St. Francis kneeling to receive the wounds. The interior of this church was entirely decorated with carvings by Aleijadinho, with an illusionist painting by Mestre Ataíde on the ceiling of the nave. Also in 1774, Aleijadinho projected a façade for the Third Order of São Francisco de Assis Church in São João del -Rei, whose drawing is preserved in the Inconfidência Museum in Ouro Preto. In this drawing, one can see how the artist created a facade with strong Rococo characteristics, slightly sinuous like the Carmo Church in Ouro Preto, with a pediment delimited by immense rocalhas and with a high relief of St. Francis kneeling in the center. The towers would be semicircular, the cupolas bell-shaped and, in the center, there would be a decorated doorway. The project ended up being totally modified by Francisco de Lima Cerqueira, who created another pediment, added circular towers of rotating movement, endowed with a balcony, and contracted another portal to Aleijadinho, similar to that of São Francisco Church in Ouro Preto. In addition, Lima Cerqueira designed a nave with sinuous walls, giving it an elliptical shape, unheard of in colonial architecture at the time. Circular or semicircular towers (sometimes polygonal), positioned in a recessed manner in relation to the facade, were traditional in Minas Gerais, being found for example in the Barão de Cocais Mother Church (before 1785) and in the Third Order of Carmo Churches in São João del-Rei (after 1787) and in Mariana (after 1783). Circular towers are absent from the architecture of the Brazilian coast and the metropolis, with the exception of the demolished São Pedro dos Clérigos in Rio. Another unique work in Minas Gerais of the period is the Bom Jesus de Matosinhos Sanctuary, in Congonhas do Campo, a local version of the Bom Jesus do Monte Sanctuary, located in Braga, in northern Portugal. The complex, begun in 1757, consists of a church positioned on a hill which the faithful reach by passing through several chapels with representations of Christ's passion. In the last section there is a zigzagging staircase leading to the churchyard in front of the church. Once inside the church, one can find the image of Bom Jesus de Matosinhos, based on the image venerated in the city of the same name in Portugal. Very interesting are the churchyard and the staircase in front of the church, built between 1777 and 1790, formed by