The Void at the Altar: Portraits of Absence
Memories of sacred heritage stolen in Itatiaia, Brazil
ReadItatiaia, a village in Ouro Branco, Minas Gerais, Brazil
Saint Anthony's Parish Church – In the mid-18th century, specifically in 1742, the construction process of the new Saint Anthony's Parish Church began in the village of Itatiaia, probably replacing the original chapel where baptisms had been performed since 1714.
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Listed as a national heritage site by Iphan
In 1980, the church was listed as a historical landmark by IPHAN (National Institute of Historic and Artistic Heritage) – at the time SPHAN – and three years later, the new church underwent a restoration project coordinated by SPHAN-Pró-Memória, due to its ruinous condition.
Igreja Matriz de Santo Antônio de Pádua (18th Century)Original Source: Fotografia: Leandro Aguiar
Interior
The church's interior decoration features five altarpieces, with only one in the Joanine Baroque style and possessing historical significance: the throne, rays, and arch frame of the dressing room were signed by the woodcarver Lourenço Rodrigues de Souza, and the painting by Manoel Ribeiro Rosa.
The theft
In the early morning of November 16th to 17th, 1994, the Joanine altarpiece, whose main niche was occupied by Our Lady of the Rosary, was the target of a daring theft, with the religious sculptures of Saint Rita of Cascia, Saint Francis of Assisi, Saint Joseph of Botas, and the Divine Holy Spirit being taken along with the main saint.
Nossa Senhora do Rosário (18th Century)Sondar Collection of Missing Cultural Assets
Our Lady of the Rosary
In addition to these, the church also suffered the loss of eight other sculptures (Saint Efigênia, Saint Anthony, Saint Benedict, Saint Dominic Guzman, Saint Joachim, Saint John the Baptist, Saint Michael the Archangel, Saint Vincent Ferrer), five candlesticks, and three crucifixes.
Of the 21 religious cultural artifacts stolen from the church in Itatiaia, only three have returned to their original location: Saint Dominic Guzman, Saint John the Baptist, and a crucifix.
From the altar to the marketplace
These pieces went through a harrowing ordeal that began in Ouro Branco, passed through Sete Lagoas and Belo Horizonte, until they were sold in São Paulo (SP), where they were acquired by a collector whose name has never been disclosed.
São Domingos Gusmão (18th Century)Sondar Collection of Missing Cultural Assets
The sacred return
Saint Dominic was the first devotional sculpture to return to the Parish Church of Saint Anthony.
When the cultural artifact was recovered in 2001 by an operation launched by the Federal Police at the São Paulo/SP airport, it had a black layer of repainting covering its entire surface. During its restoration, which took place alongside the restoration of the church, another layer of repainting was discovered.
São João Batista (18th Century)Sondar Collection of Missing Cultural Assets
Saint John the Baptist
The sculpture of Saint John the Baptist was identified by Wilton Fernandes Guimarães, president of the Os Bem-Te-Vis Sociocultural Association, during a lecture by an employee of CECOR/UFMG (Federal University of Minas Gerais), in which he supposedly indicated that the cultural asset had already been returned.
After an identity verification process involving community members, it took two years to confirm that the sculpture belonged to the collection of the Saint Anthony Parish Church. Another year and a half was needed for the cultural artifact to be returned. When the Child Saint John the Baptist arrived at the church, it was missing its ram and its cross, and its fleshy skin had been removed.
Crucifixo (18th Century)Sondar Collection of Missing Cultural Assets
Crucifix
The Crucifix, made of solid wood and dating from the late 18th century, remained under the care of the MPMG (Minas Gerais Public Prosecutor's Office) for a year before being returned to the temple in 2021, until its provenance was verified.
Later, it was handed over to the Archdiocese Museum of Sacred Art of Mariana, remaining under its care for almost six years due to security concerns because of the lack of security at the main church at that time.
The void that persists: pieces still sought after
"THE VOID AT THE ALTAR: PORTRAITS OF ABSENCE"
Created especially for Google Arts & Culture, 2026.
Historical Research:
Raquel Mayra Ameno Ayres Silva
Curatorship:
Ivana De Battisti, Laura Dias Rodrigues de Paulo and Raquel Mayra Ameno Ayres Silva
Special thanks to Wilton Fernandes (Founder and President of the Os Bem-Te-Vis Socio-Cultural Association), for providing the fundamental historical records for this project.
