The Sanctuary of Bom Jesus de Matosinhos, one of the most valuable monuments in the world, is located in the city of Congonhas, in the central region of Minas Gerais.

Geniuses such as Aleijadinho and Mestre Ataíde not only created true masterpieces, but also promoted a remarkable fusion of the Minas Gerais art of the 18th century.

Meanwhile, the old Congonhas do Campo has stood the test of time.

Congonhas came into being with the arrival of the miners in 1734 and soon became one of the richest parishes of the 18th century.

In the modern city of Congonhas, however, there is very little left of the splendour of the past.

The exploitation of iron, which sustained its economy after the decline of gold, disfigured its colonial features and covered it with modest, uncharacteristic buildings.

Fortunately, its most precious asset has stood the test of time: on Maranhão Hill, the highest point in the city, stands the magnificent Basilica of Bom Jesus de Matosinhos, whose atrium contains the twelve soapstone prophets sculpted by Aleijadinho.

Also by the master are the Steps of Christ, small chapels that line the path to the basilica.

The whole complex – the Sanctuary of Bom Jesus de Matosinhos – was declared a World Heritage Site by Unesco in 1985. It is the highpoint of the Brazilian Baroque and one of the most spectacular religious monuments in the world.

There are also other historic buildings in Congonhas, scattered throughout the city centre and the outlying districts. The tourist offices are efficient in providing information and guides.

The city of Congonhas, however, does not have a good hotel structure. For this reason, a day trip from Ouro Preto is recommended. Alternatively, you can stay the night in nearby Esmeril, just 17 kilometres away.

Congonhas is 50 kilometres from Ouro Preto via the Estrada Real (or 140 kilometres via the BR-040), 78 from Belo Horizonte, 370 from Rio de Janeiro and 580 from São Paulo.

Video about the Sanctuary of Bom Jesus de Matozinhos

Santuário do Bom Jesus de Matozinhos - Congonhas MG

See also History of Baroque Architecture in Northeast Brazil and Minas Gerais.

---

Sanctuary of Bom Jesus de Matosinhos

The Sanctuary of Bom Jesus de Matosinhos is an architectural and landscape complex consisting of a church, a churchyard and six attached chapels, located in the municipality of Congonhas, in the state of Minas Gerais.

The Church is an important example of Brazilian colonial architecture, with rich interior decoration in gilded woodwork and paintings.

In 1757, in fulfilment of a promise, the Portuguese Feliciano Mendes began to build the architectural complex of the sanctuary, inspired by the sanctuaries of Braga and Matosinhos in Portugal. The work took more than sixty years to complete and involved the work of the most important artisans and artists from the Minas region.

The Basilica of Senhor do Bom Jesus, built on the Morro do Maranhão, is one of the first examples of the Rococo style in Minas Gerais.

The façade features recessed towers and an imposing soapstone pediment carved with volutes. Inside, three beautiful rococo altarpieces stand out, as do the torch-bearing angels sculpted in 1778 by Francisco Xavier de Brito, four reliquaries made by Aleijadinho’s workshop and two dragon lamp holders, which reveal the Chinese influence on Minas Gerais art of the period.

The interiors were painted by two of the greatest artists of the time: Bernardo Pires, responsible for the Choir ceiling, and João Nepomuceno, author of the Nave ceiling and the Scenes from the Life of Jesus.

At the rear of the basilica is the Ex-votos Room, containing paintings, portraits and wax sculptures offered by the faithful in thanksgiving for graces received.

The collection brings together 89 pieces, dating from the 18th to the 20th century, which form a moving testimony to popular beliefs. Of great historical and artistic value, this collection was listed by IPHAN in 1981.

The Passion Steps bring together 66, life-size, cedar images, carved by Aleijadinho and his assistants between 1796 and 1799, with polychromy by Manuel da Costa Ataíde on some of them. Divided into six chapels, the images represent seven stages of the Way of the Cross (the fourth chapel contains two steps).

The chapels were restored in 2004 as part of the Monumenta Project. Although they remain closed, it is possible to view their interiors through the windows.

The Twelve Prophets, carved in soapstone by Aleijadinho and his pupils between 1800 and 1805, are the last great works of the master, who was already very weak from illness. Heavy and imposing, they seem to emerge from the parapet of the churchyard’s walls to welcome visitors.

The Congonhas Tourism Board offers a guiding service, which must be booked in advance. A guided tour of the sanctuary takes an average of three hours.
Address: Praça da Basílica, s/n.

---

---

THE SIX STEPS

1. The Last Supper

In the first chapel of the Stations of the Cross, at the foot of the ascent to the sanctuary, visitors are led to the scene of the Last Supper, represented by eleven apostolic figures, as well as Jesus in the centre and two servants at the sides.

The scene depicts the dramatic moment when Jesus announces that he will be betrayed by one of the apostles. The reaction of the disciples is marked by intense facial expressions and energetic gestures, making it one of the most expressive scenes in the entire set.

It is believed that Aleijadinho himself personally sculpted the figures, given the exceptional quality of the images. The sculptures behind the table were carved only to the height of the torso and placed on stools, adding to the scenographic effect of the composition.

The group of sculptures begins with full-body figures, which gradually give way to half-bodies. This plastic solution reveals the artist’s mastery of baroque composition and the creation of theatrical depth.

The polychromy by Manuel da Costa Ataíde is discreet, using pastel tones that emphasise detail without competing with the sculpture.

The arrangement of the scene is deeply theatrical and symbolic: from the centre form trios of figures, with Christ, John and Peter standing out, whose gestures and expressions create a spiralling movement that echoes throughout the composition. The raised arms, open hands and tilting heads reveal the nervousness and confusion at the revelation of betrayal.

The expressive anatomy is evident in the neck muscles, accentuated by the necklines of the robes, and framed by the carefully modelled beards and hair, which accentuate the characters’ facial tension. Their frowns and perplexed looks dialogue directly with Christ’s calm, fixed gaze, creating a strong emotional contrast.

At the end of the scene, two servants and two full-body sculptures provide the scenographic framework, partially obscuring the other half-bodies, enhancing the baroque effect and visual impact of the composition.

The main figures in the other chapels of the Via Sacra are still attributed to Aleijadinho, while the secondary figures were made by artists from his studio under his supervision.

2. The Garden of Olives – The Agony of Christ

In the second chapel of the Sanctuary of Bom Jesus de Matosinhos, there is a deeply symbolic scene of Jesus praying in the Garden of Olives. While Peter, James and John sleep, Christ prays alone, overwhelmed by the agony of his imminent Passion. At the top of the composition, an angel offers him the chalice of agony, containing the gall of the victim.

This scene is attributed entirely to Aleijadinho and is one of the most moving moments in the Stations of the Cross, both for the balance of the composition and for its dramatic intensity.

The whole of the Garden of Olives is remarkable for its visual clarity, provided by the precise number of sculptures:

• The angel, suspended and facing Christ, holds the Cup of Bitterness;
• The Christ, kneeling on a rock, expresses his acceptance of the sacrifice;
• The Apostles Peter, James and John, overcome by sleep, reveal human frailty in the face of divine pain.

The scenography painted by Mestre Ataíde guides the entire composition, especially the position of the angel and the gauge of Christ, which is directed upwards, to a point outside the scene, as if contemplating infinity.

The symbolic language culminates in Christ’s hands: one pointing to the earth, affirming his humanity; the other, open to heaven, welcoming his divine destiny. This gesture expresses the drama of the choice between life and death, between fear and surrender, and is mirrored in the ecstatic gaze that seems to sweat blood for the salvation of mankind.

It’s a quiet but powerful composition in which the contrast between the apostles’ torpor and the conscious agony of Christ creates a spiritual field of rare intensity.

3. The Prison of Jesus – The Garden of Betrayal

In the third chapel of the Stations of the Cross in the Sanctuary of Bom Jesus de Matosinhos, the visitor encounters one of the most dramatic scenes in the biblical narrative: the arrest of Jesus.

The composition is populated by Roman soldiers who approach with spears, torches and caricatured expressions. The moment depicted is that of the completed betrayal, when Judas hands over the Master with a kiss, and violence and astonishment dominate the scene.

The central figures – Jesus, Peter, Judas and Malchus – are of great expressive power. Of these, Jesus and Peter were personally sculpted by Aleijadinho; the soldiers, more rigid and caricatured, were executed by his assistants.

There are four full body sculptures that stand out:

• Judas, at the decisive moment of his betrayal;
• Peter, in an impetuous gesture, sword in hand;
• Malchus, the high priest’s servant, having his ear cut off by Peter;
• And Christ, in the serene and miraculous act of healing the wounded man, even in the face of violence.

This scene is remarkable for the drama of human intentions:

• Peter’s untimely gesture reveals the impulse to defend, but also to err;
• The intertwining of the arms – of the wounded Malchus, the healing Jesus and the betrayer Judas holding Peter back – creates a visual flow of perplexity and contradiction;
• There is a deep symbolic irony in the fact that Judas, the traitor, tries to restrain Peter, who will soon deny Jesus three times before the cock crows.

The baroque scenography reinforces the turmoil of the scene, with the coarse and numerous soldiers representing the outside world, imposing itself with brutal force on the serene and resigned figure of Christ.

It’s a scene of collision: between faith and fear, violence and forgiveness, loyalty and betrayal. The symbolic and emotional power of the composition has made it one of the most popular on the Way of the Cross, evoking both the spectacle of the Passion and the human frailty in the face of the divine.

4. Flagellation and crown of thorns

The two scenes occupy a small space. In the first, Jesus, tied to a low pillar, seems to haughtily endure the whip.

In the second, he is seated, desolate, with a crown of thorns on his head. Only the two images of Christ are attributed to Aleijadinho.

This chapel houses two moments: the Flagellation and the Crown of Thorns, resulting in a visual accumulation. In both scenes the Bodies of Christ stand out, in which the Master displays all his genius and maturity.

The Christ of the Column, who could be interpreted as an Ecce Homo, takes a step backwards, while his arms with tied hands express his willingness to sacrifice.

When he is considered an Ecce Homo, he shows all his dignity when he is presented to the people for judgement. His blood pulsates in the highlighted veins as he displays all the muscles of his body.

The sculpture in the Coronation of Thorns group is even more dignified.

Framed by two soldiers – one with the inscription INRI and the other with the popular green stick, the royal sceptre – the master thrusting one of his legs forward, his arms bound, in contrast to his kneecap.

The haughty face and flowing hair evoke divine royalty, crowned with the thorns of sacrifice.

5. Ascent of Calvary

The famous Christ with the Cross on His Back, Aleijadinho’s masterpiece, is in this chapel.

The crossed hands and pained expression of the figure give the scene an extraordinary dramatic appeal.

This scene shows the moment when Christ, on his way up to Calvary, sympathises with the women of Jerusalem who were mourning his torture. A woman with a child and another woman in tears watch him walk up the hill towards Calvary.

The figure of Christ takes a long stride, emphasised by the tunic in contrasting shades – white and purple – and the S-shaped mantle that wraps around both planes of the figure. With broad gestures he bows down, climbs up with difficulty, grasps the cross and stares deeply at the weeping women.

The small figure of the child with the nails could also be part of the crucifixion scene.

6. Crucifixion

The Christ Nailed to the Cross is the very image of helplessness and pain and was sculpted by Aleijadinho.

The figure of the Bad Thief (to the right of Jesus) is also attributed to the Master, who must have interfered with the execution of Mary Magdalene and the Centurion, a soldier wearing a turban similar to some of the Soapstone Prophets in the cemetery.

The final scene seen by pilgrims is the Crucifixion, with Christ surrounded by the two thieves, the executioners, others playing dice on the cloak, the Magdalene and the Centurion.

The eleven figures form visual groups of interest, with no single focus of univocity.

The central group brings together the body of Christ on the cross, the kneeling executioner and Magdalene, who is about to prostrate herself. On the left, two soldiers look for the cloak; on the right, the two thieves – Dimas, the good one and Gestas, the bad one – turn their eyes on the one who has been condemned without fault.

---

THE PROPHETS

The Churchyard is decorated with twelve statues of prophets in soapstone, and the chapels contain sculptural groups in polychrome wood representing the Steps of the Passion of Christ – statues created by Aleijadinho and his assistants.

Between 1800 and 1805, the Minas Gerais artist Aleijadinho (1730-1814), already a sexagenarian and very ill, created a series of monumental sculptures that would define his work. It was his last great project: the 12 Prophets in Soapstone.

Other famous artists also took part in the construction and decoration, including Francisco de Lima Cerqueira, João Nepomuceno Correia e Castro and the painter Mestre Ataíde. The complex was built in several stages between 1757 and 1875.

1. Isaiah

The statue of Isaiah, at the entrance to the staircase, is attributed to the joint work of Aleijadinho and his assistants.

Composed of two blocks of stone joined at shoulder height, the torso shows errors of proportion, but the head, magnificent, was executed by the master.

The Prophet wears a phylactery on which is inscribed: “After the seraphim had glorified the Lord, one of them brought a red-hot coal to my lips.” Isaiah, chapter 6.

2. Jeremiah

Standing to the left of Isaiah at the entrance, the statue of Jeremiah was partially executed by Aleijadinho, who sculpted only the head of the image, on whose face he imprinted a expression of serene dignity.

The prophet wears a phylactery on which is inscribed: “I lament the calamity of Judea and the ruin of Jerusalem, and I beseech (my people) to return to the Lord. ” Jeremiah, chapter 35.

3. Baruc

Considered one of the least significant pieces in the ensemble, it has anatomical flaws and was certainly made in Aleijadinho’s workshop.

The turban that appears on this and other sculptures reveals the influence of European engravings of the time, in which biblical characters were often depicted in the “Turkish style”.

The Prophet wears a phylactery, on which is inscribed: “I foretell the coming of Christ in the flesh, and the end of the world, and I warn the godly“. Baruch, chapter 1.

4. Ezequiel

The movement of the body, the bending of the arm and the expression of the face are magnificent. The sculpture, made from two blocks of stone, was executed directly by Aleijadinho; it is believed that there was little or no intervention by his assistants.

The Prophet wears a phylactery on which is inscribed: I describe the four beasts in the midst of the flames, the terrible wheels, and the ethereal throne. Ezekiel, chapter 1.

5. Daniel

Aleijadinho is believed to have made this statue alone. It was carved from a single block of stone and is considered one of the most beautiful in the ensemble.

The body is anatomically perfect and the expressiveness of the face is spectacular. The lion prostrating itself at the feet of Daniel completes the grandeur of the image.

The Prophet wears a phylactery on which is inscribed: “Imprisoned (by order of the king) in the den of lions, I am set free, unharmed, by the help of God. ” Daniel, Chapter 6.

6. Hosea

With noble features and correct proportions, the statue of Hosea, which stands before that of Daniel, was probably executed by Aleijadinho with little or no intervention from his assistants.

The Prophet wears a phylactery on which is inscribed: “Take the adulteress, the Lord said to me. I will do it: she shall be my wife; she shall conceive and bear me a son.” Hosea, Chapter 1.

7. Joel

With his head turned to the side, the prophet seems to be contemplating the landscape of the Mountain of Maranhão.

Carved in two blocks joined at shoulder height, it is thought to have been carved directly by Aleijadinho.

The Prophet wears a phylactery on which is inscribed: “They have gone to Judea, the evil that they will bring upon the earth, the caterpillar, the locust, the bramble, and the jellyfish (rust).” Joel, chapter 1, verse 4.

8. Jonah

This prophet, who occupies the opposite and symmetrical position to Joel, turns his face towards the sky, his lips ajar and his expression enraptured.

The folds of his tunic are interrupted by the jets of water from the whale at his feet. The image was sculpted by Aleijadinho.

The Prophet wears a phylactery on which is inscribed: “Swallowed up by a whale, I will be three days and three nights in the belly of the fish; then I will come to Nineveh. Jonah, chapter 2.

9. Amós

While the other prophets have a grave expression, Amos, dressed in simple shepherd’s clothes, appears calm and smiling. Carved from a single block of stone, it has some imperfections on the right side; it is speculated that it was intended to be seen only from the left.

The Prophet wears a phylactery on which is inscribed: “I was first a shepherd and then a prophet, and I accuse the fat cows and the rulers of Israel“. Amos, chapter 1.

10. Abdias

As it occupies a noble position in the churchyard, it must have been worked on with particular devotion by Aleijadinho, who achieved a impressive result.

The raised right arm follows the vertical lines of the basilica and seems to invoke divine justice.

The prophet wears a phylactery on which is inscribed: “I ask you, Idumeans and Gentiles. I prophesy to you and foretell mourning and destruction.” Abdias, chapter 1.

11. Habacuc

In a symmetrical position to that of Abdias, Habacuc raises his left arm to the sky in a gesture of grandeur and strength.

Like Abdias, he is a striking figure, worked on by Aleijadinho with little input from his workshop assistants.

The Prophet wears a phylactery on which is inscribed: “Babylon, Babylon, I question thee, I question thee, bringing forth out of Chaldea: But to thee, O gracious God, I sing and make psalms.” Habakkuk, chapter 1.

12. Naum

The figure is poorly proportioned and looks distorted. The ornaments on the robes are also coarser than those of the other prophets.

Scholars believe that the execution of this prophet was left almost entirely to Aleijadinho‘s workshop.

The Prophet wears a phylactery on which is inscribed: I reveal the punishment that awaits sinful Nineveh. I declare that Assyria will be utterly destroyed.” Nahum, chapter 1.

---

Other places of interest in Congonhas MG

1. Pilgrimage

The Romaria is a circular building that originally served as a hostel for pilgrims visiting the Sanctuary of Senhor Bom Jesus de Matosinhos. It was rebuilt in 1995, after being demolished in 1966, and now houses various cultural spaces, including

• Administrative offices
• Craft shop
• Snack Bars
• Exhibition and function rooms
• Museum of Religious Art
• Museum of Mineralogy
• Museum of Memory
• Space dedicated to the Portuguese city of Matosinhos

In addition, one of the towers of the portico serves as a support point for tourists.

2. Historical buildings

Congonhas preserves several buildings from the colonial period, especially in Beco dos Canudos, where they can be found:

• Stone pavements
• Colonial houses, many converted into craft shops

The historic churches include

• Church of Our Lady of the Conception: Built in 1734, it has a soapstone portico carved by Aleijadinho.
• Matriz de São José: Dating from the 19th century, it stands out for its curved lines.
• Church of Our Lady of the Rosary: Built at the beginning of the 18th century for slaves.
• Church of Our Lady of Help: Built in 1746 in the Alto Maranhão district, it stands out for its altars and the soapstone fountain in the sacristy.
• Church of Nossa Senhora da Soledade: Located in the Lobo Leite district, it has a collection of baroque paintings.

3. Jubilee

Every year, between the 7th and 14th of September, Congonhas celebrates the Jubilee of Senhor Bom Jesus de Matosinhos. This religious event attracts thousands of pilgrims from all over Brazil and is considered one of the largest and oldest in the state of Minas Gerais.

This post is also on: Português English Deutsch Español Français