270:
much the same as
Jeremiah. He displays a mustache and short beard, with frizzled curls of long hair falling upon the neck. Instead of a short tunic, the prophet wears a tunic that is long and belted, leaving uncovered only the tip of the right foot. In place of a turban, Ezekiel's head bears a cap with a visor attached by a loop above the neck. Covering the whole back of the piece, the mantle is magnificently decorated with a plaited band. The sculpture suffered little intervention in the workshop. Its great strength of expression shows particular care by Aleijadinho in its execution. Apart from the impressive expression of the face, there is also lifelike movement suggested in the bending the right arm.
274:
303:
162:
119:
17:
246:
500:
364:
535:
476:
432:
202:
392:
341:
198:, edged with twisted flaps passing beneath the brim. Like the statue of Isaiah, Jeremiah is slightly smaller than the remaining statues. From an anatomical point of view, this statue also has deformities. However, despite the noticeable defects, there is intervention of Aleijadinho in the execution of the head, where, no doubt, is concentrated all the real power of the image.
299:, one of whom crouches at his right foot. Like Ezekiel, Daniel wears a long robe, tied at the waist by a belt, and buttoned at the collar. In this sculpture, it seems that Aleijadinho employed no assistance from his staff. It is the largest statue of the collection, both monolithic and particularly well executed, testifying to the skill behind its creation.
242:
with a brim similar to that of the prophet
Jeremiah. With one hand he holds the folds of his mantle, while in the other he bears the parchment. The piece, with its squat proportions and anatomical errors evident, is one of the weakest of the set. As with the other figures, however, the strength of the image comes from the expression on his face.
523:. The prophet sports the most complicated headgear of the whole series, which has a high, flat top divided into four rounded sections, topped by a pendent tassel. The statue received special care in its execution from Aleijadinho because of to its location, with minimal collaboration evident from his studio.
412:. The style of Amos differs completely from all the other prophets in the group, although these differences are most noticeable in the physical styling of his garment. His broad face is beardless with a calm expression, almost good-natured as befits a man of the field. His garments suit the vocation of a
495:
The finishing efforts of
Aleijadinho's studio workers are highly evident in this piece, especially in the execution of the turban that Nahum wears on his head. Some details, such as the ornamental sash of the mantle, exhibit a general deficiency of articulation among the whole group, so that it seems
463:
The statue seems to have received the same special care that was bestowed on Daniel, and there is no evidence of finishing work from
Aleijadinho's shop. Included in this piece are two additional aspects of creative genius that display a capacity for dramatic expression. The front view of the statue
269:
The inscription upon the scroll combines three successive portions of the prophet's vision: first, the four winged creatures with four faces each, then four wheels of a chariot of fire supporting a sapphire throne, and finally on the throne, the god of Israel himself. The style of face on
Ezekiel is
114:
It has been noted that two of the statues, Joel and Jonah, seem to have had their positions reversed. "he direction of the gaze of these two figures appears to out of harmony with the arrangement of the others." Also, if the positions of these two statues were reversed, then all of the figures would
379:
stands at the very bottom of the churchyard walls, at the corner between walls of the front and left sides of the forecourt. The statue of
Obadiah portrays a beardless youth, like Baruch, Daniel, and Amos, but the more slender proportions give the impression of a taller youth. Obadiah wears a tunic
294:
The face of Daniel portrays a beardless youth, as Baruch and
Obadiah. However, the physiognomy of Daniel differs from theirs, especially in the carving of the eyes, the mouth and nose long, with its flared nostrils. The visage as a whole reveals a lofty and distant expression, characteristic of a
290:
flanks the entrance passage to the courtyard, and occupies a position both facing and corresponding to that of Hosea on the opposite side. This juxtaposition of the last of the major prophets and first of the minor prophets reveals, once again, how the series as a whole utilizes iconography in the
241:
Baruch holds forth a parchment whose quotations are a synthesis of several passages of his book. The sculpture, located on the pedestal that finishes off the wall alignment of the central courtyard, is a young and beardless figure, clad in short tunic, cloak, and boots. He wears a turban decorated
427:
Given the great height of the wall on which is placed, the sculpture seems to have been designed to be seen form its left side. On its right side, it presents a number of deficiencies, such as the omission of the trouser leg on this side. As with the statue of Daniel, it is an almost monolithic
451:
The statue of Jonah is crafted in the same style previously used for the figures of
Jeremiah, Ezekiel, Hosea, and Joel. However, his countenance possesses unique features, such as an open mouth with teeth visible and his face turned upward. He holds up his left palm towards the viewer. Jonah's
359:
The sculpture's face, like that of
Jeremiah, Ezekiel, and Hosea, is virile and masculine, with his beard and mustache set in Byzantine-style rolls. The garments are similar to those of Hosea, but with a higher collar. Joel's turban is similarly styled, with turned up brim, to those displayed on
387:
at each side of the churchyard, the statues of both
Obadiah and Habakkuk have the same attitude of arms raised, same style of clothing, as well as the same seemingly complicated texture of drapery. For the positions they occupy, both statues received special care, and since the images are
106:
It is likely that Aleijadinho himself, in his 70s when these works were completed, only carved the top half of the figures, the lower portions being executed by other carvers of his workshop. During this time in his life Aleijadinho, who suffered a debilitating disease believed to be
515:, the eighth of the minor prophets, closes the series of prophets in Congonhas. He holds a prominent position equivalent to that of Obadiah, at the lower point of the arc that joins the front and right side walls of the forecourt. With one arm raised, he condemns the oppressor.
360:
Jeremiah and Baruch. His head is thrust forward and his back curved. The statue exhibits virtually no anatomical imperfections. It is one of the most powerful of the whole set, and its force of expression reveals the careful attention of Aleijadinho in his execution.
193:
style. He wears short tunic, leaving the left leg revealed, which is draped over the right shoulder to fall downwards to the top of the feet. He secures firmly a parchment with his right hand and holds in his left a pen. Capping the head is a magnificent
153:
Aleijadinho's sculptures present strong evidence of anatomical errors, including a disproportion between the upper and lower body, narrow shoulders, and rigidly short arms. This may result from the figure being completed by one of the assistants in his
542:
Some analysts have proposed that the prophets at Congonhas are a call for political freedom, both for the many African slaves who worked in the region's mines and for the native Brazilians who wanted independence from Portugal, as was reflected in the
518:
Anew, he repeats the standard typology used previously for Jeremiah, Ezekiel, Hosea, Joel, and Jonah. Habakkuk's vestments include the same cassock worn by Nahum and Jonah, but this time with the addition of a collar whose corners are adorned with
336:
boots. He holds a pen in his right hand, whose tip is placed on the sash of the mantle, presenting an attitude of one who still is writing. The anatomy of the sculpture is correct, apart from a discrepancy between the length of the two arms.
143:. This sculpture has features characteristic of a person of advanced age, including a full beard and thick hair. He wears a short tunic, which covers his lower legs and boots sidewalks, and over which in draped a large mantle. He holds a
331:
at the entrance of the forecourt. Hosea, like Ezekiel and Jeremiah, wears a short coat, buttoned to the collar bar and secured at his waist by a belt. His head is covered by a cap similar to that of Ezekiel, his legs by pants and
158:. The expression on the face of Isaiah is characteristic of the genius of Aleijadinho. The expression presents that of a truly enlightened visage, thus becoming one of the most important pieces of the whole architectural complex.
356:, the second of the minor prophets in their traditional biblical sequence, takes his place in the churchyard to the right of Hosea, at the junction of the parapet entrance of the churchyard wall and the inner portion.
492:, the seventh of the minor prophets. The figure of Nahum is an old, bearded man with weathered face and tottering posture. He wears a long cassock, buttoned at the waist, whose folds are gathered in his left hand.
101:
Amazing spirit and power emanates from the heroic figures of the twelve prophets. ...Highly theatrical, the figures show individuality and inner greatness, held fast by the massiveness of their material -
444:
Occupying a position symmetrical to that of Joel, at the meeting point of the parapet walls that form the ingress to the left side of the forecourt, is the statue of
383:
This statue can be seen as contrasted with the prophet Habakkuk, who occupies an equivalent position at the opposite end of the forecourt. Functioning visually as
189:
The physical form of the sculpture is that of a middle-aged man with long whiskers on the sides of his mouth and a short beard of crisped rolls, in the
456:, with collar and buttoned to the waist, which is secured with a girdle. The prophet also bears a cloak thrown over his left shoulder, and the usual
380:
and mantle, supplemented only by a simple cap, but the arrangement of the folds is very well organized in a classical game of light and shadow.
807:
488:
At the right edge of the forecourt, occupying the highest position atop the arc that joins the front and side exterior walls, is the statue of
931:
56:
921:
941:
926:
111:, did all his carving behind screens in this workshop, "his chisel and mallet strapped to the stumps of his deformed hands."
295:
hero aware of his strength. A laurel wreath adorning the miter head accentuates this aspect, and is an obvious allusion to
404:
At the far left end of the forecourt, atop the great arc of a wall connecting the extreme front and side walls of the
849:
20:
From left to right: Amos, Obadiah, Jonah, Baruch, Isaiah, Daniel, Jeremiah, Hosea, Ezekiel, Joel, Habakkuk, and Nahum
448:. For this best-known of the minor prophets, Aleijadinho reserved pride of place, positioning it next to Daniel.
174:
To the right of Isaiah and also occupying a prominent position at the entrance of the staircase, is the prophet
906:
916:
388:
anatomically perfect, it is likely that there was little assistance provided by collaborators in his studio.
936:
911:
296:
287:
544:
273:
302:
833:
90:
316:
161:
118:
82:
263:
37:
completed between 1800 and 1805 by the artist AntĂ´nio Francisco Lisboa, commonly known as
8:
556:
62:
838:
801:
258:
Standing opposite Baruch, on a pedestal of the central wall dividing the forecourt, is
46:
16:
845:
421:
219:
179:
409:
353:
227:
183:
86:
900:
235:
132:
840:
Old Testament Survey: The Message, Form, and Background of the Old Testament
781:
78:
150:
from his left hand, while the right points to the text inscribed upon it.
496:
possible Aleijadinho merely designed the initial features of the statue.
38:
231:
465:
417:
324:
190:
144:
139:, opens the series at the staircase entrance on the left side of the
50:
34:
31:
884:
602:
69:
in 1985 because of their extraordinary contribution to Baroque art.
512:
413:
175:
245:
499:
453:
384:
376:
363:
328:
259:
108:
534:
222:
in the Congonhas statuary reflects his importance as Jeremiah's
701:
520:
475:
469:
431:
333:
223:
215:
201:
195:
155:
147:
136:
66:
42:
872:. Vol. 1, Americas. Chicago: Fitzroy Dearborn Publishers.
391:
340:
783:
A call for liberation: Aleijadinho's prophets as capoeiristas
489:
457:
445:
320:
94:
464:
is as ornamental as the back, and the sinuous silhouette of
214:
Although he is not counted among the prophets of the Hebrew
77:
Each sculpture in the series commemorates a prophet of the
718:
716:
468:, complete with toothy maw, seems to emerge as if from a
262:, also known as the prophet of the exile for having been
863:. Photogr. Hans Mann. Austin: University of Texas Press.
836:; Hubbard, David Allan & Bush, Frederic Wm. (1982).
638:
636:
585:
583:
61:. These sculptures, along with the basilica, were given
828:. Vol. 1, Text. New York: Dover Publications, Inc.
89:
and prophets whose works are part of the Old Testament
735:
733:
731:
713:
660:
691:
689:
687:
633:
580:
428:
piece, with only a small seam at the top of the cap.
745:
728:
568:
837:
684:
672:
648:
621:
420:, and features a cap on his head similar to those
81:. The twelve sculptures do not correspond to the
757:
416:. Amos is dressed in a sort of jacket lined with
898:
832:
707:
54:
291:positions of the statues within the forecourt.
93:. Each figure holds a scroll with a text, in
529:
870:International Dictionary of Historic Places
806:: CS1 maint: location missing publisher (
858:
722:
666:
589:
533:
498:
474:
430:
390:
362:
339:
301:
272:
244:
200:
160:
117:
15:
823:
817:AntĂ´nio Francisco Lisboa: O Aleijadinho
815:Bretas, Rodrigo José Ferreira (2002) .
789:(M.A. Thesis). Brigham Young University
642:
899:
814:
574:
72:
844:. Grand Rapids, MI: Wm. B. Eerdmans.
779:
763:
751:
739:
695:
678:
627:
603:"Sanctuary of Bom Jesus do Congonhas"
460:-shaped turban, with upturned flaps.
327:atop the pedestal that completes the
41:. The sculptures are located in the
867:
654:
538:Detail of one of the prophets: Hosea
57:Santuário do Bom Jesus de Matosinhos
932:Sculptures of Hebrew Bible prophets
826:Baroque and Rococo in Latin America
819:. Belo Horizonte: Editora Itatiaia.
408:, stands the statue of the prophet
13:
452:clothing is composed of a sort of
424:farmers still wear in the region.
115:be placed in chronological order.
14:
953:
878:
708:LaSor, Hubbard & Bush (1982)
97:, from their biblical writings.
297:Daniel's victory over the lions
861:The 12 Prophets of Aleijadinho
595:
1:
922:Rococo architecture in Brazil
772:
942:Outdoor sculptures in Brazil
927:Cultural depictions of Jonah
780:Bowen, Monica Jayne (2008).
547:revolt a few years earlier.
226:, and the prominence of the
7:
550:
507:
266:with the people of Israel.
169:
10:
958:
607:UNESCO World Heritage List
371:
253:
85:, but include some of the
885:3D digitalization of the
868:Ring, Trudy, ed. (1995).
530:Political interpretations
281:
209:
126:
891:by IMAGO (in Portuguese)
562:
483:
439:
323:occupies a place in the
310:
859:Mann, Graciela (1967).
399:
348:
178:, the second author of
49:, where they adorn the
834:LaSor, William Sanford
723:Mann & Mann (1967)
667:Mann & Mann (1967)
590:Mann & Mann (1967)
539:
504:
480:
436:
396:
368:
345:
307:
278:
250:
206:
166:
123:
55:
21:
907:Aleijadinho buildings
824:Kelemen, Pál (1967).
545:InconfidĂŞncia Mineira
537:
502:
478:
434:
394:
366:
343:
305:
276:
248:
204:
164:
121:
83:Twelve Minor Prophets
19:
917:Sculptures in Brazil
182:in the order of the
937:Sculptures of lions
557:Brazilian sculpture
264:banished to Babylon
218:, the inclusion of
73:The Twelve Prophets
63:World Heritage Site
912:Baroque sculptures
540:
505:
481:
437:
397:
369:
346:
308:
279:
251:
207:
167:
124:
22:
315:The first of the
131:A prophet of the
949:
873:
864:
855:
843:
829:
820:
811:
805:
797:
795:
794:
788:
767:
761:
755:
749:
743:
737:
726:
720:
711:
705:
699:
693:
682:
676:
670:
664:
658:
652:
646:
640:
631:
625:
619:
618:
616:
614:
599:
593:
587:
578:
572:
180:a prophetic book
60:
45:municipality of
957:
956:
952:
951:
950:
948:
947:
946:
897:
896:
881:
876:
852:
799:
798:
792:
790:
786:
775:
770:
762:
758:
750:
746:
738:
729:
721:
714:
706:
702:
694:
685:
677:
673:
665:
661:
653:
649:
641:
634:
626:
622:
612:
610:
601:
600:
596:
588:
581:
573:
569:
565:
553:
532:
526:
510:
486:
442:
402:
374:
351:
313:
284:
256:
212:
184:Christian canon
172:
129:
75:
27:Twelve Prophets
12:
11:
5:
955:
945:
944:
939:
934:
929:
924:
919:
914:
909:
893:
892:
889:of Aleijadinho
880:
879:External links
877:
875:
874:
865:
856:
850:
830:
821:
812:
776:
774:
771:
769:
768:
756:
744:
727:
712:
710:, p. 461.
700:
683:
671:
669:, p. 129.
659:
657:, p. 168.
647:
645:, p. 254.
643:Kelemen (1967)
632:
620:
594:
579:
566:
564:
561:
560:
559:
552:
549:
531:
528:
509:
506:
485:
482:
441:
438:
401:
398:
373:
370:
350:
347:
317:minor prophets
312:
309:
283:
280:
255:
252:
228:Book of Baruch
211:
208:
171:
168:
128:
125:
87:Major Prophets
74:
71:
9:
6:
4:
3:
2:
954:
943:
940:
938:
935:
933:
930:
928:
925:
923:
920:
918:
915:
913:
910:
908:
905:
904:
902:
895:
890:
888:
883:
882:
871:
866:
862:
857:
853:
851:0-8028-3556-2
847:
842:
841:
835:
831:
827:
822:
818:
813:
809:
803:
785:
784:
778:
777:
765:
760:
754:, p. 37.
753:
748:
742:, p. 36.
741:
736:
734:
732:
725:, p. 66.
724:
719:
717:
709:
704:
698:, p. 35.
697:
692:
690:
688:
681:, p. 34.
680:
675:
668:
663:
656:
651:
644:
639:
637:
630:, p. 30.
629:
624:
608:
604:
598:
592:, p. 58.
591:
586:
584:
577:, p. 74.
576:
575:Bretas (2002)
571:
567:
558:
555:
554:
548:
546:
536:
527:
524:
522:
516:
514:
501:
497:
493:
491:
477:
473:
471:
467:
461:
459:
455:
449:
447:
433:
429:
425:
423:
419:
415:
411:
407:
393:
389:
386:
381:
378:
365:
361:
357:
355:
342:
338:
335:
330:
326:
322:
318:
304:
300:
298:
292:
289:
275:
271:
267:
265:
261:
247:
243:
239:
237:
236:Vulgate Bible
233:
229:
225:
221:
217:
203:
199:
197:
192:
187:
185:
181:
177:
163:
159:
157:
151:
149:
146:
142:
138:
134:
133:Old Testament
120:
116:
112:
110:
104:
103:
98:
96:
92:
88:
84:
80:
70:
68:
64:
59:
58:
52:
48:
44:
40:
36:
33:
30:are a set of
29:
28:
18:
894:
886:
869:
860:
839:
825:
816:
791:. Retrieved
782:
764:Bowen (2008)
759:
752:Bowen (2008)
747:
740:Bowen (2008)
703:
696:Bowen (2008)
679:Bowen (2008)
674:
662:
650:
628:Bowen (2008)
623:
611:. Retrieved
606:
597:
570:
541:
525:
517:
511:
494:
487:
462:
450:
443:
426:
405:
403:
382:
375:
358:
352:
314:
293:
286:The prophet
285:
268:
257:
240:
230:in both the
213:
188:
173:
152:
140:
130:
113:
105:
100:
99:
91:deuterocanon
79:Hebrew Bible
76:
26:
25:
23:
655:Ring (1995)
39:Aleijadinho
901:Categories
793:2011-12-18
773:References
472:fountain.
422:Portuguese
232:Septuagint
65:status by
35:sculptures
802:cite book
466:the whale
418:sheepskin
406:Santuário
325:sanctuary
191:Byzantine
145:parchment
141:Santuário
51:forecourt
47:Congonhas
43:Brazilian
32:soapstone
887:Prophets
613:20 March
609:. UNESCO
551:See also
513:Habakkuk
508:Habakkuk
503:Habakkuk
414:shepherd
385:bulwarks
176:Jeremiah
170:Jeremiah
165:Jeremiah
521:tassels
454:cassock
377:Obadiah
372:Obadiah
367:Obadiah
329:parapet
260:Ezekiel
254:Ezekiel
249:Ezekiel
109:leprosy
53:of the
848:
470:Rococo
334:buskin
288:Daniel
282:Daniel
277:Daniel
224:scribe
220:Baruch
216:Tanakh
210:Baruch
205:Baruch
196:turban
156:studio
148:scroll
137:Isaiah
127:Isaiah
122:Isaiah
102:stone.
67:UNESCO
787:(PDF)
563:Notes
490:Nahum
484:Nahum
479:Nahum
458:mitre
446:Jonah
440:Jonah
435:Jonah
321:Hosea
311:Hosea
306:Hosea
95:Latin
846:ISBN
808:link
615:2021
410:Amos
400:Amos
395:Amos
354:Joel
349:Joel
344:Joel
234:and
24:The
903::
804:}}
800:{{
730:^
715:^
686:^
635:^
605:.
582:^
319:,
238:.
186:.
135:,
854:.
810:)
796:.
766:.
617:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.