Aires, Mata Machada Filho da. Arraial do Tijuco, Cidade Diamantina. Rio de Janeiro: Publicações do Serviço do Patrimônio Histórico e Artístico Nacional (Ministerio da Educação e Saúde), no. 12 (1944). A history of the Mineiro town of Diamantina, with a discussion of daily life in the eighteenth century, as well as a commentary on the art and architecture of the region.Google Scholar

Alden, Darril, editor. Colonial Roots of Modern Brazil. Berkeley: University of California Press, 1973.Google Scholar

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Andrade, Rodrigo Melo Franco de. “Contribuição para o Estudo da Obra do Aleijadinho.” Revista do S.P.H.A.N. 3, no. 2 (1938):255–97. Commemorates the centennial of the birth of Lisboa. This article was responsible for setting off the twentieth-century interest in the artist. It contains photocopies of receipts and commissions of Aleijadinho and stands as the first real attempt to bring modern scholarship to the study of Aleijadinho, in an effort to separate fact from myth.Google Scholar

Arinus, Afonso Melo Franco de. Desenvolvimento da Civilização Material no Brasil. Rio de Janeiro: Publicações do Serviço do Património Histórico e Artístico Nacional (Ministerio du Educação e Saúde), no. 11 (1944). A chronological history of Brazil. The chapter on the eighteenth century deals with the settlement years of Minas Gerais but offers little that is new.Google Scholar

Avila, Affonso. O Lúdico e as Projecões do Mundo Barroco. São Paulo: Editôra Perspectiva, 1971.Google Scholar

Avila, Affonso. Resíduos Seiscentistas em Minas: Textos do Século do Ouro e as Projeceções do Mundo Barroco. 2 vols. Belo Horizonte: Universidade Federal de Minas Gerais, Centro de Estudos Mineiros, 1967.Google Scholar

Bandeira, Manoel. Guia de Ouro Prêto. Rio de Janeiro: Publicações de Serviço do Patrimônio Histórico e Artístico Nacional (Ministerio da Educação e Saúde), no. 2 (1938).Google Scholar

Bandeira, Manoel. “Manuel da Costa Ataíde, Dourador.” Revista do S.P.H.A.N. 3, no. 2 (1938):149–50. In a letter, the author reproduces an original contract to prove his thesis that the altars of the Church of Our Lady of Carmo in Ouro Prêto were painted by Ataíde.Google Scholar

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Bardi, Paulo M. História da Arte Brasileira: Pintura, Escultura, Arquitetura e Outras Artes. São Paulo: Edições Melhoramentos, 1975. A beautiful volume dealing with all aspects of Brazilian art history. Of special interest to this study are chap. 3 (“O Transplante Barroco,”), 4 (“O Século do Ouro”), and 5 (“O Magistral Aleijadinho”). There is a short section on the baroque painters who, the author claims, are still not being studied as they should (p. 135). The chapter on Lisboa offers little that is new, but it treats the known quite well. The work is lavishly illustrated in both color and black and white, is well indexed, but lacks a bibliography.Google Scholar

Barreto, Paulo Thedim. “Análise de Alguns Documentos Relativos a Casa de Câmara e Cadeia de Mariana.” Revista do S.P.H.A.N., no. 16 (1968):219–51. An examination of several eighteenth-century official documents. Several deal with commissions granted to the Lisboas, Brito, and José Pereira dos Santos.Google Scholar

Batista, Nair. “Valentim da Fonseca e Silva.” Revista do S.P.H.A.N., no. 4 (1940):271–325. A discussion of the life and work of Maestro Valentim, the painter. Excellent bibliography.Google Scholar

Bayon, Damian. “Les Baroques en Amérique du Sud: Le Nord-Est. Bresilien Face au Domaine Hispanique.” Cahiers d'Histoire Mondial (UNESCO, Paris) 13 (1971):133–51.Google Scholar

Bazin, Germain. L'Architecture Religieuse Baroque au Brésil. São Paulo: Museu de Arte, 1955. 2 vols. A monumental survey of Brazilian architecture. Chapter 11 deals with Minas Gerais and begins with a discussion of Antônio Francisco Pombal and his brother, Manuel Francisco Lisboa (the father of Aleijadinho). There is a list of the elder Lisboa's principle works with discussion, photos, and floor plans for each. The section dealing with the second half of the eighteenth century contains a short biographical sketch of each of the principle contemporaries of Aleijadinho. There follows a detailed architectural description of his principle works. Volume 2 is a monument-by-monument catalog, arranged geographically. The description of each monument is followed by its principle bibliographical sources.Google Scholar

Bishop, Elizabeth. Brazil. New York: Time, 1967.Google Scholar

Brazilian Baroque: Decorative and Religious Objects of the Seventeenth and Eighteenth Centuries. (Prefacio de Pedro Oliveira Ribeiro Neto.) São Paulo, 1972.Google Scholar

Bruana, Yves. “Barroco e Rococó na Arquitetura de Minas Gerais.” Dedalo, Revista de Arte e Arqueologia 2 (Junho 1966):13–33.Google Scholar

Bury, John. “The Little Cripple.” World Review (1951), pp. 29–37.Google Scholar

Carvalho, Benjamin de. Duas Arquiteturas no Brasil. Rio de Janeiro: Editora Civilizaçaõ Brasileira S.A., 1961. (Retratos do Brasil, vol. 8). An overview of Brazilian architecture with particular emphasis on the transmission of the baroque style from Europe to Brazil. Chapter 5 contains a good discussion of most of the architectural terms and a limited bibliography.Google Scholar

Castedo, Leopoldo. “Latin American Painting and Sculpture.” In Latin Amercia and the Caribbean: A Handbook, edited by Claudio Veliz, pp. 795–801. New York: Praeger, 1968.Google Scholar

Cavalcanti, Carlos, coordinator. Dicionário Brasileiro de Artistas Plásticas. Brasília: Instituto Nacional do Livro (Ministerio da Educação e Cultura), 1973. 5 vols. Indispensable to the student of Brazilian art. The arrangement is dictionary with thousands of entries, plus 1,500 illustrations. Includes even the most obscure artists. This work now supersedes all previous such compilations.Google Scholar

Charles, Geo. L'Art Baroque au Brésil. Paris: Editions Internationales, 1956. A discussion of Brazilian baroque art in general, with a heavy emphasis on the state of Pernambuco. Chapter 5 is devoted to Minas Gerais. The listing of principle Mineiro artists is confusing (e.g., by Francisco Xavier, does the author mean Francisco Xavier de Brito?). The short section on Aleijadinho adds little that is new. There is also a brief catalog of the principle sites of Mineiro baroque art.Google Scholar

Costa, Lucio. “A Arquitetura de Antônio Francisco Lisboa Revelada no Risco Original da Capela Francisciana de São João de Rei.” In O Aleijadinho. Rio de Janeiro: Publicações da Diretoria do Patrimonio Histórico e Artístico Nacional, no. 15 (1951).Google Scholar

Costa, Lucio. “Risco Original de Antônio Francisco Lisboa.” Revista do S.P.H.A.N., no. 17 (1969):239–42. The first known assignment of Aleijadinho was from his father, Manuel Francisco Lisboa, in 1752, when the lad was fourteen years old.Google Scholar

Curtis, J. N. B. de. “Brasil, Século XVIII: Arquitetura.” Revista do Instituto de Estudos Brasileiros (Universidade de São Paulo) 8 (1970):19–28.CrossRefGoogle Scholar

Del Negro, Carlos. Contribuição ao Estudo do Pintura Mineira. Rio de Janeiro: Publicações do Servicio do Patrimônio Histórico e Artístico Nacional, 1958. An analysis (church by church) of Mineiro colonial painting, with special emphasis on the works of Manoel da Costa Ataíde, who painted the interiors of many of Aleijadinho's most famous architectural works. The author provides a chronological list of the most important works attributed to Ataíde. Includes fine black-and-white illustrations and an index of painters and illustrations.Google Scholar

Ferez, Gilberto. “A Fotografia no Brasil.” Revista do S.P.H.A.N., no. 10 (1946): 169–297. An interesting history of photography in Brazil. Contains some of the earliest photographs ever published of Ouro Prêto, São Francisco de Assis (Ouro Prêto), the wooden statues of Aleijadinho (Congohas do Campo), and Diamantina.Google Scholar

Gasparini, Graziano. América, barroco y arquitectura. Caracas: Ernesto Armitano Editor, 1972. Chapter 9 deals with Brazil and pp. 476–517 deal with Minas Gerais. The author admits that Aleijadinho was a great artist but casts doubt on the originality of his works. He feels that Lisboa relied more heavily than had been thought on the work of Andre Soares de Braga. Good black-and-white photos of the work of both men.Google Scholar

La Iglesia del Bom Jesus Matozinhos, Minas Gerais, Brasil. Instituto Interuniversitário de História de la Arquitectura, 1971.Google Scholar

Jardim, Luis. “A Pintura Decorativa em Algumas Igrejas Antigas de Minas.” Revista do S.P.H.A.N., no. 3 (1939):63–102. An analysis of decorative painting from the churches of Minas Gerais. Contains a brief mention of Ataíde.Google Scholar

Jardim, Luis. “A Pintura do Guadamor José Soares de Arauju em Diamantina.” Revista do S.P.H.A.N., no. 4 (1940):155–77. A discussion of the effect on Brazilian art of the presence in Minas Gerais of Soares, one of the leading Portuguese painters of the time.Google Scholar

Laclette, René. “O Aleijadinho e Suas Doenças.” Revista do S.P.H.A.N., no. 17 (1969):127–76. A detailed physical description of the debilitating illness of Aleijadinho. It is based largely on the accounts of Ferreira Bretas and of the early non-Brazilian visitors to Minas (Burton, Luccock, Saint-Hilaire, and von Eschwege). The author also examines many of the previous medical treatments of Lisboa. A good bibliography on this specialized subject that contains many items probably impossible to obtain outside of Brazil.Google Scholar

Lefevre, Renee, and Vasconcellos, Silvio de. Minas: Cidades Barrocas. São Paulo: Companhia Editôra Nacional [and] Editôra da Universidade de São Paulo, 1968.Google Scholar

Levy, Hannah. “Modêlos Europeus na Pintura Colonial.” Revista do S.P.H.A.N., no. 8 (1944):7–66. The author stresses the influence of European models on the works of colonial Brazilian painters. She suggests the works which Manuel da Costa Ataíde had in mind when he executed the interiors of São Francisco de Assis in Ouro Prêto. She also discusses the derivation of the works of Manuel Antônio da Fonseca and João Nepomuceno Correia e Castro.Google Scholar

Lima, Augusto de (Junior). A Capitania das Minas Gerais: Suas Origens e Formação. Lisboa: Americana, 1940.Google Scholar

Linguanotto, Daniel. Descubra Ouro Prêto. São Paulo: Editôra Cultura, 1972.Google Scholar

Lopes, Francisco Antônio. História da Construcação da Igreja do Carmo de Ouro Prêto. Rio de Janeiro: Publicações do Serviço do Património Histórico e Artístico Nacional (Ministerio da Educação e Saúde), no. 8 (1942).Google Scholar

Machado, Lourival Gomes. Conquista de Congonhas. São Paulo, 1960.Google Scholar

Machado, Lourival Gomes. Barroco Mineiro. Apresentação de Rodrigo Melo Franco de Andrade. São Paulo: Editôra Perspectiva [and] Universidade de São Paulo, 1969.Google Scholar

Mariano, José (Filho). “A Propósito da Escola de Arte de Vila Rica.” Jornal do Comércio (Rio de Janeiro), 25 de maio de 1941, p. 5.Google Scholar

Matías, Herculano Gomes. A Coleção da Casa dos Contos de Ouro Prêto. Rio de Janeiro: Arquivo Nacional, 1966.Google Scholar

Mattos, Anibal. Maestre Valentim e Outros Estudos. Belo Horizonte: Apollo, 1934.Google Scholar

Mattos, Anibal. “Monumentos Históricos Artísticos e Religiosos de Minas Gerais.” Rio de Janeiro: Ministério de Cultura, 1936.Google Scholar

Mattos, Anibal. As Artes nas Igrejas de Minas Gerais. Belo Horizonte: Edições Apollo, 1936.Google Scholar

Mattos, Anibal. “Dois Artistas do Período Colonial Brasileiro (Estudo Histórico e Biográfico de Maestre Valentim e Aleijadinho).”Google Scholar

Mattos, Anibal. História da Arte Brasileira. Belo Horizonte: Biblioteca Mineira de Cultura, Edições Apollo, 1937. Almost a third (pp. 179–310) of this book deals with the art of colonial Minas Gerais. Many poor-quality photographs and little that is new on either Aleijadinho or his cultural environment. In a footnote, the author mentions that he had in preparation a work on Aleijadinho, but I have been unable to locate such a work.Google Scholar

Ministério da Educação e Saúde. Antônio Francisco Lisboa O Aleijadinho. Rio de Janeiro: Publicações do Servicio do Patrimonio Histórico e Artístico Nacional, 1951. In addition to a short essay on the architecture of Lisboa, this book contains the original biographical study of Aleijadinho done by Rodrigo José Ferreira Bretas in 1858, and nearly fifty pages of rather good black-and-white photographs of Lisboa's work.Google Scholar

Palestro Proferida por R. M. F. de Andrade em Ouro Prêto. “Comemoração do 257 Aniversário de Elevação [de Ouro Prêto] a Categoria de Vila.” Revista do S.P.H.A.N., no. 17 (1968):11–26. An interesting summation of the colonial art and and architecture of Minas Gerais.Google Scholar

Reis, José de Sousa. “O Adro do Santuário de Congonhas.” Revista do S.P.H.A.N., no. 3 (1939):207–23. Fine black-and-white photographs of the twelve prophets, with a discussion of the planning of the Church of Bom Jesus of Matozinhos in Congonhas do Campo. The author points out that the adro was first begun in 1777 by Tomaz de Maia Brito, while the prophets were executed in 1807. Thus, the author argues that the adro was done in preparation for the prophets.Google Scholar

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Scheirer, Peter. Imagens do Passado de Minas Gerais. Fotos [de] Versão [de] John Knox. Dois depointmentos a título de apresentação de Mario Bareta e Orlando Seitas Fernandes. Rio de Janeiro: Livraria Kosmos Editôra, 1968.Google Scholar

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Smith, Robert C. “Arquitetura Civil do Período Colonial.” Revista do S.P.H.A.N., no. 17 (1969):27–126. A discussion of civil, as opposed to religious, architecture in colonial Brazil.Google Scholar

Smith, Robert C. Congonhas do Campo. Texto de Robert C. Smith. Fotos de Marcel Gautherot e R. C. Smith. Rio de Janeiro: Artes Gráficas Industrias Reunidas S.A. (AGIR), 1973. Beautiful black-and-white photographs and an excellent introductory essay by Smith in which he stresses the great similarities between Aleijadinho's work at Congonhas and the Bom Jesus of Braga (Portugal), largely executed by Andre Soares. The comparison is continued in the photographs. Smith concludes that in sheer artistic merit the work of Lisboa is clearly superior.Google Scholar

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Spangenberg, Elsa Mendez. Ensayo sobre arte colonial en Minas Gerais. Madrid: Maldonado, 1952. A narrative history of Minas Gerais. Unlike other authors, who trace Brazilian baroque directly to European origins transmitted via paintings and drawings, Spangenberg says “aparece en Minas un barroquismo nativo, un arte brasilero, donde los elementos étnicos se mezclan, arte que es el fruto de tres razas—europea, india, y africana, que llegan a criar influidas por el medio un arte nuevo contribución de cultura a la evolución social del pueblo minero” (p. 30). A short section on A. F. Lisboa dwells on his illness but does connect him with the work of several other artisans (João Gomes Batista, Felix José da Rocha, Jorge de Almeida, João Soares de Araujo, Manoel da Gama Vilas Boas, Manoel Ribeiro Guimaraes, José Rodriquez de Oliveira, and Manoel da Costa Ataíde).Google Scholar

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Trindade, Conego Raimundo. “Ourives de Minas Gerais nos Séculos XVIII e XIX.” Revista do S.P.H.A.N., no. 12 (1955):107–49. Documentation of the famous Mineiro goldsmith, João de Lima, as well as a documented list of all the other official goldsmiths of Minas Gerais.Google Scholar

Trindade, Conego Raimundo. “Igreja das Mercês de Ouro Prêto; Documentos do seu Arquivo.” Revista do S.P.H.A.N., no. 14 (1959):161–283. A history of the Church of Mercy of Ouro Prêto, founded by the Sisters of Mercy. A detailed description of the work performed by each of the artists who were engaged in the construction of the church, which was begun in 1731. Accompanied by 265 documents dealing with the actual construction (receipts, lists of workmen, contracts, etc.).Google Scholar

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Valladares, Clarival do Prado. Revelação Otica do Barroco Mineiro. Documentação icongráficia; detalhes de alguns exemplos do barroco mineiro compreendendo pintura, escultura e arquitetura do meado setencentista e do primeiro quartel do século XIX, em várias cidades de Minas. Brasília: Ministério da Educação e Cultura, 1973.Google Scholar

Valladares, José. “Arte Brasileira; Publicações 1943–1953. Bibliografia Comentada com Indice Remissivo.” Revista do S.P.H.A.N., no. 10 (1945):107–34. A general bibliography of publications on Brazilian art over a ten-year period. The emphasis is on the state of Bahia, but there are entries for Minas Gerais.Google Scholar

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Vasconcellos, Salomão de. “Ofícios Mecânicos em Vila Rica durante o Século XVIII.” Revista do S.P.H.A.N., no. 4 (1940):331–60. An examination of the record books of the pubic works department, showing works commissioned. Included are carpenters, sculptors, and bricklayers. There are references to commissions granted to Aleijadinho and several of the other prominent Mineiro artists. It must be remembered that, because of his color, Lisboa was forced to receive many of his commissions through proxies. This makes the detective work a bit more difficult.Google Scholar

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Valladares, José. “Como Nasceu Ouro Prêto: Sua Formação Cadastral desde 1712.” Revista do S.P.H.A.N., no. 12 (1955):177–232. A fascinating account of the early layout of Ouro Prêto, with a street-by-street description. We find, for instance, that on Rrua da Cadeia Velha, parte do sul, resided one Manuel Francisco Lisboa.Google Scholar

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Vasconcellos, Sylvio de. Arquitetura, Dois Estudos. São Paulo: Estadual do Livro, 1959. The second of the two studies deals with colonial constructions in Minas Gerais and contains a discussion of the development of Lisboa's art as influenced by João Gomes Batista and Luiz Camilo de Oliveira Neto.Google Scholar

Vasconcellos, Sylvio de. Arquitetura no Brasil: Sistemas Construtivos. 4 ed. rev. Belo Horizonte: Universidade de Minas Gerais, Escolas de Arquitetura, 1961.Google Scholar