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Antônio Francisco Lisboa, ‘O Aleijadinho’: An Annotated Bibliography

Published online by Cambridge University Press:  24 October 2022

James E. Hogan
James E. Hogan*
Affiliation:
Univ. of Massachusetts Boston Library
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The state of minas gerais, atop the central brazilian plateau, has long cast a spell over people of adventurous spirit. For years it supplied the Portuguese empire with a seemingly endless supply of mineral wealth. In 1698, gold was discovered and the famous ‘century of gold’ was ushered in. The mines of Minas proved to be among the richest ever worked by man and they provided the base for the luxurious Mineiro society that flourished throughout the eighteenth century.

Type
Topical Review
Information
Latin American Research Review , Volume 9 , Issue 2 , 1974 , pp. 83 - 94
Copyright
Copyright © 1974 by the University of Texas Press

References

1. (AUTHOR UNKNOWN) June, 1960. “Aleijadinho.” Jubilee, 8, pp. 12–17.Google Scholar
2. Almeida, Almeida Lucia Machado 1952 Passeio a Sabará. São Paulo: Livraria Martins. A valuable guide to the old gold mining town.Google Scholar
3. Andrade, Mario De 1965 Aspectos das artes plásticas no Brasil. São Paulo: Livraria Martins, 1965. A collection of previously published essays by the eminent Brazilian art critic. In the first essay, dealing with Aleijadinho, the author stresses the sculptor's great contribution in pointing the way toward a new indigenous spirit in Brazilian art.Google Scholar
4. (AUTHOR UNKNOWN) 1948 “O gênio e a obra do Aleijadinho.” Atlântico, no. 1, pp. 24–31. A fine, although brief, biographical study of the sculptor.Google Scholar
5. Andrade, Rodrigo Melo Franco De 1958 Artistas coloniais. Rio de Janeiro. A collection of biographical essays. The sixth deals with Francisco Xavier de Brito, the teacher of Aleijadinho.Google Scholar
6. Andrade, Rodrigo Melo Franco De 21 de novembro de 1964. “Do Maestre aos discípulos de Aleijadinho.” O Estado de São Paulo.Google Scholar
7. Andrade, Rodrigo Melo Franco De 24 de maio de 1940. “A arte colonial de Minas está no Rio.” Revista da Semana, ano 62, no. 21, pp. 20–21. A collection of photographs of the plaster casts of Aleijadinho's statues in the S.P.H.A.N. Museum in Rio.Google Scholar
8. Azevado, Fernando De 1950 Brazilian Culture. (Trans. from the Portuguese by Crawford, William R.). New York: Macmillan Co., pp. 279ff. A brief biographical sketch of the sculptor with an equally brief criticism of his work.Google Scholar
9. Bandeira, Manoel “Ouro Prêto, the Old Vila Rica.” Travel in Brazil, Vol. 1, No. 4, pp. 1–13. 22 illus. “Among the clearest and most dramatic photographs of the colonial sculpture and architecture of the old capital of Minas Gerais ever published.” (HLAS, no. 7, 1941. # 666.)Google Scholar
10. Barata, Mario 1964 “Sesquicentenário da morte do Aleijadinho.” Revista Trimestral do Instituto Histórico e Geográfico Brasileiro (Rio de Janeiro), 265 (out-dez. de 1964), pp. 189–93. A report of a bibliographic conference held on the sculptor. Not useful in a bibliographic sense.Google Scholar
11. Bardi, Paulo M. 1956 Art Treasures of the São Paulo Museum. New York: Harry N. Abrams Publishers, 1956. Plates 64 and 66 show two of Aleijadinho's Prophets at Congonhas do Campo.Google Scholar
12. Bastide, Paul 11 de set. de 1940 “Estudos de sociología estética brasileira, O Aleijadinho.” O Estado de São Paulo.Google Scholar
13. Bazin, Germain 1949 “Au Brésil; la terrasse des prophetes a Congonhas do Campo.” Vogue (Paris), July-Aug.Google Scholar
14. Bazin, Germain 1963 Aleijadinho et la sculpture baroque au Brésil. Paris: Les Editions du Temps, 326 pp., biblio., ill. Probably the outstanding work on Aleijadinho. The author, director of the Louvre, is one of the greatest authorities on baroque art. The text is beautifully illustrated. Especially valuable are the color plates of the wood carvings. The author places the work of Aleijadinho in the perspective of Portuguese and Brazilian baroque sculpture in general. The almost sixty pages devoted to the sculptor's biography are followed by a detailed catalogue of his works showing location and date of execution of each. A brief bibliography is included.Google Scholar
15. BENCE-JONES, M. Dec. 17-24, 1970 “Baroque Boom Town.” Country-Life, 148, pp. 1180–83. An article on Ouro Prêto. Interesting but adds little new.Google Scholar
16. Bruand, G. Mai, 1966 “Baroque et Rococo dans l'architecture de Minas Gerais.” Gazette des Beaux Arts, s6, Vol. 6, pp. 321–38. The author attempts to determine the origin of the major influence on the baroque architecture of Minas Gerais. He claims that in fact it was a combination of influences from Germany as well as the Latin countries.Google Scholar
17. Bury, J. B. Summer, 1949 “The Aleijadinho.” Cornhill Magazine, 979ff. A brief historical treatment of the century of gold and its effects upon Mineiro society. Bury views Aleijadinho's work against a background of economic ruin and discontent.Google Scholar
18. Bury, J. B. Sept. 1949 “The Twelve Prophets at Congonhas do Campo.” The Month, (new series) II, no. 3. Bury stresses the importance of Aleijadinho in inspiring a new style of art. He points out the close relationship between the sculpture (no longer simply an adornment) and the architecture of Aleijadinho. Bury claims that the anatomical deformations of the prophets are a “perspective device designed to correct their proportions when seen from below.” (RX #47).Google Scholar
19. Bury, J. B. Feb. 1952 “Estilo Aleijadinho and the Churches of Eighteenth Century Brazil.” Architectural Review, CXI, no. 662, pp. 92–100. Bury develops the thesis that the rococo decorations introduced from Europe contributed to the emergence of an original Mineiro architectural style described after its best-known exponent as the Estilo Aleijadinho. Working within this style, second generation Mineiros produced an original Brazilian type of architecture. Well illustrated with photographs and drawings.Google Scholar
20. Buschiazzo, M. J., Herrera, G. R. and Mann, H. May 1960 “Observações sôbre a obra do Aleijadinho.” Habitat, Vol. 11, pp. 32–30. An excellent article dealing with Lisboa's sculpture.Google Scholar
21. Callado, A.C. Oct. 1943 “Brazilian Sculpture.” London Studio, 26, pp. 132–34. A poor collection of undocumented assertions.Google Scholar
22. Calmon, Pedro Agosto de 1965 “Aleijadinho na história da arte do Brasil.” Arquivos da Escola Nacional de Belas Artes. Universidade do Brasil, Rio de Janeiro, no. 11, pp. 147–53.Google Scholar
23. Casais, Jose 1942 Congonhas do Campo. Rio de Janeiro.Google Scholar
24. Castedo, Leopoldo 1969 A History of Latin American Art and Architecture, from Pre-Columbian Times to the Present. New York: Praeger. A short but generally adequate history. Chapter 13 deals with Brazilian Baroque and pp. 194–200 contain a superficial treatment of the work of Aleijadinho.Google Scholar
25. Charles, George “Arte sacra no Brasil.” Renovação, ano 1, no. 2, p. 13. A useful catalog of the colonial art of Minas Gerais.Google Scholar
26. Del Negro, Carlos Agoste de 1965 “Antônio Francisco Lisboa, escultor de ornatos.” Arquivos da Escola Nacional de Belas Artes. Universidade do Brasil, Rio de Janeiro, no. 11, pp. 75–98.Google Scholar
27. Del Negro, Carlos 1967 Escultura ornamental barroca do Brasil. Edição comemorativo do sesquicentenário de falecimento do Maestro Antônio Francisco Lisboa. Belo Horizonte. Deals primarily with the carved wood doors of Miniero churches.Google Scholar
28. Diggs, Irene Set. de 1950 “O Aleijadinho.” Américas, 2, pp. 24–27. Diggs claims that in Aleija-jadinho's work we can see the mark of his deformed individualism and his rebellion against slavery and Portuguese colonialism.Google Scholar
29. Diggs, Irene March 1951 “Antônio Francisco Lisboa, called Aleijadinho.” Magazine of Art, Vol. 44, pp. 93–96. A brief but good account of Lisboa's life. Diggs accepts the thesis of Ferreira Bretas (1858) that Aleijadinho lost his fingers and his toes and had to be carried to and from his work. Contains good photos.Google Scholar
30. (AUTHOR UNKNOWN) 1954 “Documentos sôbre artistas e oficias na região de Ouro Prêto e Mariana.” Anuário do Museu da Inconfidência, pp. 33–160. This is an important contribution to the study of colonial art in Minas Gerais because it brings together a body of unpublished documents concerning the authorship of some outstanding eighteenth-century buildings and wood carvings. There is an index to the forty-one Minerio craftsmen mentioned.“ (HLAS, no. 21, 1959, #1155).Google Scholar
31. DUARTE PASSOS, DINARTE Sept./Oct. 1945 “Escultura Religiosa no Brasil.” Vozes de Petrópolis, pp. 624–641. Pp. 629ff. deal with Aleijadinho. A general re-hash of known facts with a brief listing of some of Lisboa's major works.Google Scholar
32. DUTRA DE MORAIS, GERALDO 1945 “O Aleijadinho de Vila Rica.” Revista do Instituto Histórico e Geográfico de Minas Gerais. Vol. I.Google Scholar
33. (AUTHOR UNKNOWN) 1960 Encyclopedia of World Art. New York: McGraw-Hill Book Co. Vol. II, p. 626 has a short discussion of Aleijadinho as a sculptor and p. 624 discusses him as an architect. See vol. I (plate 143) for “The Prophet of Isaiah.”Google Scholar
34. Falçao, Edgard De Cerqueira 1955 Nas Paragems do Aleijadinho. Guia das Minas Gerais. São Paulo. A useful guide to the state's colonial buildings.Google Scholar
35. Falçao, Edgard De Cerqueira 1946 Reliquias da Terra do Ouro. São Paulo. “Splendid photographs of the art treasures in the colonial cities of Mariana, Ouro Prêto, Sabará, São João del Rei, Tiradentes, Congonhas do Campo.” (HLAS, no. 12, 1946, #719.)Google Scholar
36. Fernandes, Orlando Seitas 21 de novembro de 1964 “O Aleijadinho, projetista.” O Estado de São Paulo.Google Scholar
37. Ferrez, Geraldo 21 de novembro de 1964 “Aleijadinho, uma aurora.” O Estado de São PauloGoogle Scholar
38. Frank, Waldo enero-febrero, 1944 “Minas Gerais.” Cuadernos Americanos, vol. XIII, pp. 229–37. A delightful description of the people of Minas Gerais. Frank says that Aleijadinho, “fué un hombre apasionado, con la doble pasión del genio y de los aires afrodisiacos de Brazil.”Google Scholar
39. Freitas, Newton 6 de febrero de 1943 “Tradición plástica en el Brasil.” La Nación (Buenos Aires), segunda seccion, p. 2. The author claims that Aleijadinho was virtually the only colonial artist of note in Brazil. It is difficult to defend such an assertion.Google Scholar
40. Freitas, Newton 1944 El “Aleijadinho,” Antonio Francisco Lisboa. Buenos Aires: Editorial Nova. A brief essay that adds little new. The author does, however, point out the renewed scholarly interest in Aleijadinho. Thirty-one fine photos supplied by S.P.H.A.N.Google Scholar
41. Freudenfeld, R. A. 1943 Maestre Aleijadinho. Sao Paulo: Inteligencia. Edições Culturais. (2d ed., São Paulo: 1954). Contains a brief history of the two cities of Congonhas do Campo and Sabara. Most valuable are the eighty black and white photographs of Aleijadinho taken by the author.Google Scholar
42. Freye, Gilberto 1947 Interpretação do Brasil. Rio de Janeiro: Olympia. The famous Brazilian sociologist argues in Ch. 6 that the work of Aleijadinho was a revolt against European styles.Google Scholar
43. Gama, Geraldo Guimaraes 15 de dez. de 1965 “A doença do Aleijadinho.” Revista da Universidade Federal de Minas Gerais. Belo Horizonte, pp. 51–54. An attempt by a physician to diagnose Aleijadinho's illness.Google Scholar
44. Geld, Ellen Bromfield 1965 Portrait of a Great Country: Brazil. New York: Viking Press. See plate 117 for a good view of Congonhas do Campo. Plates 118, 119, 120, for the twelve Prophets.Google Scholar
45. Goodwin, Philip L. 1943 Brazil Builds: Architecture Old and New, 1632-1942. New York: Museum of Modern Art. Photographs by G. E. Kidder-Smith, An interesting photographic history of Brazilian architecture. Pp. 44–56 contain fine photos of Minas Gerais and the Mineiro architectural style. Some of Aleijadinho's work can be seen in its natural setting.Google Scholar
46. Guido, Angel Supremacia del espíritu en el arte. Goya y el Aleijadinho. Santa Fe, Argentina. Universidad Nacional del Litoral, Instituto Social (publ. no. 60). “The thesis of this lecture is that both the Spanish painter and the Brazilian sculptor found their true worth through personal suffering. As a result, both abandoned the rococo mannerisms of their earlier styles in favor of profound and vigorous originality.” (HLAS, no. 15, 1949, #545.)Google Scholar
47. Hoffmann-Harnisch, Wolfgang Maio de 1943 “Nas degadas do Aleijadinho.” Cultura Politica, ano 4, no. 40, pp. 255–65. A personal narrative that adds nothing new.Google Scholar
48. Jorge, Fernando 1949 Notas sôbre o Aleijadinho. São Paulo: Sociedade Impressora Brasileira. A collection of the author's articles originally published in the Journal de Noticias. The text is accompanied by beautiful drawings by Ramirez. This work was later enlarged and revised into Jorge's fine biography (#49).Google Scholar
49. Jorge, Fernando 1966 O Aleijadinho, sua vida, sua obra, seu gênio. São Paulo: Livraria Exposição do Livro. The finest recent treatment of Lisboa by the well-known Brazilian critic and historian. Jorge critically scrutinizes the myths and mysteries that surround the life of the sculptor. Also good photographs and a good, but outdated, bibliography.Google Scholar
50. Keleman, Pal 1967 Baroque and Rococo in Latin America. New York: Dover Publications Inc., 2 vols. ill. Vol. 1 is the text and vol. 2 is a photographic survey by this European-born art critic and historian. Chapter 14 deals with Brazil and gives a superficial treatment of Aleijadinho.Google Scholar
51. Kelly, Celso 1953 Três gênios rebeldes. Rio de Janeiro: Ministerio da Educação e Cultura, Serviço de Documentação. Os Cadernos de Cultura, 62, pp. 18–33. The author argues that the work of Lisboa shows little influence from contemporary artistic forces.Google Scholar
52. Kochnitzky, Leon Jan. 1941 “Black Gold of Brazil's Baroque.” Art News, Vol. 41, No. 19, pp. 22–24. The author stresses the Negro influence in Aleijadinho's work and claims that he produced the first “genuinely American artistic creation since pre-Columbian times.”Google Scholar
53. Kohn, Richard julho-agôsto de 1958 “Os Profetas do Aleijadinho-monstros ou obras-primas.” Habitat, 7 ano, no. 49, pp. 35–38. Critics have long been bothered by anatomical deformities of the Prophets. Kohn claims that they were meant to be viewed not from the stairs, but from the door of the capela of the church. Viewed from that height and angle most of the imperfections disappear. The few that remain can be explained by the fact that the statutes were drawn and executed before the capela was completed. Aleijadinho had to calculate the angle from a point he was never able to see !Google Scholar
54. Krull, Germaine 1943 Uma cidade antiga do Brasil: Ouro Prêto. Lisboa: Edicoes Atlântica. A volume of photographs of poor quality.Google Scholar
55. Kubler, George, and Soria, Martin 1959 Art and Architecture in Spain and Portugal and their American Dominions, 1500-1800. Baltimore: Penguin Books, pp. 194–196, 118-119. A brief discussion of Aleijadinho as both a sculptor and an architectGoogle Scholar
56. Lencastre, Paulo A. 29 de agôsto de 1960 “Há 230 anos nascia Antônio Francisco Lisboa, O Aleijadinho.” Folha da Tarde (São Paulo).Google Scholar
57. Lima, Augusto De 1941 O Aleijadinho e a arte colonial. Rio de Janeiro. The author takes as his subject the destruction of the myths surrounding the life and work of Aleijadinho. He disputes the birth record and claims that Aleijadinho was little more than a skilled workman and that most of the work attributed to him was really executed by groups of artisans not under the command of Lisboa.Google Scholar
58. Lima, Augusto De jan-fev de 1941 “A verdadeira personalidad de Aleijadinho.” Estudos Brasilerios, ano 3, Vol. 8, No. 22, pp. 34–84. A collection of essays on Aleijadinho.Google Scholar
59. Macedo, Sergio D. T. 1964 Tiradentes e O Aleijadinho. Rio de Janeiro. The authors claim that both men, each in his own way, signified Brazilian revolt against Portuguese authority.Google Scholar
60. Machado, Lourival Gomes July 1964 “Aleijadinho.” Aujourd'hui, Vol. 8, pp. 4–9.Google Scholar
61. Machado, Lourival Gomes jan-março de 1956 “Os pulpitos de São Francisco de Ouro Prêto; influencia de Lorenzo Ghilberti no obra de Antônio Francisco Lisboa.” Revista da História. Universidad de São Paulo, ano 7, Vol. 12, pp. 207–230. The author argues that European book illustrations that Aleijadinho might have seen, of the Italian artist's sculptures in Florence, could have influenced the work in Ouro Prêto.Google Scholar
62. Machado, Lourival Gomes jan-março de 1960 Reconquista de Congonhas. Rio de Janeiro. A fascinating account of the cleaning and restoration of many of Aleijadinho's works. (HLAS, no. 24, 1962 #1804).Google Scholar
63. Mann, Hans 1961 Minas Gerais. Rio de Janeiro: Livraria Kosmos Editoria. A fine photographic portrait of the state of Minas Gerais. For the student of Aleijadinho who has not visited Brazil, this is a substitute. For the student who has visited Brazil, the photos evoke saudade for that land.Google Scholar
64. Mann, Hans, and Graciela, 1967 The 12 Prophets of Aleijadinho. Austin, Texas: University of Texas Press. A magnificent collection of photographs of most of Alejadinho's major works. The close-up shots are excellent. This book, as a visual treat, is second only to Bazin's beautiful study (#14).Google Scholar
65. Mariano Filho, José 1944 Antônio Francisco Lisboa. Rio de Janeiro. In this biography the author claims that Aleijadinho was crippled from birth and suffered a cerebral hemorrhage at age 39. This contradicts the commonly held thesis that the sculptor suffered from leprosy and/or syphilis.Google Scholar
66. Mariano Filho, José 1940 “Considerações acerca do templo de Nossa Senhora de Rosário e de São Francisco de Assis de Ouro Prêto.” Estudos Brasileiros, ano II, Vol. 4, No. 10. The author claims that the church was designed by Aleijadinho but built by Portuguese workers and engineers. Little proof is provided for his assertion.Google Scholar
67. Mariano Filho, José 10 de jan. de 1942 Duas obras que se devem, excluir do inventário artístico do Aleijadinho.“ Journal do Comercio, ano 116, no. 84, 3. A close study of two works commonly attributed to Aleijadinho (the door of the church of Senhor do Bom Jesus in Ouro Prêto and the church of São João) leads the author to feel they were done by another artist.Google Scholar
68. Mariano Filho, José 1941 Estudos de arte Brasileira. Rio de Janeiro. A collection of newspaper articles.Google Scholar
69. Martins, Judite “Apontamentos para a bibliográfía referente a Antônio Francisco Lisboa.” Revista do S.P.H.A.N., Vol. 3, No. 4, pp. 179–205. The first, and until now, only full-scale bibliography of Aleijadinho. It covers the period from the eighteenth century to the 1930s'. Extremely valuable and very well annotated.Google Scholar
70. Martins, Judite 1961 “Nôvos subsidios acêrca de Manuel Francisco Lisboa.” Revista do S.P.H.A.N. no. 15.Google Scholar
71. Martins, Judite “Subsidios para a biográfía de Manuel Francisco Lisboa.” Revista do S.P.H.A.N. no. 4, 121–153. An unannotated bibliography of works dealing with the father of Aleijadinho.Google Scholar
72. Mauro, Eugênio Luis 1960 An anatomia na obra do Aleijadinho. São Paulo.Google Scholar
73. Mawe, John 1944 Viagem ao interior do Brasil. Rio de Janeiro.Google Scholar
74. Mourao, Mourao Paulo Kruger 1964 As igrejas setecentístas de Minas. Belo Horizonte: Editoria Itatíaia Limitada, 265 p. This valuable study of Mineiro churches contains a fine chronology (pp. 203–219) of Aleijadinho's architectural and sculptural works. Given are dates of both commission and construction. Chapter XXXI contains an excellent historical treatment of the church of Senhor do Bom Jesus de Matosinhos at Congonhas do Campo. Also included is a list of about 100 of the principle Mineiro artists of the period and the major works of each. Heavily illustrated with inferior photographs.Google Scholar
75. Navarra, Ruben dez. de 1948 “Os passos do Aleijadinho em Congonhas.” Revista Mensial, no. 114, pp. 102–106.Google Scholar
76. Nette, Alipino Correa 1965 A doença do Aleijadinho. São Paulo, 1965.Google Scholar
77. Oilam, José 1959 Historiografia Mineira. Belo Horizonte.Google Scholar
78. Orosco, E. “As avarias nas esculturas do período colonial de Minas Gerais.” Revista do S.P.H.A.N. no. 5, pp. 179–206. A technical study of the deterioration of Aleijadinho's sculpture. Suggestions of renovation are included. Contains marvelous photographs of Lisboa's works.Google Scholar
79. Paezzo, Sylvan 22 de nov. de 1964 “Aleijadinho, o genio esquecido.” Correio de Martha.Google Scholar
80. Passos, Zoroastrao Vianna “Em torno do história do Sabará: a ordem 3a do Garmo e seu igreja: obras do Alejadinho no templo.” S.P.H.A.N., Publicação no. 5. A documentary study of Church records of Sabará. The author is able to identify the works by Aleijadinho with a good degree of certainty. Contains fine photographs.Google Scholar
81. Pires, Heliodoro 13 de set. de 1941 “O Aleijadinho e a gravura religiosa da Espanha e Portugal.” Jornal do Comercio, 4. “The author, a well-known Aleijadinho scholar, points out some of the engravings of European sculpture that Aleijadinho might have seen.” (HLAS, no. 8, 1942, #878).Google Scholar
82. Pires, Heliodoro 30 de nov. de 1940 “O Aleijadinho, o lar paterno e a escola.” Jornal do Comercio, 4. A brief chronology of the lives of Manuel Francisco Lisboa, Aleijadinho, and João Batista Gomes.Google Scholar
83. Pires, Heliodoro 1941 O Aleijadinho, gigante da arte no Brasil. Sao Paulo: Editora Melhoramentos. The precursor to entry #84. A fine study of Aleijadinho and the influences on his work. The author claims that Lisboa was especially familiar with the cathedral at Amiens.Google Scholar
84. Pires, Heliodoro 1961 Maestro Aleijadinho; vida e obra de Antônio Francisco Lisboa, gigante da arte no Brasil. Rio de Janeiro: Livraria São José. This book is the result of over twenty years spent in the study of Aleijadinho. The author stresses the similarities between Aleijadinho's work and the Portuguese baroque in general. He claims that much of the sculptor's inspiration came from the Biblical illustrations of the Livros de Horas carried from Portugal by Franciscan priests. Accompanied by good photographs, a catalogue of the locations of Aleijadinho's major works, and a somewhat outdated bibliography.Google Scholar
85. Polderman, Fabrice Oct. 1946 “Sculpture in Brazil.” Gazette des Beaux Arts, vol. XXX, pp. 345–360. The author stresses the place of Brazilian art within the framework of the New World and emphasizes the effect the discovery of gold had on Mineiro art. Pp. 351–54 deal specifically with Aleijadinho.Google Scholar
86. Pontual, Roberto 1969 Dicionário das artes plásticas no Brasil. Rio de Janeiro: Editoria Civilização Brasileira. Probably the best (and practically the only) general guide to the plastic arts in Brazil. The author is a well-known Brazilian art critic. There is a good entry on Aleijadinho (pp. 11–14) with illustrations. The book is useful to the student of Aleijadinho for its entries on leading Brazilian critics and contemporaries of Lisboa.Google Scholar
87. (AUTHOR UNKNOWN) 1971 Praeger Encyclopedia of Art. New York: Praeger Publishers. See Vol. I, p. 35 for a short biographical sketch of Aleijadinho with some photographs of the prophets at Congonhas.Google Scholar
88. Ruas, Epanina 1950 Ouro Prêto, sua história, seus templos e monumentos. Rio de Janeiro. His work is his testament.Google Scholar
89. ŞALGADO, PLINIO 8 de dez. de 1963 “Texto para a estatuária do Aleijadinho.” Diário de São Paulo. 1950 Ouro Prêto, sua história, seus templos e monumentos. Rio de Janeiro.Google Scholar
90. Santos, Paulo F. 1951 A arquitetura religiosa em Ouro Prêt o. Rio de Janeiro: Kosmos. A fine collection of plans and designs of the churches of Ouro Prêto.Google Scholar
91. Silva, Eugênio 11 de oct. de 1958 “O acaso descubre Aleijadinho.” O Cruzeiro.Google Scholar
92. Sitwell, Sacheverall March 1944 “The Brazilian Style.” Architectural Review, vol. XIV, no. 567. Refers to Aleijadinho's style as “crabbed and ugly.”Google Scholar
93. Smith, Marinobel Jan. 1942 “The Colonial Period in Brazilian Art.” Think, Vol. 9, No. 1, 20.Google Scholar
94. Smith, Robert C. “Art and Architecture of Brazil,” in New World Guides to the Latin American Republics, E. P. Hanson, ed., 3d ed., N.Y., 1950, III, pp. 24–37.Google Scholar
95. Smith, Robert C. 1953 “Baroque Architecture in Brazil.” Portugal and Brazil, an Introduction (H. V. Livermore, ed.) Oxford.Google Scholar
96. Smith, Robert C. June, 1939. “The Colonial Architecture of Minas Gerais in Brazil.” Art Bulletin, vol. XXI, no. 2, pp. 110–159. A definitive article by the outstanding North American authority on colonial Brazilian architecture. In contrast to Bury, Smith claims that of all the American colonies, it was Brazil “that most faithfully and consistently reflected and preserved the architecture of the mother country…. The essentially native Portuguese tradition … flourished in the interior capitals of Minas Gerais.” The footnote on pp. 121–26 contains an excellent catalogue of the architectural monuments of Minas Gerais.Google Scholar
97. SOUSA-LEÁO, JOAQUIM (FILHO) Sept., 1942 “Brazilian Colonial Architecture.” Studio, Vol. 126, No. 606, pp. 113–118.Google Scholar
98. (AUTHOR UNKNOWN) Sept. 26, 1955 “Stone Prophets in the Church of Bom Jesus do Matosinhos.” Time, Vol. 66, pp. 76–77.Google Scholar
99. Terra Arocena, Horacio 1959 “Antônio Francisco Lisboa (El Aleijadinho).” Montevideo: Cámara de Representantes (Día de las Américas). A Pan-American Day oration on Aleijadinho.Google Scholar
100. Trindade, Raimundo 1944 “A casa de São Francisco em Mariana.” Revista do S.P.H.A.N., no. 8, pp. 276–352.Google Scholar
101. Trindade, Raimundo 1942 “A Igreja de São Francisco de Assis de Mariana.” Revista do S.P.H.A.N., no. 7, pp. 57–76. A careful study of the documents reveals that Aleijadinho was the sculptor of the portals of this magnificent church. It is precisely this type of scholarly research that is gradually providing a complete and honest inventory of Lisboa's works.Google Scholar
102. Trindade, Raimundo 1956 “A Igreja de São José em Ouro Prêto: documentos do seu arquivo.” Revista do S.P.H.A.N., no. 13, pp. 109–214. “This article reproduces the full text of a series of commissions and payments for the construction and decoration of a major eighteenth century church in Ouro Prêto. Outstanding in interest is the contrast for the design of the high altar by Aleijadinho.” (HLAS, no. 22, 1960. #1316).Google Scholar
103. Trindade, Raimundo 1945 Instituições de igrejas no bispado de Mariana. Rio de Janeiro: Impresa Nacional (Ministério da Educação e Saúde), S.P.H.A.N., publicação no. 13.Google Scholar
104. Trindade, Raimundo 1951 “São Francisco de Assis do Ouro Prêto. Crônica narrada pelos documentos da Ordern.” S.P.H.A.N., Publicação no. 17.Google Scholar
105. Vacconi, Celita agosto de 1965 “Aspectos da vida e arte de Antônio Francisco Lisboa, O Aleijadinho.” Arquivos da Escola Nacional de Belas Artes. Rio de Janeiro. Universidade do Brasil, no. 11, pp. 161–177.Google Scholar
106. Valladares, Valladares Clarival Do 16 de nov. de 1964 “Aleijadinho, 150 anos después.” O Cruzeiro Internacional (Rio de Janeiro).Google Scholar
107. Varela, Lorenzo, and Coppola, Horacio 1955 Esculturas de Antônio Francisco Lisboa, O Aleijadinho. Buenos Aires: Ediciones de la Llanura. A book of photographs accompanied by a poem by Varela.Google Scholar
108. Varela, Lorenzo, and Coppola, Horacio 7 de dez. de 1940 “O ser ou não ser do Aleijadinho no campo da arquitetura.” Correio da Manha.Google Scholar
109. Vasconcelos, Silvio De 21 de nov. de 1964 “Antônio Francisco Lisboa e a nacionalidade.” O Estado de São Paulo.Google Scholar
110. Vasconcelos, Silvio De jan-março de 1957 “Sôbre O Aleijadinho.” Revista de História. São Paulo. Universidade de São Paulo, Vol. 14, pp. 37–45.Google Scholar
111. Vasconcelos, Silvio De 1974 The Cultural Miracle of Minas Gerais. Américas 26:2:2-8 (February). An interesting, if fanciful, account of eighteenth century mineiro society. The author puts forth several unsubstantiated claims. His descriptions of mineiro society as democratic' with a ‘broad distribution of wealth’ is difficult to accept. His equation of mineiro music with that of Bach seems chauvinistic. The analysis of Aleijadinho is equally superficial and adulatory. The sculptor's reputation is established. His work is his testament.Google Scholar
112. Zanni, Ivo 11 de março de 1962 “Bom Jesus (Aleijadinho) de São João foí para Campanha.” Folha de Sao Paulo.Google Scholar