[1][2] The first place of worship dedicated to Our Lady of Caravaggio in the old Linha Palmeiro, formerly part of the Dona Isabel Colony (currently Bento Gonçalves), was a 12 square meter wooden chapel with a small porch at the entrance built by immigrants Antônio Franceschet and Pasqual Pasa due to the lack of a temple in the area, which forced them to hold services inside their homes.

Later, the community gathered to build a masonry church and pottery was improvised to manufacture the bricks for the structure of the temple, while the carved stone remained for the adjoining bell tower.

[7][4] The result was criticized as disastrous by Ricardo Frantz, the former coordinator of the Rio Grande do Sul Museum of Art collection:Restoration, unlike what was done here, is a process based on respect for the original work, in which its distinctive characteristics are kept exactly as they are so that they can say what they have to say, fulfilling their role as an authentic and legible document, without entirely arbitrary interventions like this one, which falsify what they claim to preserve.

[...] To study art and history on the basis of testimonies that have been tampered with to such an extent is to learn false things that lead to misleading conclusions and nonsense.

This distorted knowledge ends up multiplying, creates tradition and becomes a truer history than the authentic truth that we insisted on hiding under layers of 'creative' paint, even though it may have been done with the best of intentions.

The door has a discreet frontispiece composed of a thin frame in relief imitating carved stone, crowned by a cornice and a pediment with a cross at the top and inscribed 1890, the date of the inauguration.

[1][10][11] A large triangular pediment sits above the block, separated from the structure below by a cornice adorned with a frieze with a semicircular motif simulating corbels.

Another cornice just above, more ornate, extends and outlines the entire pediment, interrupting in a round arch at the base to house an oculus occluded by stained glass.

The walls are decorated with ornamental paintings by Antônio Cremonese, with trompe-l'oeil garlands at the top and marbled effects on the pilasters and plinths.

The barrel vaulted ceiling is made of light blue wood dotted with tiny golden stars and stands on a wide cornice decorated with a frieze in a floral motif.

[1] There are two neo-Gothic carved altars next to the crossing arch painted white with green and natural wood details, with marbled panels and different images of saints.

The one on the left is dedicated to St. Anne and has a rare statue of the Virgin Mary as a baby wrapped in cloths and tied tightly with straps at the base.