Aleijadinho and Freemasonry

Freemasonry is, by its very nature, a system of morality veiled in allegory and illustrated by symbols.

This concept, deeply rooted in the history of the fraternity, becomes especially relevant in the context of the Church of São Francisco de Assis, located in São João del-Rei, in the state of Minas Gerais, Brazil.

Built between 1774 and 1809, this church was designed and decorated by Antônio Francisco Lisboa, better known as Master Aleijadinho, under the supervision of Francisco de Lima Cerqueira and Francisco de Lima e Silva.

The symbolic and esoteric nature of his work invites reflection on the possible connection between Aleijadinho and Freemasonry, a topic that has sparked debate and speculation among historians and scholars.

Antônio Francisco Lisboa (c.29 August 1730 or 1738 – 18 November 1814), better known as Aleijadinho

IMAGE LINKED:  wikimedia Attribution 4.0 International (CC BY 4.0)

Aleijadinho’s Initiation into Freemasonry: An Unresolved Enigma

Throughout history, there has been much debate regarding Aleijadinho’s potential initiation into Freemasonry, though there are no historical records or official documents to confirm this.

Freemasonry, as we know it today in Brazil, began to formally organise itself in 1822 with the foundation of the Grande Oriente Brasileiro, which later unified as the Grande Oriente do Brasil (GOB).

However, Masonic ideals had been circulating in Brazil since the late 18th century, amidst the Enlightenment movement, which influenced the political and cultural discourse of the time.

It is possible that, while Freemasonry had not yet fully institutionalised, its ideas were already influencing Brazilian society, as evidenced by the first registered Masonic lodge in Brazil in 1797, in the state of Bahia, and its probable involvement in the Inconfidência Mineira (Mineira Conspiracy).

Church

IMAGE credit:  author’s collection

Masonic Symbolism in the Church of São Francisco de Assis

The Church of São Francisco de Assis, with its impressive architecture and intricate decoration, features several elements that, when examined through the lens of Freemasonry, suggest a possible familiarity of Aleijadinho with the rituals and symbols of the fraternity.

Freemasonry, with its focus on freedom of thought and expression, challenges established conventions and hierarchies, and this is reflected in Aleijadinho’s works.

His creations seem to carry a symbolic message that points to the principles of the brotherhood, as if the Master himself had chosen to leave a visual legacy that resonated with the Masonic ideals of his time.

Masonic symbols are evident in the very layout of the church. Inside, on two side altars, located in exact geographical positions corresponding to a temple of the Ancient and Accepted Scottish Rite (A∴A∴S∴R∴), the Sun and Moon are meticulously sculpted, fundamental symbols for Masons.

Additionally, the church’s stained-glass windows create a symbolic connection with the sunrise, echoing the well-known Masonic expression:

“Just as the Sun rises in the East to make its course and begin the day…”.

The precise arrangement of these elements creates an atmosphere that directly references Masonic ritual, particularly during moments like dawn, when the Sun passes through one of the windows, creating a visually striking and symbolically rich scene.

Another prominent feature in the Church of São Francisco de Assis is the sculpture of Saint John the Baptist, who points upwards, as if calling the attention of the faithful – or, as Masons might interpret, of their brethren.

The presence of Saint John the Baptist, a symbol of renewal and initiation, seems to reinforce the idea that Aleijadinho’s work carries a deeper message, perhaps an invitation to reflect on the mysteries of life and spirituality.

moon

IMAGE credit:  author’s collection

Masonic Influence in the Church’s External Architecture

Freemasonry is not confined to the interior of the church but is also reflected in its external architecture.

The bell tower spires, along with the jambs of the main door and the columns of the gate, bear a striking resemblance to the columns of a Masonic temple, representing the fundamental pillars of the fraternity.

Moreover, the cross atop the church is a Cross of Lorraine, a symbol associated with the Crusades and the Knights Templar, whose principles and mysteries are frequently linked to Freemasonry.

This symbol, along with the architecture of the church, suggests a potential connection to medieval esotericism and the initiatory rituals that shaped the history of the brotherhood.

Curiously, just across the street, a few metres from the church, stands the Associação de Artesãos de São João del-Rei, a place that may, in times past, have been a Masonic lodge or a guild of operative Masons.

Although there is no conclusive evidence, the possibility that Aleijadinho participated in Masonic meetings at this location cannot be dismissed, given the historical context and the presence of Masonic elements in his work.

st john

IMAGE credit:  author’s collection

Conclusion: The Legacy of Aleijadinho and Freemasonry

While documentary evidence regarding Aleijadinho’s initiation into Freemasonry is scarce, the circumstantial evidence cannot be overlooked.

The symbiosis between Aleijadinho’s art and Masonic symbols is undeniable and reveals a profound connection between the Master and the ideals of the brotherhood.

For a Masonic historian, these signs may not be sufficient for a definitive confirmation, but for a Mason historian, they carry significant symbolic weight.

Aleijadinho’s legacy, with his masterpieces in the Church of São Francisco de Assis, remains a testimony to the fusion of art, spirituality, and Masonic principles.

The town of São João del-Rei, with its rich history and its invaluable church, offers an invitation for all, especially Masons, to explore the hidden mysteries within its architecture and symbolism.

Thus, Aleijadinho’s figure is reaffirmed not only as a master of Baroque art but also as a man possibly immersed in the influences of Freemasonry, whose teachings and symbols are immortalised in his work.

The true initiation of Aleijadinho, if it ever took place, remains a mystery, but his work continues to speak for itself, challenging the attentive gaze of those seeking to understand the depths of Freemasonry and esotericism.

For Masons, especially Brazilian Masons, the Church of São Francisco de Assis in São João del-Rei remains a place of devotion, reflection, and perhaps further revelations about the legacy of Master Aleijadinho.