They are legacies preserved since the Brazilian colonial and imperial period, which consist of sacred images, lanterns and processional crosses, navets, palliums, scaffolds, bells, vestments, and other liturgical objects in silver and gold, deposited in chapels, churches, and museums.

The temple was built with characteristics of Brazilian colonial architecture and slave labor, by using the mixed technique of earth structure, stone masonry, and adobe, with ornamentation gradually produced in the following decades in the baroque, rococo, and neoclassical style altars.

[7] In 1731, a mission of the Esmolares da Terra Santa was erected next to the current Coreto Square, founded in Meia Ponte by Friar João de Jesus e Maria, assisted by Friar Domingos de Santiago, and together, they also built the Hospice of the Holy Land, a network of hostels for Franciscan religious who traveled through towns and cities collecting alms for the conservation of the Holy Land, in Palestine.

With the removal of the Esmolares from Terra Santa to Traíras, the third order began to administer the Hospice and Chapel until its transfer to the state government, which transformed it into an educational institution and eventually demolished it in the 19th century.

[17][18][19][20] In 1750, Luciano da Costa Teixeira and his son-in-law Antônio Rodrigues Frota, using slave labor, built the private church of Our Lady of Mount Carmel on the right bank of the Almas River.

The church has baroque and rococo carvings, and preserves altarpieces and pieces from the demolition of other temples in the city, which today make up the local Museum of Sacred Art.

[14] Also in 1750, under the initiative of Sergeant-Major Antônio José de Campos and making use of slave labor, the Church of Our Lord of Bonfim was built of adobe and in earth structure.

[14][13] Considered one of the state's baroque gems, Sergeant Campos bought and brought an image of Our Lord of Bonfim from Salvador, and decorated it with rococo altars and paintings.

[21] The reputation of the gold deposits on the margins of the Peixe River brought many adventurers to the Chapel of Rio do Peixe region who were responsible for building the Chapel of Saint Anne that, besides being the patron saint, was considered the owner of the place, showing the presence of Catholicism in a landscape where the houses or ranches were simple and small, made of wattle and daub technique, adobe, with a roof of buriti leaves with a ground floor, of one or two pitches and single storey.

[13] Also in 1757, as attested in the Books of Minutes of the Brotherhood of the Blessed Sacrament, the institution built the choir in the Mother Church, which enabled the beginning of sacred music in the city of Pirenópolis.

As the obligation imposed by the City Council did not work, the Brotherhood of the Blessed Sacrament, on its own initiative, built the Saint Michael Cemetery between the years 1867 and 1869, whose documentation still exists in the parish archive.

On March 22 of the following year, the confraternity unanimously elected Sebastião Pompeu de Pina to the position of fabricator, who exercised the respective functions until his death.

During the COVID-19 pandemic, in 2020 and 2021, the celebrations were held in an unprecedented format, without the presence of the faithful and transmitted by social media by the Pastoral of Communication, but without losing its traditional essence, with the use of baroque images, processions with music band and the chanting of the songs in Latin.

[21] From 2012, there is the valorization of local culture and identity with the resumption of celebrations and festivals suppressed in the mid-1970s to 2000, in addition to the entry of young people into the Apostleship of Prayer, the Brotherhood of the Blessed Sacrament, the Choir and Orchestra Nossa Senhora do Rosário, and the Phoenix Band, highlighting the importance and harmony between past and present, well evidenced during the COVID-19 pandemic in 2020 and 2021.

It was held at the altar of Saint Francis of Paola in the Mother Church, where the image of the Sorrows was placed, and was prayed over by the vicar, who exposed the Blessed Sacrament there for the recitation of prayers, and accompanied by the Choir and Orchestra that performed a repertoire in Latin and Portuguese, with compositions by composers from Goiás.

At the departure of the procession, the choir, accompanied by the orchestra, performs the ejaculatory prayer Solo das Dores, attributed to José Iria Xavier Serradourada (1831-1898), from Goiás.

The Lord of the Steps Procession leaves the Church of Mount Carmel, accompanied only by men, the Brotherhood of the Blessed Sacrament, and religious authorities; women are only part of the choir.

[46] In Pirenópolis, the manifestations of the religious traditions of Holy Week have been held since the 18th century, funded by brotherhoods, such as the Blessed Sacrament, and housed exclusively in parish churches.

In the center, the youth group of the Stations of the Cross Pastoral, followed by the guild of the Brotherhood of the Blessed Sacrament with the parish priest, accompanied by the Phoenix Band that performs the traditional dobrados and festive marches from its repertoire.

[42] At 9 o'clock in the morning on Maundy Thursday, the solemn mass In Coena Domini was celebrated in the Mother Church, according to the old custom before the liturgical reforms, sung by one of the city's orchestras that performed great pieces of national and international composers, in a true allusion to the baroque.

[36] At dusk on Holy Thursday, the crowded church presided over the Foot Washing Ceremony, where the priest, wearing only the lava and the cincture on his cassock, and using the century-old silver basin and pitcher of the Brotherhood of the Blessed Sacrament, washed and kissed the feet of twelve boys, while the orchestra and choir performed Dómine Tu Mihi, specially composed for the Brotherhood of the Blessed Sacrament in 1899 by Antônio da Costa Nascimento, shortly after he had been the confraternity's provider.

[46] At first, the adaptations of the liturgical reform of 1955 and 1962 were not very well received by the local community; with the principle of veritas horarium, the Missa In Coena Domini was transferred to the current time, in the evening, with the rite of foot washing within the celebration, suppressing the mandatum sermon.

Currently, the ceremony includes the participation of the Choir and Orchestra Nossa Senhora do Rosário, which performs a mass from its repertoire, and the vigil with the Brotherhood guard, which remains until Good Friday.

[42] After the introduction of the liturgical reform and the current timetable, new customs have been introduced, such as the Stations of the Cross passing through the streets of the historic center in the morning with the image of the Lord of the Steps, suppressed by the staging promoted by young people since 2006, which today pleases residents and visitors.

At dusk, the burial procession proceeds, which, since the 18th century, parades through the streets of the historical center to the sound of funeral marches with the image used in the adoration of the cross, followed by the litter of Our Lady of Sorrows, dressed in dark purple, accompanied by the figure of the Veronica, followed by the choir, which intones the Heu and Pupilli a capella alternating with the funeral marches performed by the Phoenix Band.

After the celebration, the popular festival of the burning of the Judas took place, and at noon, the Folia do Divino, known as Folia dos Homens, now extinct, left the Church of Our Lady of the Rosary, accompanied by a crowd, brass band and a lot of fireworks, going through the historic center opening the Feast of the Divine, with the crown and the flag of the Divine passing from house to house, collecting alms for the cost of the feast.

[46] Since the first decades of the 18th century, when the Brotherhood of the Blessed Sacrament of the Mother of Rosary was created, the Corpus Christi is celebrated, and in the following centuries, was acquiring the current features, when the local community voluntarily added to the celebrations the tradition of the colorful carpets of sawdust, sand, seeds and flowers from the cerrado, that cover the secular stone streets in the Historical Center, especially Direita Street, the first road through which passes the procession of Corpus Christi, traditionally held always at dawn, before the solemn Mass, usually sung in Latin.

[49] During the procession, it is an old custom to decorate altars for the adoration of the Blessed Sacrament; for a few moments, the group pauses and the hymn Tantum Ergo Sacramentum is sung, in Latin, composed in the beginning of the 20th century by Eugênio Leal da Costa Campos, and performed by the centenary Choir and Orchestra Nossa Senhora do Rosário.

[1] There are records in the archives of the Coro e Orquestra Nossa Senhora do Rosário of several musical compositions copied in the mid-1940s by the then conductor Sebastião Pompêo de Pina Jr, during the time of the Carmelite sisters, when the parish was under the leadership of the Franciscan priests.

In 2020, the Choir and Orchestra Nossa Senhora do Rosário returned to perform singing the solemn Holy Mass of July 16 in Latin, in a ceremony sine populo in the Church of Mount Carmel.