Comments on Michelangelo?s work (1475-1564), Sculpture: The Risen Christ (Florence/Italy - Renaissance Period) - - and Antônio Francisco Lisboa?s work (1738-1814) - - Sculpture: The Christ of Flagellation (Ouro Preto/Brazil ? Baroque Period)

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            Comments on Michelangelo’s work (1475-1564), - - Sculpture: The Risen Christ (Florence/Italy - Renaissance Period)  - - and Antônio Francisco Lisboa’s work (1738-1814) - - Sculpture: The Christ of Flagellation (Ouro Preto/Brazil – Baroque Period) - -, and  a brief comparison of the artists and contexts, based on suggestion No.05 of the Study Material, HUX 504 – CSU/USA.  

            The determination of the periods - - Renaissance and Baroque - - in which each of the chosen artists Michelangelo, and Aleijadinho have performed their works - - “Risen Christ”, and “The Christ of Flagellation” - - , should be a milestone in the attempt to understand the statement that no period is better than another one, but complementary, as well as no art is more beautiful than another because it depends on the way one interprets and looks at it, and a creation itself is unique.

            “The term Renaissance was used for the first time in France to translate the word “Rinascita”, coined by Vasari in 1550 to designate the radical change of orientation at the end of fifteenth century”(Wackernagel 135). “The term Baroque, which designates a middle term between Renaissance and Modernism is considered a new phase of what had already happened during seventeenth and eighteenth centuries in terms of Arts” (Kitson 08). The Renaissance revival of Greek and Roman studies emphasized the value of the classics for their own sake, rather than for their relevance to Christianity. “Baroque period is full of this horror of the final judgement of the universe in accordance with Hauser”(Machado 57). Baroque incorporates so much of Renaissance. In fact, as Wackernagel mentions in his book Renaissance and Baroque, Michelangelo is reported to be the “father” of Baroque (135).   

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            There is time and space for each creation and the confrontation of these sculptures will help anyone to understand the subsequent periods in focus, characterizing new conceptions of aesthetics and beauty.             

            This is an attempt to explored, in the attempt to analyze the representations of Jesus Christ, the most important myth of Christian Doctrine, by two different artists with totally different background, and the basis of traditional iconoclastic treasures of counterpoint cultures, in terms of conceptualization. 

^[01]        The next step should be the presentation of each piece of art and conditions of production. Observers would rather understand circumstances that involve the creation and elements that characterize the style of each artist, establishing singularities, and/or common features, their arguments in the attempt to express the representation of their manifested conceptions of Art (sculptures). 

            Michelangelo’s sculpture “The Risen Christ” reserves a very interesting history. It has natural life-sized, H – 205 cm, made of marble, and was carved in 1520 (Harris 36) or 1521(Vecchi 112). “It is now located at Santa Maria Sopra Minerva (catholic church), Rome, Italy.”⁰¹

            But it was in 1514, two years after work on the Sistine Chapel was completed, that Michelangelo carried out this sculpture. His friend Metello Vari ordered this work. “The first version, now lost, was abandoned on account of a fault that appeared in the marble.”⁰² A great black vein crossed the face. A second version was produced between 1519 and 1520 and was also subject to difficulties. The sculptor Pietro Urbano made modifications to the statue when it arrived in Rome. The marble image of Christ, as elaborated by Michelangelo, is in accordance with the contract which stipulated the execution of a marble figure of Christ, life-sized, naked, standing, a cross between his arms, in the pose Michelangelo judges appropriate. The pose was certainly not conventional: Christ is

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shown carrying the cross, and a stick (Three elements (but only Christ in common) as Aleijadinho also presented. but without wounds. “The contrapposto (the study of body positions bringing to sculptures new results like the ones that sustain their own legs, in a perfect balance, because of the position of the compass (both open). Contrapposto is also considered a position where one can observe one leg in front of the other, slightly backward. Clothes reduce the minimum expression, and pleats are carved to sustain the dynamism and revelation of a human figure slightly athletic and perfect proportions.”⁰³ “The “Risen Christ” suggests a figure of Appolo rather than a suffering Saviour (Vecchi 112).” Michelangelo offers a new approach to his subject, portraying Christ in a state of calmness, with no expression of suffering. Federico Frizzi who named it as “figura nobilissima” as it was called in Italy has commented “Statua del Redentore di Michelangelo”. “And for modern critics it was far from the energy Michelangelo used to express in his works. But Venturi mentions that the mouth and the deeply eyes suggest a peculiar feature of Michelangelo’s style.”⁰⁴

            This sculpture is part of the group of those ones that are not representing the best of Michelangelo in terms of results. It is interesting to notice that after several interpretations of biblical passages he painted, his Christ was carved . A special moment of his life that has reserved the supreme opportunity to create the main personage of the entire context of his production. After all, Jesus transcending and confirming his ritual of passage, with a glorious rebirth.

            It is also very interesting to notice that the fabric covering his nude seems to be covered with gold. So in that stanza, a gold one substituted a simple cotton fabric. It is a sublimation of the very simple way Jesus used to be dressed. Aleijadinho dresses his Christ much more than Michelangelo.

           

                                                                                                                                            

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            With great cunning Buonarroti deceives us in the interest of presenting his magnificent image of Jesus, firstly represented in the sculpture “Pietá”.⁰⁵ The virgin is represented as being younger than the son is. And a digression can take place here. “It is one of the versions of Jesus he had but not the same he presents in “Risen Christ”” [Cunha]. Considering “Pietá”, her tender age and gentle face filled with spiritual and physical beauty speak of perpetual purity. To Michelangelo there was splendorous beauty in the human body. In depicting Christ he found that "[. . . ] There was no need to conceal the human behind the divine."”⁰⁶  Michelangelo has  figured out different physiognomies of Jesus.

            Aleijadinho’s sculpture “The flagellation of Jesus Christ” (always the same face in all the passages of Jesus’ life he represented) is made of polychrome wood, natural-size, and can be seen in Congonhas do Campo, Minas Gerais, Brazil, in the Sanctuary  “Senhor Bom Jesus de Matosinhos”, “Passo da Flagelação”, one of the stanzas of the whole allocations of Christ’s crucifixion way. As it can be observed on the picture (Peanzola 45), there are three elements in evidence: the Christ’s body, a Roman Soldier’s body, and a column where Christ’s hands are attached. If one considers Christ’s body, he/she can obviously observe Antonio’s preoccupation to print reality to the body of the sculpture carving the veins and wounds, and a certain weakness, and fragility of Christ providing the manifestation of pain to the observers, as well as compassion, because of a whip used by the Roman soldier beside. Black people were chained to a column during Brazilian Colonial Period, which is known as “Pelourinho”. So, Aleijadinho personalizes his version some way, adding a Brazilian cultural feature to the sculpture. (His mother Izabel was a  slave). Between 1796 and 1804, the artist created the greatest number of baroque sculptures in the world, which are considered as the most important works of art of the colonial period in Brazil. In Congonhas do Campo his legacy is a total of 66 life-size figures in cedarwood, portraying scenes taken from the passion of Christ. It was precisely between 

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August 01^st, 1796 and December 31^st, 1799 that Aleijadinho executed the sculptures, helped by his collaborators in his atelier that are now distributed in six chapters named Super, Little Garden, Prison, Flagellation, Crown of Thorns, Carrying the Cross, and Crucifixion. The sculptures stand in six chapels which form the Way of the Cross, ending on a hill where the 12 life-size soapstone sculptures of the prophets stand. It is to Aleijadinho that the humanity owes the splendor of the church of St Francis of Assis in Ouro Preto. The church is a masterpiece where one find both the geniuses of Aleijadinho and that of the painter Manoel da Costa Athayde (coworker of Aleijadinho), another great Master of the baroque art from Minas Gerais. This state of Brazil attracted the attention of people throughout the world because miners have found gold and diamonds in abundance. “The name Vila Rica replacing Ouro Preto town, was considered the cradle of Baroque manifestations. “Brazilian economical activities move toward sugar and tobacco production, an then, to gold and diamonds exploration”.⁰⁷

            It could be naturally observed, not only on the walls of the churches, but in several ornaments of clothes that dressed the saints and prophets, the luxurious use of noble material, sometimes only represented, including precious stones, silver and gold. No marble was used. That should be questioned there was no marble in that region (some blocks came from Portugal), but soapstone was exactly the most avaluable and workable material in the state of Minas Gerais, Brazil.

^[02]        Antônio was very explicit with the phases he wanted to demonstrate. It sounds that one complements the idea of the other. Antônio did what Michelangelo had already considered represented in terms of Art, but did not wonder that the physical constitution could just sublimate the real status of a thin man called Jesus. So, Antônio was more centered in the real constitution of Christ’s archetype. And after all he built up the prophets like the ones who had the mission to spread the words of Jesus

                                                                                                                                           

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throughout the world looking to the sky, where probably, one can wonder Jesus representation of Michelangelo. The power of Jesus is not represented by a strong body that Jesus never had (Historical evidences), but in the power of his truth, shared with the prophets which he carved in five years, right after he had finished his mission with the wood sculptures (a representation of the members who fought against the political system in Minas Gerais with the slogan: “liberta qua sera tamen”). Aleijadinho’s vision provides a sense of immortality, and eternity. “But his intention was not just registering a version of Christ’s passage in this world. He used Jesus’ archetype and all the personages from the Bible, to rewrite the History based on the circumstances of that political moment that figured out the new ideas of freedom called “Conjura Mineira” in Brazil. "Aleijadinho carved sixty-six sculptures, all painted in natural colors, imitating reality, setting thirty-three in each side - - the grade number of masonry - - and the visitation of common people, will impose a zigzag movement, exactly the walking way that permits the recognition of members of masonry.”⁰⁸

            Michelangelo’s Christ presents a sense of balance that the stick could provide, with the application of a counter support, suggesting the land sustentation. In terms of facial features it’s possible to observe some coincidences, like the approximated age of the represented bodies of Jesus Christ which is middle-aged, although Aleijadinho’s sculpture seems to be of a younger person. The face of Aleijadinho’s Christ is oval shaped, turned down, long straight nose, and thin lips. It was reported that the long noses of Aleijadinho’s sculptures specially seen on the legionary Romans seem to be of theater masks. “The size of the hands, specially from Judas is abnormal but it has a strong relation with the tight shaking hands of members of masonry.”⁰⁹

                        Michelangelo’s Christ presents an attractive face, high cheekbones, and small chin.           

                                                                                                                                            

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natural volume. The presence of a mustache, sideburns, and beard is also observed in both cases, however Aleijadinho presents Christ’s goatee in a style that is very peculiar in all his creations, not similar to Michelangelo's version. It’s curly right at the extremes. No wrinkles or a line on the faces in both cases, but Aleijadinho’s Christ presents signs of flagellation on the body.  The size of the forehead in both cases is very close. And the eyes of Aleijadinho’s Christ are brown, thin eyebrows, no eyelashes, pale skin color, thin, medium height, and overdressed. The size of the nose of Aleijadinho’s Christ is bigger and longer than Michelangelo’s one. The size of hands and feet of Michelangelo’s work seems to be disproportional, and the position of the legs is also intriguing. On Buonarroti’s Christ there’s too much in front, contrasting with his left leg, which is behind, and this fact can also be observed in Antonio’s interpretation ( sustentation of the body on the right leg). In “Risen Christ”, the fabric does not turn around Jesus body and remains in a position it should easily fall down. His neck is so thick giving the impression that he’s holding weight, but the other foot a little bit suspended seems that there is not so much weight to hold. Contradictory! The position of the finger of the right hand is also a little bit far away from the other fingers. The size of the cross in the horizontal plan seems to be so short comparing with the vertical one. If he is turning left side, his hair should naturally come forward, what provides an impression that it is too long to come and cover his chest. The idea is that the cross should never fit his body, as well as the stick support is for the cross not for him. Does it mean man has to support the idea of penalties?  But his face seems to be of a gentleman that presents a well designed beard and mustache. There were comments that Michelangelo’s participation on this sculpture was not very representative, because it is not exactly his style of sculptures. If anyone faces only Antônio’s sculpture of Jesus, mainly the face, one will see that even with the blood that covers   

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some parts of his body, there’s a sensation he’s not feeling any pain. So, it is not the presence of wounds that provides the sensation of purgation but his complacent looking to everything that is being done, against him. The use of colors, in Aleijadinho’s work, reinforces the similarity with a human, probably provoking an effect of “katharsis”, what the cold and cream marble should not express. But wood is said to be easier to work than marble. Antônio was handicapped, but helped by active contributors, like Buaonarroti could also count on the others. The fact is that both sculptures did not represent the effort of only one person, but a collective one. If Michelangelo reinforced the features of Greek people, we would say Aleijadinho got very close to people coming from a mixture of nationalities when defining the faces of his sculptures. The size of the noses, chinks, the format of mustaches and bears also relate with Greek sculptures. Even the costumes of Aleijadinho’s sculptures, are richer than Michelangelo’s not only in style but are also covering the body of the personages much more. We would say Aleijadinho is more realistic with his work than Michelangelo, but what reality is if it is not the way one want to see facts. Perhaps, Michelangelo wants to demonstrate that only Jesus could support the weight of a cross without getting injured and he was the only one that could change the situation he was put, and over all the circumstances hold a stick. A conclusion that the mission for a man to hold his own body is already hard. Why should a spirit need any support like a stick if the forces have already gone? And Aleijadinho expresses the serenity of a man who knows exactly what the next step is going to be - - Jesus looks down and straight ahead - - but leaves his Christ with no interpretation after crucifixion, besides the enlightenment the prophets will be able to spread throughout the world and the special look of the sculptures to the sky. As it was repported in “Confidences of an Unconfident” written by Maria Luisa Moreira Vasconcellos, dictated by the spirit of Tomás Antônio Gonzaga", with Aleijadinho’s speech: “[. . .] Permits me, oh Lord, to live enough,

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so that I can leave in Minas Gerais, immortalized, the dearest friends of “Conjura Mineira” (A revolutionary movement against

Portuguese Court

for freedom). Inspire me! Give me energies!” ¹⁰

 ^[03]                   The attempt to demonstrate the historical context, in which the pointed sculptures were carved, should be helpful to understand the reasons of their existence. “In this sense, it can be mentioned that Pre-Renaissance started during twelfth century  when the humanity turns to the manifestations of the spirit, mainly moved by theological bases reestablished by St. Thomas Aquinas - - “He left the great monument of his learning, the "Summa Theologica", unfinished, for on his way to the second Council of Lyons, ordered there by Gregory X”¹¹ - - who incorporates values from Aristotle, and Petrarca. Dante Alighieri (1265-1321) also demonstrates in his work Divine Comedy, - - a trip to the hell, purgatory and paradise - - an allegory of man looking for essential roots, because of Christian values and libertine spirit in confrontation, specially reported by Boccaccio, in his work Decameron, which are basically signs of a transition to Renaissance. But this movement only reaches the top in foutteenth  and sixteenth centuries when humanists coined the values around man looking for knowledge inspired in the ancient classic antiquity. “Artists from this time, will look for individual representations of ideal dimensions of human been and exact representation of reality, inspired on Greek culture and the nature where they were located. It is then, divided in periods - - Duocento (1200 – 1299), Trecento (1300-1399), Quattrocento (1400-1499) and Cinquecento (1500-1599). Michelangelo (1475-1564), is the product of a long period of transition, becoming part of the history of Quattrocento, in which names like Botticelli, Rafael Sanzio, Van der Weyden, and Leonardo da Vinci became immortal with his own. “The last one created the principle that man is the measure of everything - - anthropomorphism.”¹²

            “Like Leonardo, Michelangelo too had a good Florentine teacher, the delightful Domenico

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Ghirlandaio (c.1448-94).” ¹³ The question at this moment should be: How did Renaissance affect life in the other continents? Portuguese people who brought cultural values to the new lands found Brazil only in 1500. In Portugal, Renaissance was mainly observed in Literature in "Ös Lusíadas” written by           

Camões (1524-1580). In Architecture a celebration to the new routes to India. The other nations of South and Central America where Spanish is the spoken language, had exponents like Lope de Vega - - theater - -, Miguel de Cervantes (1547-1619) - - Literature - - and El Greco - -painting. And the History of Arts changes mainly because of the movement called “Reform”, when values like absolutism and exhibitionism are referential points to be analyzed” (Jones 10). There are new human emergent values and expectations, printing out new attitudes toward artistic manifestations. “[. . .] And after 1530, artists are no more, looking for the sense of life, but “style””(Museu Nacional de Belas Artes 08). As Lourival Machado Gomes mentions in his work, Teoria do Barroco: “Baroque could not remain on the limits of a theory”(62).

            And Baroque reached America, the other extreme of the civilized world. The influences of Renaissance in Brazil can be observed because a new civilization was being built up and definitions of new cultural values in terms of priorities of a society moved by economical and religious forces emerged. But the development of a direct route to Asia at the end of  fifteenth century also undercut Italy’s role as the primary intermediary between the Far East and the Western world. Europe’s expansion to other parts of the world was one of the most momentous developments of the Renaissance era. The voyages of Italian-Spanish navigator Christopher Columbus to the Caribbean Sea in 1492 and of Portuguese explorer Vasco da Gama to India in 1498 set in motion a series of explorations that sparked European imagination during the late Renaissance period.  So, it can be inferred from this evidence, that Brazilian artists should be impressed with so many manifestations of          

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talent and artistic movements and activities should start, mainly by the contact with the navigators, who should bring designs of sculptures as well as written documents describing them, (Guttenberg’s invention) defining style. And from this surprising New World, the fundamental references changed considering the significant traditional references of antique art. Renaissance is confronted with a reality that it does not appreciate it at all. We are waiting for another reality, which will be called Baroque (seventeenth century). “Baroque Arts (Barrueco - - this term designated peals with irregular shape by Spanish people) broke the balance between feelings and reason, between art and science, that those artists from Renaissance tried to figure out with a very conscious attitude and the predominant feelings were emotions and not the rationalism of Renaissance. It is a period of spiritual and religious conflicts. Men are in constant dualism: Paganism X Christianity, Spirit X Substance. In this sense, we can mention the fact that [. . .] “Portuguese Court looked for gold, and considering the risks all the population could face in the mines the church was always interfering mainly because of the participation of Vatican (Mello 54)”. It also explains churches  had some walls recovered by gold in Brazil.

 “The general characteristics are emotional over rational, decorative and visual effects represented by bands, counter-bands and retwisted columns. In terms of sculpture the banded lines and the vests in gold, the expressive physiognomies on the faces revealing violent emotions reaching such dramatic expressions that were unknown during Renaissance.” ¹⁴

              “The ornamentation of baroque buildings in Austria, Spain, and Latin America could be observed and names like Gian Lorenzo Bernini  and  Francesco Borromini in Italy are references to this period. “The main characteristic of Baroque sculpture is omnipresence (Conti 56).” And Aleijadinho is                    

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also included in the list of artists throughout the world who could incorporate stylistic tendencies of

this period because of his great work in Minas Gerais, however in “Bahia and Pernambuco”(Kitson 10),  “(French invasions - - rococo style)” the European influences were also very meaningful.”¹⁵ Much

more than the greatest Brazilian exponent of Baroque, Aleijadinho, is considered a myth because of his personality, personal background, and determination. The sculptor and wood carver Antônio Francisco Lisboa, known as “Aleijadinho” (the cripple), was born and died in Ouro Preto, Brazil (1738 (?) -1814). He was the son of an architect and head carpenter, Manuel Francisco Lisboa, and of an African slave. By the way, some historians put in doubt his existence, because of the document of Birth Registration. His father was from Lisbon and his mother, a black Brazilian slave called Izabel Costa. In the document his name is Costa, not Lisboa from his father. Historians should get convinced that an artist is much more than his/her name.  Lisboa or Costa, it’s out of question that he brought a new conception of Art, which gave him an eternal place in Art History in Brazil and throughout the world. 

      The nickname by which he was known was due to the deformity in his hands and legs caused by a disease he suffered as a result of syphilis or leprosy (1777). “Aleijadinho had the hammer and chisel attached to his hands to carve most of his works located in many churches in Minas Gerais, Brazil. He is the most impressive and representative artist of Brazilian Colonial Period .”¹⁶

            In Minas Gerais people were associated to fraternities, but some of them did not accept black                          

people. Aleijadinho was the son of a slave and that’s why “[. . . ] he was admitted by São José dos Pardos            Fraternity in 1772. But the education he had from his father permitted him to learn the profession and the fraternities started to see the artist “Aleijadinho” not the only black citizen anymore, (e.g. Nossa Senhora das Mercês e Perdões Fraternity) accepting his limitations imposed by the illness, paying the slaves to carry him on the back toward to the studios where he dedicated his efforts to                             

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produce his Arts. Contrasting to him, Buonarroti was protected by the Pope Gregory and the family                                                    

Di Medici.( Harris 53). 

            It was said at that time, that Antônio used to drink an infusion known as “cardina” prepared with local medicinal plants( people commented it). But his reputation was not in risk, and  it was “ Arquiconfraria dos Mínimos do Cordão de S. Francisco Fraternity that has provided him the credential to be a carpenter, so that he could act professionally in that society, at that time. ”¹⁷ Michelangelo and Antonio  were said to have a pervasive sexual life. But they were both protected.

            In Brazil, Indians are considered as human beings, and invited to come to the house of Lord, that preview for the first time the universality of the apostles’ mission by the action of Jesus’words in the extremities of the planet. Antônio’s art approximates the sky and the land, and maybe this is the reason his sculptures (12 prophets - - made of soapstone - - are all outside standing, in Congonhas, Minas Gerais, Brazil, resisting for more than two hundred years. The Christ and the several other pieces were made of wood. Then, they are in Passos, in an inside location because the material damages easily. This fact reduces ethnical diversities and pre-concepts in Brazilian Society. 

            In conclusion, the contemplation of these two wonderful sculptures provides at least a sensation of admiration , but it would also be said that they could figure out the existence of one of the most important illuminated spirits of the world, who offered his own existence to demonstrate the virtues and faults of the humanity, in different time and cultures, but with the same intention! The glory

of Jesus! This intention is above any Criticism considering their limits as humans and the several difficulties they had to manage, so that their ideas and projects should be materialized. This evidence also demonstrates we can all be immortal with the force of one’s work and nobility of intentions. This is exactly what the humanity has been trying to do, in terms of getting convinced that “utopia is an         

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invention of the future that works out as a project of changes, substituted by indifference, if not by the           

emptiness. [.  .  .] The confidence in the future was lost ”(Ávila 138).  

            Michelangelo could figure out the images on the marble. As he confessed: “I saw the angel in the marble and carved until I set him free.” And without too much effort he found Jesus. Anyone can                 

have the encounter with sensuality, feelings, and enlightenment, no matter these spaces where all this talent is enclosed - - mainly churches - - was understood by many critics, like Milizia(1797) as the ridiculous taking to the extremes, when talking about Baroque (Kitson 10).

            “The sculptor Michelangelo, had often said that the compass should be kept in the eye rather than the hand, because it is the eye that judges.¹⁹ As Padding Cole reports in her book Learning to look: “[ . . . ] Unless something is done by the minority for the majority in the way of bringing to light certain aspects in self-awareness and the importance of discovering the true nature of ourselves, mayhem will continue to spread to all four corners of the globe.”²⁰ Everything depends on reactions in terms of Arts. Artists are the minority in this case. People sometimes do not give their applause for their works. But Michelangelo and Aleijadinho didn’t really care about it. The sensation of epiphany that the splendor of the temples and creations provide to people is undeniable. Although, there are people who condemn such manifestation of vanity. Why should Christ be immaculate in such huge temples if he was so simple? Like Jung reports on his work Christ, A Symbol of the Self, “ [ . . . ] there is an ever-present archetype of wholeness which may easily disappear from the purview of consciousness or may never be perceived at all until a consciousness illuminated by conversion recognizes it in the figure of Christ” ( Hughes 195).  An important aspect is the fact that  “[ . . . ] the image does not constitute all the icon, but it is, with no doubt, an iconic sign ... (Joly 37).”

            The first reference one could think, considering the face of Jesus, which normally includes           

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referential features is the frequency of them observed in different interpretations of the myth, from the   

most important evidence of his constitution, which is the sudarium - - used by Veronica to clean Jesus—becoming a universal image. But it does not mean that Jesus had to have the same face and body in different interpretations. It is quite difficult to see Jesus represented as a black citizen, but not    

uncommon to see him being tortured in accordance with colonial treatment to slaves in Brazil. The culture of each country is impregnated in the images, but some conventions are respected among artists. Whenever one innovates in terms of representation, he/she would probably be reinforcing the existence of the other conception of the manifestation of art. “And this kind of art - - religious - - is in service of a community (Joly 44). The sculptures produce emotional reactions on people. But as it was said [ . . . ] “What becomes academic are not the signs, but the use one can print to them (Pignatari 128).” So the consume of these artistic manifestations, were supported by different societies, in different contexts but in the same hypertext, which is also vivid in contemporary life, and differences or similarities one can observe by comparing them should be confirming the necessity humans have to reinforce faith, although the magic of the atmosphere created by the artists cannot be denied. Nowadays, with the invention of photography and computers - - end of twentieth century (Santaella 86) - - anyone can simply navigate to the interior of these places, and contemplate the beauty of the sculptures, but probably won’t be able to feel the enchantment they produce when interacting with these Arts, personally. As Pierre Lévy mentions in his book  “The Technologies of Intelligence” “[. . . ] Nothing good will be done if there is no lovely involvement of the humanity” (Lévy 131). But Jesus did not ask so much. Only to  be metaphorically represented by  wine and bread (  See Matheus  26-28)!

            Artists sustain the imagination of the world, and this is very special. No matter their similarities or differences,  artistic interpretations of Christ contribute to immortalize his memory.  

 

Endnotes

⁰¹ MSN. Michelangelo. January 25^th, 2003 http://www.initaly.com/regions/latium/church/smsm.htm

⁰² MSN. Michelangelo. January 25, 2003.http://search.msn.it/results.asp?q=Michelangelo+-  +O+cristo+&origq=&RS=CHECKED&FORM=SMCRT&v=1&cfg=SMCINITIAL&nosp=0&thr=submitbuttn.x= 34&submitbutton.y=27

⁰³ MSN. Sala Renascimento, 05. January 25, 2003.http://galeriadearte.vilabol.uol.com.br/HistoriadaArte/05/Sala05.htm

⁰⁴ MSN. Statua del redentore. January 25, 2003.http://www.basilicaminerva.it/visita/redentorer.htm

⁰⁵ MSN. Michelangelo. January 25^th, 2003  http://members.aol.com/worldciv/michelangelo.html

⁰⁶ MSN. Sculpture. January 25, 2003.http://www.sculpturegallery.com/michelangelo.html

⁰⁷ MSN. Brasil Colonial. January 25, 2003.http://www.rantac.com.br/users/lazaro/mineracao.htm

^08,09,10,17 MSN. Antônio Francisco Lisboa. January 25, 2003. http://www.josevalter.com.br/trabalhos/artes.htm

¹¹ MSN. St. Thomas Aquinas, February 03rd, 2003 http://www.catholic.org/saints/saint.php? saint_id=2530

¹² MSN. Principal – Renascimento. January 25, 2003.http://www.ohistoriador.hpg.ig.com.br/renascimento.htm

¹³ MSN. Michelangelo. January 25, 2003.http://www.ibiblio.org/wm/paint/auth/michelangelo/

¹⁴ MSN. Barroco. January 25, 2003.http://www.historiadaarte.com.br/barroco.html

¹⁵ MSN. Arquitetura Barroca. January 25, 2003.http://www.danilocesar.hpg.ig.com.br/arquitet.html

¹⁶ MSN. Antônio Francisco Lisboa. January 25, 2003. http://www.cinderela.com.br/escultura/aleijadinho/aleij.htm  

^{18, 19} MSN. Sculpture. January 25, 2003.http://www.sculpturegallery.com/michelangelo.html

²⁰ MSN. Learning to Look. January 25, 2003. http://www.erasmus-foundation.org/old_site/REIN12.HTM

 

 

 

 

 

 

 

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Mainstone, Madeleine. O Barroco e o Séc. XVII, Zahar Editores, Rio de Janeiro, Brazil, 1984.

Machado, Lourival Gomes, Teorias do Barroco, Os cadernos de cultura, MEC – UFPR, Brazil.

Mello, Suzy de, Barroco Mineiro, Editora Brasiliense S.ª, 1985.

Museu Nacional de Belas Artes, A Era do Barroco, Rio de Janeiro, Brazil, 1982.

Phaidon. The 20^th Century Art Book, Phaidon Press Limited, 1996 London, England, 1996.

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Pignatari Décio. Informação, Linguagem, Comunicação, Ed. Perspectiva, SP-SP, Brasil, 1968.

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Santaella, Lúcia. Comunicação. Hacker Editores, SP-SP, Brazil, 2001.

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MSN. A última ceia. January 25, 2003. http://www.valeparaibano.com.br/1999/07/20/social/foto-barroco.html

MSN. Aleijadinho. January 25, 2003.http://www.cinderela.com.br/escultura/aleijadinho/aleij02.htm 

MSN. Antônio Francisco Lisboa. January 25, 2003.http://www.escultura2002.hpg.ig.com.br/aleijadinho/aleij06.htm

MSN. Dúvidas sobre o nascimento . January 25, 2003.http://www.aleijadinho.com/page3.html

MSN. câmara Congonhas. January 25, 2003.http://www.camaracongonhas.mg.gov.br/aleijadinho.htm

MSN. Renascentista de Ouro Preto. January 25, 2003.http://intermega.globo.com/meusmid/materias2002/biog/aleijadinho_hm.htm

MSN. Museu do Aleijadinho  January 25, 2003. http://www.starnews2001.com.br/aleijadinho.htmlMSN. Museu do Aleijadinho  January 25, 2003. http://www.starnews2001.com.br/aleijadinho.html

MSN. Antônio Francisco Lisboa. January 25, 2003.

http://www.cinderela.com.br/escultura/aleijadinho/aleij.htm

MSN. Brasil Colonial. January 25, 2003.http://www.rantac.com.br/users/lazaro/mineracao.htm

MSN. Igreja de São Francisco de Assis. January 25, 2003.

http://www.guiavirtual.tur.br/saojoao/francisco.html

MSN. Antônio Francisco da Silva. January 25, 2003.

http://sites.uol.com.br/faustomoraesjr/aconteceu/O_Aleijadinhox.htm

MSN. Antônio Francisco da Silva . January 25, 2003.    http://www.minaleijadinho.hpg.ig.com.br/viagens/9/index_pri_1.html

MSN. Passos da Paixão. January 25, 2003.http://www.metaturismo.com.br/pacotes/del_rei.htm

MSN. Parati. January 25, 2003.http://www.terra.com.br/paratii/ipassos.htm

MSN. Ouro Preto. January 25, 2003.http://www.degeo.ufop.br/Portugues/OuroPreto/relig.htm

MSN. Profetas. January 25, 2003.http://www.camaracongonhas.mg.gov.br/profetas.htm

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http://www.christusrex.org/www1/sistine/0-Tour.html

MSN. Michelangelo. January 25, 2003.http://www.thais.it/scultura/michelan.htm

MSN. Sculpture. January 25, 2003.http://www.sculpturegallery.com/michelangelo.html

MSN. Sala Renascimento. January 25, 2003.

http://galeriadearte.vilabol.uol.com.br/HistoriadaArte/05/Sala05.htm

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http://www.ohistoriador.hpg.ig.com.br/renascimento.htm

MSN. Michelangelo. January 25, 2003.

http://search.msn.it/results.asp?q=Michelangelo+-+O+cristo+&origq=&RS=CHECKED&FORM=SMCRT&v=1&cfg=SMCINITIAL&nosp=0&thr=submitbutton.x=34&submitbutton.y=27

MSN. A cópia defeituosa. January 25, 2003.

http://ilmessaggero.caltanet.it/hermes/20020501/02_VITERBO/33/ARTE.htm

.MSN. Michelangelo. January 25, 2003.http://www.initaly.com/regions/latium/church/smsm.htm

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MSN. Michelangelo na Rua. January 25, 2003.http://www.michelangelonarua.hpg.ig.com.br/principal.htm

MSN. Michelangelo. January 25, 2003. http://www.mega.it/eng/egui/pers/micbuon.htm

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http://www.escultura2002.hpg.ig.com.br/michelangelo/michelangelo.htm

Biografia cronológica – Em pietá, nota-se versão diferente do Cristo

MSN. Michelangelo – biografia cronológica. January 25, 2003. http://www.cronologia.it/cronomic.htm

MSN. From Abacus to Zeus. January 25, 2003. http://www.papiermache.co.uk/exec/cms-books/p-view/isbn-0130197289

MSN. Learning to Look. January 25, 2003. http://www.erasmus-foundation.org/old_site/REIN12.HTM

MSN. Assignments ideas. January 25, 2003

http://www.bedfordstmartins.com/barnetbedau/content/instructor/content/xxx_menu.h