[en] The church of Colégio de Jesus, located at he historic centre of the old colonial capital, Salvador, Bahia, Brasil, was founded in 1564, as soon as the Jesuits arrived with the portuguese Governor General Tomé de Souza (1549). The second construction started in 1657, and the church was finished in 1672; the sacristy, with its beautiful pictorial program, in 1694. On the upper floor, the library was completed with a illusionist painting, by Antônio Simões. The furniture of the new temple included the old Mannerist altars, from 1560, which housed thirty terracotta shrines from Portugal. These altars were enlarged to harmonize with the new eloquent architecture. The communicating side chapels received baroque altarpieces, corresponding to the first phase of the style, called Portuguese national style - like the Santa Úrsula altarpiece, here also analyzed. The last altars with sculptures by São Francisco Xavier and Santo Inácio de Loyola, date back to the Johannine Baroque phase, and were made between the years 1720 - 1750. The pictorial program of the sacristy is studied in this article under the light of the studies by Luís de Moura Sobral, who present a Jesuit program for the exaltation of the Society of Jesus. The paintings are on the ceiling of the sacristy and on the side walls, flanking marble altars imported from Italy. Small paintings on copper plaques, with scenes from the life of Maria - according to that author, they were inspired by the poems of José de Anchieta, De Baeta Virginae, from 1572. On the ceiling of the library, an illusionist painting by the Portuguese artist Antônio Simões, presents Wisdom as the theme.

[pt] A igreja do Colégio de Jesus, no centro histórico da então capital colonial, Salvador, foi fundada em 1564, assim que os jesuítas chegaram com o Governador Geral Tomé de Souza (1549). A segunda construção iniciou-se em 1657, estando a igreja terminada em 1672 e a sacristia, com seu belo programa pictórico, em 1694. No andar superior, a biblioteca ficou completa com a pintura ilusionista de Antônio Simões. O mobiliário do novo templo incluiu os antigos altares maneiristas, de 1560, que abrigavam trinta bustos relicários em terracota, oriundos de Portugal. Esses altares foram ampliados para harmonizarem com a nova arquitetura eloquente. As capelas laterais comunicantes receberam retábulos do estilo barroco, correspondentes à primeira fase, denominado estilo nacional português ¿a exemplo do retábulo de Santa Úrsula, aqui analisado. Os últimos altares com esculturas de São Francisco Xavier e Santo Inácio de Loyola, são da fase do barroco joanino, datado entre os anos 1720 -1750. O programa pictórico da sacristia é analisado no presente artigo à luz dos estudos de Luís de Moura Sobral, que apresentam um programa jesuítico de enaltecimento da Companhia de Jesus. As pinturas estão no forro da sacristia e nas paredes laterais, ladeando altares de mármore importados da Itália. Sobre o imenso arcaz estão dispostas pequenas pinturas sobre cobre com cenas da vida de Maria -segundo aquele autor, inspiradas nos poemas de José de Anchieta, De Baeta Virginae, de 1572. No forro da biblioteca, uma pintura ilusionista do artista português Antônio Simões, traz o tema da Sabedoria.