Baroque masterpieces in Congonhas, Minas Gerais

2. Everything changed with the discovery of gold in
the early eighteenth century, in the mountains of
what would become the Minas Gerais. A mulatto,
tortured by thirst, scraping the bed of a river, near
the future city of Ouro Preto (meaning "black
gold", the most valuable), discovered some black
beans with shining reflections and brought to light
the jackpot. From pebbles to nuggets, the gold
cycle was initiated and at the same time, the cycle of
miscegenation that produced extraordinary
"mulatto baroque " talents in Brazil.

3. Two leading figures stand out in this
extraordinary flowering of talent. A
painter, Manuel da Costa Ataide, and
especially an architect and sculptor, the
genius of Brazilian baroque, Antônio
Francisco Lisboa, Aleijadinho.

4. 1730- c.1807
Lisboa is a strong symbol
of Brazil that sums up the
spirit of the country. Son
of a Portuguese architect
and a black slave, he
" e m b o d i e s t h e
constitutive synthesis of
Brazilian baroque. "

5. A myth surrounds the
character. With his fingers
mutilated by an incurable
disease, he used to tie his
tools to his stumps and
worked at night to avoid
being seen.

6. Aleijadinho follows the rococo
style from Europe but strives to
evolve it into a purely Brazilian
style. His His greatest creation
dates of his last years of life. In
Congonhas do Campo, a small
village that became a place of
pilgrimage for Brazilians, he
imagines a grandiose project. He
surrounds the sanctuary of Bom
Jesus de Matozinhos with a
"theater of saints," a set of 12
stone carvings representing the
Prophets.
.

24. To reach the church perched on top of the
hill, Aleijadinho designed the Stations of the
Cross and created 76 life-size sculptures that
show Jesus and his suffering. The project was
completed in 1806 when he was over 70 and
was in a much advanced stage of his disease.
.

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40. @

55. Audio: Vivaldi –
Concert for Oboe
Photos and texts: Internet