In gratitude, the new monarch declared her Queen and Patroness of Portugal, and determined that the Virgin under this denomination should be worshipped in temples or chapels in all the cities and towns of the Metropolis and its colonies, including Brazil.

[2] In Porto Alegre, the Our Lady of the Conception Brotherhood has been present since the city's origins, being one of the oldest, founded in 1790 near the old Mother Church, and formed by whites and mulattos.

However, after disagreements about the place where a proper temple for Our Lady should be built, Rafaela Pinto Bandeira, the protector's daughter, donated, in 1847, a piece of land on Estrada de Cima, now Independência Avenue, to build the church.

A clause in the donation stated that the church should be built within eight years, or else the land would be returned to the donor's possessions, which hastened the laying of the cornerstone, but the building would in fact take much longer to complete.

For this reason, the works remained almost paralyzed for lack of funds until 1856, but in November of that year, 1.2 conto de réis was collected, allowing the project to continue.

[3] In 1977, the building was included by the City Hall in the Inventory of Real Estate Properties of Historical and Cultural Value and of Expressive Tradition,[4] and in 2007 it was listed as a heritage site.

The second stage foresees the recuperation of the electrical and plumbing networks, the patios, the sacristy, the catechism rooms, the statuary and the furnishings, and the installation of air conditioning.

The central structure has a small staircase leading to the three large round arched doors at the base, closed by richly carved wooden leaves with floral motifs and stained glass windows in the spandrels.

The choir over the main entrance is also richly adorned with gilded carvings and wrought iron railings, with a sinuous design supported by wooden columns enclosing three collapsed arches.

[2] The chancel, bordered by a richly carved arch, includes tribunes, the celebration table, and behind it a large altar in a staircase leading up to the image of the patron saint at the top, housed in a niche with a baldachin.

Athos Damasceno used a carved flower from the church door to illustrate the cover of his classic Artes Plásticas no Rio Grande do Sul (1971).