The Cripple's Masterpiece
At the Sanctuary of Bom Jesus de Matosinhos, a collection of twelve statues forms a silent, dramatic procession. Created between 1800 and 1805, these are the work of Antônio Francisco Lisboa, better known as Aleijadinho, or "The Little Cripple". Aleijadinho, the son of a Portuguese architect and an enslaved African woman, suffered from a debilitating disease, likely leprosy or scleroderma, that began to deform his body around 1777.
By the time he undertook the prophets, the disease had progressed severely. He reportedly lost his fingers and toes, forcing him to walk on his knees. To continue his work, he had assistants strap his hammer and chisels to his forearms, allowing him to carve with what remained of his hands. Despite this, he produced what is considered the peak of Brazilian Baroque art. The sculptures are carved from pedra-sabão, or soapstone, a soft local stone that is easy to work with but susceptible to weathering. This material choice allowed for the expressive detail seen in the figures' faces and clothing, but also presents ongoing conservation challenges.
A Theatrical Arrangement
The twelve prophets are not a random assortment. They are strategically placed on the parapets of the grand outdoor staircase leading to the basilica, creating a theatrical and interactive experience for pilgrims. The figures seem to converse with one another across the space, their gestures and expressions conveying a dynamic energy. The prophets include major figures from the Old Testament like Isaiah, Jeremiah, Ezekiel, and Daniel, who are positioned prominently. The set is completed by eight other prophets: Hosea, Joel, Amos, Obadiah, Jonah, Nahum, Habakkuk, and Baruch.
Each prophet holds a scroll bearing a text from their biblical writings in Latin. Aleijadinho's style interprets the European Baroque and Rococo, adapted with a distinct local character. Some anatomical disproportions in the figures, such as narrow shoulders or short arms, are thought to be the result of assistants completing the lower portions of the statues while Aleijadinho, working behind a screen, focused on the more expressive upper halves. The entire sanctuary complex, including these sculptures, was designated a UNESCO World Heritage site in 1985 for its artistic significance.