, creating at the same time a typical church which is the only original solution that
500:
325:
263:
648:
587:
363:, and at some point were painted white. The ceiling of the nave was also not decorated, and only presents a central medallion in relief from which hangs a light fixture.
730:
1292:
1225:
375:
181:
707:
418:
On the upper level, two windows with frame ornamentation open up, and between them, a large rounded porthole has been created. This block is separated from the
38:
169:
1127:
1108:
1013:
1192:
Resende, Fabíola Moreira (2011). "A Orquestra Ribeiro Bastos de São João Del-Rei/MG: prática e aprendizagem musical em uma tradição tricentenária".
912:
Bury, John (2010). "O Estilo Aleijadinho e as Igrejas Setecentistas de Minas Gerais". In Bury, John; Andrade Ribeiro de Oliveira, Myriam (eds.).
783:
Sanjoanense and the Orquestra Ribeiro Bastos, two of the oldest musical associations in Brazil that are still active. Also of importance are the
1075:
491:. His authorship is assured by the survival of an incomplete autograph drawing of the front elevation of the building, today preserved in the
636:
and wood carvings of interiors, had rarely been reproduced in stone on church exteriors. Sir Richard Burton, writing about the façade of the
387:. Its plan broadly follows the conventional model of colonial times, with a single nave with side altars, a choir over the entrance, a deep
193:
770:
Church takes an active part in the solemnities. It is one of the focal points of the celebration of the Passion Steps, receiving from the
289:
However, the church deteriorated with time and in 1772, it was decided to build a new and larger one and preparations began immediately.
1287:
483:
The layout and decoration of the façade still follow Aleijadinho's design in essence, with an aesthetic that blends elements of Joanine
1170:
1128:"Parecer referente ao processo IPHAN 01450.011821/2009-82, no qual se solicita registro do Toque dos Sinos em Minas Gerais... etc"
255:
927:
Bury, John (2010). "Termos Descritivos de Estilos Arquitetônicos". In Andrade Ribeiro de Oliveira, Myriam; Bury, John (eds.).
452:
The towers have a round section, and up to the level of the architrave they are perforated by two widened ditches. Above the
1233:
690:
differs from the others structurally by the pairs of solid twisted columns and the absence of canopies, as well as by being
541:, which shows the first signs of the formation of a genuinely Brazilian aesthetic, and which has no direct precedents in
1039:"Um Mestre Português na Comarca do Rio das Mortes: Francisco de Lima Cerqueira e suas obras na Vila de São João del-Rei"
526:
The façade caught the attention of one of the first English travelers to pass through Minas Gerais in the 19th century,
293:
was hired to design the structure and decoration, and in 1774 Francisco de Lima Cerqueira was commissioned to begin the
262:, later modified by Francisco Cerqueira. Due to its importance, the church was declared a national heritage site by the
653:
412:
333:
1282:
1014:"Usos sociais do patrimônio histórico, artístico e cultural de São João del-Rei: identidade e hibridismo cultural"
492:
811:
1247:"Reis de ontem, hoje e amanhã, em folia e festa, cantaram e dançaram os 300 anos da Vila de São João del-Rei".
637:
275:
243:
1138:
430:, over which rises a sophisticated pediment with volutes and broken arches, where there is a relief showing
302:
755:
period among the city's churches, which compete in ringing them in the most vigorous and prolonged manner.
722:(dressed statues), among them those representing São Lúcio, Santa Rosa, Santo Ivo, and São Luís de França.
559:
527:
108:
748:
694:
and painted. The throne is the traditional "stairway to heaven", on whose top was installed the image of
641:
531:
336:
of the gate. Some scholars believe, however, that the reliefs of the gate are Aleijadinho's achievement.
247:
87:
512:
427:
113:
1208:"São João Del Rei. Dos sinos da Igreja à Maria Fumaça, os charmes de uma cidade que não parou no tempo"
144:
1083:
1038:
776:
670:
546:
508:
258:, becoming famous for the beauty of its architecture, the richness of its carving, and the work of
231:
139:
1262:"Luzes do São Francisco marcam os 298 anos da cidade e início das comemorações de fim de ano".
992:
Bury, John (2010). "O Aleijadinho". In Bury, John; Andrade Ribeiro de Oliveira, Myriam (eds.).
767:
695:
581:
442:
431:
395:. The nave differs from standard models, however, by its curved walls, characteristic of the
673:. The side altars follow the same basic model but differ greatly in details. They rise on a
567:
339:
239:
1178:
321:
but the two altars of the crossing are considered to be the direct work of Aleijadinho.
274:
The history of the Saint Francis of Assisi Church dates back to March 8, 1749, when the
515:
among garlands and under a royal crown, from which hangs a banner with the Latin words
1276:
1171:"Semana Santa 2014 - São João del Rei - Paróquia da Catedral Basílica de NS do Pilar"
875:
644:, noted that 'the carving resembles wood carving, with very elaborate high reliefs."
759:
740:
616:
538:
251:
91:
706:
that has similarities with the solution that Aleijadinho gave to the altar of the
702:, the sculptural group that crowns the frontispiece, with a representation of the
1207:
993:
973:
928:
628:
504:
476:
290:
259:
130:
747:
On the other hand, the distinctive ringing of bells is an age-old tradition in
379:
Image of the ceiling of the nave, which mirrors the original floor plan design.
711:
496:
423:
537:
Aleijadinho was one of the responsible for the elaboration of a new style in
67:
54:
784:
771:
763:
604:
550:
408:
383:
The church is preceded by a wide stone-paved churchyard and surrounded by a
125:
972:
Bury, John (2010). Bury, John; Andrade Ribeiro de Oliveira, Myriam (eds.).
714:, is a highlight. Its altars and sacristy keep an expressive collection of
403:
391:
separated from the body of the nave by a monumental arch, and an attached
789:
608:
542:
457:
446:
419:
392:
384:
329:
310:
298:
1155:"A Semana Santa em São João del-Rei tem diversas atrações religiosas".
703:
691:
484:
453:
360:
294:
176:
164:
715:
679:
633:
612:
592:
520:
519:("You are all beautiful, Mary, and you are free from original sin").
488:
435:
396:
279:
101:
456:, round arches open up to the bells. The towers are finished with a
850:
659:
647:
600:
586:
566:
471:
461:
438:
374:
352:
283:
752:
687:
686:, have conical canopies, where large statues are supported. The
683:
572:
388:
356:
348:
317:
306:
254:. The church, started in 1774, is one of the main landmarks of
1109:"Combate dos Sinos é tradição histórica em São João del Rei"
411:
frame, with angels seated on the doorposts and an elaborate
1226:"Um conto de fadas Real: Os casamentos em São João del-Rei"
734:
Images of St. Francis and Christ in one of the side altars.
956:
O Rococó Religioso no Brasil e seus Antecedentes europeus
851:"Igreja de São Francisco de Assis (São João Del Rei, MG)"
297:
work, but he introduced modifications to the towers, the
517:
Tota pulcra es Maria et macula originalis non est in te
426:
of stonework, with an arch in the center enclosing the
876:"Igreja de São Francisco de Assis de São João del Rei"
855:
Arquivo Noronha Santos - Livro das Belas Artes (IPHAN)
511:, on which a medallion bears the image of the praying
981:(in Portuguese). IPHAN / Monumenta. pp. 166–203.
936:(in Portuguese). IPHAN / Monumenta. pp. 204–229.
916:(in Portuguese). IPHAN / Monumenta. pp. 104–123.
812:"São João del Rei – Igreja de São Francisco de Assis"
1135:
Instituto Histórico e Geográfico de São João del-Rei
1061:
Devoção e arte: imaginária religiosa em Minas Gerais
766:
have special relevance in São João del-Rei, and the
1001:(in Portuguese). IPHAN / Monumenta. pp. 18–35.
208:
200:
191:
175:
163:
158:
150:
138:
124:
119:
107:
97:
83:
24:
698:in adoration of the Seraphic Christ. According to
278:was founded, and canonically erected by the then
264:National Historic and Artistic Heritage Institute
1046:IX Colóquio Luso-Brasileiro de História da Arte
625:
607:; and, to a lesser degree, made changes to the
556:
530:, who considered it "the most spectacular in
8:
1232:(in Portuguese). 19 May 2011. Archived from
954:Oliveira, Myriam Andrade Ribeiro de (2003).
266:(IPHAN) along with its entire collection.
37:
21:
1021:Universidade Federal de São João del-Rei
729:
434:on his knees and arms open, adoring the
338:
1293:National heritage sites of Minas Gerais
1012:Tortoriello, Tulio de Oliveira (2011).
803:
779:that comes out of the Church of Carmo.
464:, both finished by bulbous pinnacles.
1177:(in Portuguese). 2014. Archived from
1103:
1101:
1074:Domingues, Walquíria (5 March 2010).
1032:
1030:
995:Arquitetura e Arte no Brasil Colonial
975:Arquitetura e Arte no Brasil Colonial
930:Arquitetura e Arte no Brasil Colonial
914:Arquitetura e Arte no Brasil Colonial
845:
441:. The ensemble is crowned by a large
207:
199:
190:
7:
1194:Universidade Federal de Minas Gerais
1063:(in Portuguese). EdUSP. p. 128.
967:
965:
949:
947:
945:
943:
907:
905:
903:
901:
899:
897:
895:
893:
891:
889:
870:
868:
866:
864:
843:
841:
839:
837:
835:
833:
831:
829:
827:
825:
468:Artistic significance and decoration
194:National Historic Heritage of Brazil
958:(in Portuguese). Cosac & Naify.
664:The frontispiece of the high altar.
343:View from the inside of the church.
1251:(in Portuguese). 31 December 2013.
14:
1214:(in Portuguese). 3 February 2010.
228:Church of Saint Francis of Assisi
25:Church of Saint Francis of Assisi
523:heads populate the composition.
236:Igreja de São Francisco de Assis
31:Igreja de São Francisco de Assis
1159:(in Portuguese). 25 March 2015.
1137:(in Portuguese). Archived from
1126:Neves, Breno Bello de Almeida.
1115:(in Portuguese). 28 March 2014.
1082:(in Portuguese). Archived from
123:
718:, including several images of
580:Brazil. Early scholars of the
19:Church in Minas Gerais, Brazil
16:Church in Minas Gerais, Brazil
1:
627:"The characteristics of the '
603:, and eliminating one of the
309:, and the arrangement of the
1076:"Lendas de São João del-Rei"
182:Diocese of São João del-Rei
170:Archdiocese of Juiz de Fora
134:Francisco de Lima Cerqueira
1309:
1288:Churches in Brazil by city
1196:. Dissertação de Mestrado.
1023:. Dissertação de Mestrado.
682:, one on each side of the
1249:São João del-Rei 300 anos
246:in the Brazilian city of
220:
216:
187:
49:
45:
36:
29:
1059:Coelho, Beatriz (2005).
1037:Urias, Patrícia (2014).
638:Secular Franciscan Order
549:, one of the most noted
276:Secular Franciscan Order
244:Secular Franciscan Order
1230:Observatório da Cultura
708:church of the same name
445:flanked by two bulbous
762:, the celebrations of
758:As in other places in
735:
726:Legends and traditions
665:
657:
646:
619:' religious façades."
596:
576:
565:
560:Brazilian architecture
480:
380:
344:
256:Brazilian colonial art
242:temple founded by the
235:
1144:on 24 September 2015.
733:
663:
651:
590:
570:
475:
378:
342:
328:, the reliefs of the
305:, the glasses of the
114:Roman Catholic Church
880:Acervo Digital UNESP
493:Inconfidência Museum
479:'s original project.
1264:Folha das Vertentes
1080:Jornalismo Cultural
777:Our Lady of Sorrows
671:John the Evangelist
652:The reliefs on the
509:Kingdom of Portugal
460:around bell-shaped
68:21.138889°S 44.26°W
64: /
736:
666:
658:
597:
577:
528:Sir Richard Burton
481:
381:
345:
250:, in the state of
209:Reference no.
73:-21.138889; -44.26
1283:Francis of Assisi
768:Francis of Assisi
582:Brazilian Baroque
443:Cross of Lorraine
224:
223:
1300:
1268:
1267:
1266:(in Portuguese).
1259:
1253:
1252:
1244:
1238:
1237:
1222:
1216:
1215:
1204:
1198:
1197:
1189:
1183:
1182:
1167:
1161:
1160:
1152:
1146:
1145:
1143:
1132:
1123:
1117:
1116:
1105:
1096:
1095:
1093:
1091:
1071:
1065:
1064:
1056:
1050:
1049:
1043:
1034:
1025:
1024:
1018:
1009:
1003:
1002:
1000:
989:
983:
982:
980:
969:
960:
959:
951:
938:
937:
935:
924:
918:
917:
909:
884:
883:
882:(in Portuguese).
872:
859:
858:
857:(in Portuguese).
847:
820:
819:
818:(in Portuguese).
808:
749:São João del-Rei
642:São João del-Rei
547:Mário de Andrade
532:São João del-Rei
505:Franciscan Order
286:Manoel da Cruz.
248:São João del-Rei
88:São João del-Rei
79:
78:
76:
75:
74:
69:
65:
62:
61:
60:
57:
41:
22:
1308:
1307:
1303:
1302:
1301:
1299:
1298:
1297:
1273:
1272:
1271:
1261:
1260:
1256:
1246:
1245:
1241:
1236:on 18 May 2015.
1224:
1223:
1219:
1206:
1205:
1201:
1191:
1190:
1186:
1181:on 18 May 2015.
1169:
1168:
1164:
1154:
1153:
1149:
1141:
1130:
1125:
1124:
1120:
1107:
1106:
1099:
1089:
1087:
1073:
1072:
1068:
1058:
1057:
1053:
1041:
1036:
1035:
1028:
1016:
1011:
1010:
1006:
998:
991:
990:
986:
978:
971:
970:
963:
953:
952:
941:
933:
926:
925:
921:
911:
910:
887:
874:
873:
862:
849:
848:
823:
810:
809:
805:
801:
728:
591:Side altar and
575:and high altar.
499:. According to
470:
373:
272:
196:
133:
72:
70:
66:
63:
58:
55:
53:
51:
50:
32:
20:
17:
12:
11:
5:
1306:
1304:
1296:
1295:
1290:
1285:
1275:
1274:
1270:
1269:
1254:
1239:
1217:
1199:
1184:
1162:
1147:
1118:
1097:
1086:on 18 May 2015
1066:
1051:
1026:
1004:
984:
961:
939:
919:
885:
860:
821:
802:
800:
797:
727:
724:
656:of the façade.
469:
466:
372:
369:
271:
268:
222:
221:
218:
217:
214:
213:
210:
206:
205:
202:
198:
197:
192:
189:
188:
185:
184:
179:
173:
172:
167:
161:
160:
159:Administration
156:
155:
152:
148:
147:
142:
136:
135:
128:
122:
121:
117:
116:
111:
105:
104:
99:
95:
94:
85:
81:
80:
47:
46:
43:
42:
34:
33:
30:
27:
26:
18:
15:
13:
10:
9:
6:
4:
3:
2:
1305:
1294:
1291:
1289:
1286:
1284:
1281:
1280:
1278:
1265:
1258:
1255:
1250:
1243:
1240:
1235:
1231:
1227:
1221:
1218:
1213:
1209:
1203:
1200:
1195:
1188:
1185:
1180:
1176:
1172:
1166:
1163:
1158:
1151:
1148:
1140:
1136:
1129:
1122:
1119:
1114:
1110:
1104:
1102:
1098:
1085:
1081:
1077:
1070:
1067:
1062:
1055:
1052:
1047:
1040:
1033:
1031:
1027:
1022:
1015:
1008:
1005:
997:
996:
988:
985:
977:
976:
968:
966:
962:
957:
950:
948:
946:
944:
940:
932:
931:
923:
920:
915:
908:
906:
904:
902:
900:
898:
896:
894:
892:
890:
886:
881:
877:
871:
869:
867:
865:
861:
856:
852:
846:
844:
842:
840:
838:
836:
834:
832:
830:
828:
826:
822:
817:
813:
807:
804:
798:
796:
793:
791:
786:
780:
778:
773:
769:
765:
761:
756:
754:
750:
745:
742:
732:
725:
723:
721:
717:
713:
709:
705:
701:
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252:Minas Gerais
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126:Architect(s)
120:Architecture
109:Denomination
92:Minas Gerais
816:Ipatrimônio
696:St. Francis
629:Aleijadinho
477:Aleijadinho
432:St. Francis
359:were never
347:Unlike the
291:Aleijadinho
260:Aleijadinho
165:Archdiocese
151:Years built
131:Aleijadinho
71: /
1277:Categories
799:References
712:Ouro Preto
605:arrowslits
551:modernists
497:Ouro Preto
458:balustrade
424:architrave
422:by a wide
385:balustrade
232:Portuguese
201:Designated
59:44°15′36″W
56:21°08′20″S
785:Christmas
772:Cathedral
764:Holy Week
447:pinnacles
409:soapstone
371:Structure
299:pilasters
154:1774-1809
1090:15 March
790:stigmata
716:statuary
609:pediment
543:Portugal
507:and the
436:Seraphic
420:pediment
393:sacristy
332:and the
330:pediment
311:sacristy
303:crossing
240:Catholic
84:Location
1113:O Globo
741:flogged
680:pulpits
485:Baroque
454:cornice
399:style.
355:of the
301:of the
295:masonry
270:History
238:) is a
177:Diocese
145:Baroque
98:Country
692:gilded
675:bombée
634:stucco
613:Rococo
593:pulpit
521:Cherub
513:Virgin
489:Rococo
462:spires
439:Christ
428:oculus
404:façade
397:Rococo
361:gilded
353:altars
351:, the
280:Bishop
102:Brazil
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700:IPHAN
601:spire
501:IPHAN
326:IPHAN
284:Friar
140:Style
1092:2023
753:Lent
720:roca
688:apse
684:nave
573:apse
571:The
487:and
402:The
389:apse
357:nave
349:apse
318:apse
307:nave
226:The
204:1938
710:in
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