Baroque architecture is an important part of Western history and has unique characteristics that marked the urbanisation of Europe and are even present in Brazil.
The first signs of Baroque architecture can be found in works from the early 16th century, but it was not until the end of this period that the Baroque style gained strength, developed and spread throughout Europe.
Trevi Fountain – Built in the 18th century in 1732 by the Italian architect Nicola Salvi, the Trevi Fountain is considered one of the finest examples of Baroque architecture in the world.
This development went hand in hand with the need of the Catholic Church to assert its sovereignty after the Protestant Reformation.
With the rise of Protestantism, which challenged the dogmas of Catholicism, the leaders of this current of Christianity began the movement known as the Counter Reformation.
The Church then held the Council of Trent, which aimed to reaffirm the absolute truth of the Catholic faith and traditions – it was during this period that the Baroque style gained a foothold.
At this council, the Catholic Church defined that art should be used as a means of propagating Catholicism as the absolute Christian truth.
Artistic expressions should depict Biblical scenes, Saints, Sacraments, among others.
In addition, the art should be simple and easy to understand, so that Catholicism could be made accessible to everyone.
It was also stipulated that paintings could not contain nudes or pagan references and that scenes had to be realistic.
In this way, the art of the Baroque period became associated with Catholic Christianity, which is why the greatest works of Baroque architecture are found in churches, basilicas and Christian monuments.
The Baroque was not only a artistic movement, but also a social, historical and cultural one. It included literature, painting, sculpture, architecture and even music.
It was characterised above all by dualism; the dilemma between body and soul, heaven and hell, the profane and the holy. And by the wealth of detail; paintings, architecture and sculpture with exuberant and luxurious features.
It arrived in Brazil at the beginning of the 17th century and lasted until the middle of the 18th century.
Minas Gerais, Bahia and Pernambuco are the Brazilian states with the greatest architectural heritage from this period.
But the movement was not limited to the cities of Minas Gerais; it even began in Salvador and Recife.
Videos about Baroque Architecture in Minas Gerais
A história do Aleijadinho25:49
Pintor Manuel da Costa Ataíde14:24
Conheça as belas igrejas de Ouro Preto MG17:39
Santuário do Bom Jesus de Matozinhos - Congonhas MG20:35
Conheça a cidade histórica de Mariana25:49
São João del Rei MG - Pontos Turísticos25:49
Conheça os principais pontos turísticos de Tiradentes09:27
Centro histórico de Diamantina MG25:49
Main features of Baroque architecture
As the Baroque sought to reaffirm Catholic sovereignty, the art of this period was marked by the exaltation of God and the Church.
The Baroque broke with the idea of rationality and symmetry of Greco-Roman classicism and began to use forms and textures that gave the idea of movement and created emotions and sensations.
The church is also exalted by many ornaments, extravagant decorations that convey the idea of grandeur, power and wealth.
Baroque is bold, and irregularities of proportion are common in this style. In general, its most striking features are
- A strong presence of spaces and oval shapes, which convey the idea of centralisation;
- The use of the Greek cross, which identifies Christianity;
- Convex or concave facades that reinforce the idea of movement;
- The use of curved columns and arches;
- Decorative elements of great exuberance and a strong presence of gold;
- Plaster or stucco effects;
- A sense of infinity and grandeur;
- Murals and ceiling paintings;
- Use of light to create a sense of mystery;
- The exaltation of God and Christ as the main figures.
- These characteristics, although the most prominent, were not 100% present in all works of Baroque architecture, as the architectural style varied according to the historical context of each country.
In France, for example, Baroque architecture also sought to glorify the monarchy – as in the Château de Versailles.
In England, the Baroque style gained strength when London had to be “rebuilt” after a great fire destroyed more than 13,000 houses and 87 churches.
On this occasion, London was rebuilt with influences from the architectural style that was in vogue in Italy and France.
Major names and works of Baroque architecture
1. Carlo Maderno
Known as one of the pioneers of the Baroque style, Carlo Maderno was a Italian architect and sculptor. His first major work was the façade of the church of Santa Susanna, which has typical columns.
In 1603 Maderno was appointed chief architect of the St Peter’s Basilica in the Vatican and this was his main work.
2. Borromini
Borromini was an architect who became famous for revolutionising architecture, breaking completely with the classical style.
He became famous for building the Church of San Carlo alle Quattro Fontane in Rome, which was the first Baroque building to have its dome covered with geometric forms rather than frescoes.
3. Gian Lorenzo Bernini
Bernini is considered by many to be the leading name in Baroque architecture. His works can be found all over Rome, but the trapezoidal square of St Peter’s, ‘ Basilica and the Oval Church of Sant’Andrea al Quirinale are his great hallmarks of Baroque architecture.
4. Carlo Fontana
Fontana, who worked with Bernini, also became known as one of the most important names in Roman Baroque. He was responsible for the reconstruction of the facade of the Basilica of Santa Maria in Trastevere and also for the restoration of the fountain in front of the Basilica.
5. Aleijadinho
Antonio Francisco Lisboa, known as Aleijadinho, was the leading figure in Brazilian Baroque architecture.
Aleijadinho was a sculptor, carver and architect, and his works are scattered throughout Minas Gerais, especially in the historic cities of Ouro Preto, Sabará, São João Del Rei and Congonhas.
His most outstanding works were the Church of São Francisco de Assis in Ouro Preto and the Shrine of Bom Jesus de Matosinhos in Congonhas.
Aleijadinho, who was also influenced by Rococo, is considered the greatest personality of Brazilian colonial architecture and one of the greatest names of Baroque in the Americas.
Baroque architecture in Brazil
The style was brought by the colonisers in the 18th century and remained in the country until the first two decades of the 19th century.
The style was used by the Jesuits and had the function of spreading the Christian faith in the colony.
The Baroque buildings in Brazil were inspired by the architecture of Portugal, Italy, France and Spain, as well as by Brazil’s own architecture.
Although monumental, the Brazilian Baroque style had simple features and was in many cases more rectilinear than that seen in Italy.
The style gained strength in the country and is still admired nationally and internationally – for example, the churches of Minas Gerais, which receive tourists from all over the world.
It’s interesting to note that Minas Gerais is the state with the largest Baroque collection in Brazil.
The characteristics of the Baroque buildings of Minas Gerais reflect aspects of the availability of resources in the state.
The artists used different materials to those used in Europe: instead of stones such as marble, the Baroque of Minas Gerais relied on soapstone and much wood in its sculptures and ornaments.
As in Italy, religion is at the heart of style in Brazil. Figures of angels, saints and paintings that refer to eternity are striking aspects of our Baroque.
What are the main works of Baroque architecture?
The features of Baroque architecture in Brazil are important tourist attractions. And there are many!
These works are spread over several Brazilian cities.
The states of Pernambuco, Bahia and Minas Gerais have the largest number of architectural constructions from this period.
In this scenario, the most important Brazilian name in Baroque architecture was born: Antônio Francisco de Lisboa, known as Aleijadinho.
Besides Aleijadinho, we also had the painter Manuel da Costa Ataíde, known as Mestre Ataíde.
It’s important to highlight Mestre Ataíde.
His painting is directly related to architecture. He even painted the ceilings, panels and altars of important churches, such as
- Lining of the sacristy and doorway of the Church of the Third Order of St. Francis of Assisi, in Mariana;
- Lining of the nave of the Church of the Third Order of St. Francis of Assisi, in Ouro Preto;
- Ceiling of the Church of Nossa Senhora do Rosário dos Pretos, in Mariana;
- Panelling in the Mother Church of Conceição do Mato Dentro
The most important works from this period
- Church of São Miguel, located in São Miguel, Rio Grande do Sul;
- Church of Santo Antônio, located in Cairu, Bahia;
- Basilica and Convent of Nossa Senhora do Carmo, located in Recife, Pernambuco;
- Church of St Francis of Assisi, located in Ouro Preto, Minas Gerais;
- The Twelve Prophets, sculptures in the Church of Bom Jesus de Matozinho, in Congonhas, Minas Gerais;
- Church of St. Francis of Assisi, in Ouro Preto, Minas Gerais;
- Church and Convent of St Francis in Pelourinho, located in Salvador, Bahia.
Baroque architecture in northeastern Brazil and Minas Gerais
Baroque architecture in Brazil spread and reached its peak during the period known as the Gold Cycle. This period corresponds to the exploitation of Minerals in Minas Gerais.
The Baroque style was made famous in Brazil by Aleijadinho, an artist who created historic works such as the Sanctuary of Bom Jesus de Matosinhos, in Congonhas, and the Church of St Francis of Assisi in Ouro Preto, where he designed both the architectural project and the interior decoration.
Characteristics such as exuberant and ornate forms define Baroque architecture. The style also became a reference in art, music and literature.
As a result, the state is the place with the most Baroque and architectural heritage. The cities of Ouro Preto, Tiradentes, Congonhas, Mariana and Diamantina stand out.
1. Ouro Preto MG
Ouro Preto was one of the first cities listed by Iphan in 1938 and the first Brazilian city to be declared a World Heritage Site by Unesco in 1980.
Its colonial urban layout remains intact, as do the most expressive examples of religious and civil architecture and its preserved works of art.
The protected heritage includes the Church of St Francis of Assisi (considered a masterpiece). Also noteworthy are the Churches of Nossa Sra. do Pilar, Conceição and Carmo, the setting of its cobbled streets and the white houses with their clay roofs and coloured window frames.
Gold, Glamour and Wealth have been associated with the city since its founding.
The great influx of metal sowed the seeds of greed, intrigue and acquisitiveness, but it also fuelled enormous artistic development in literature, architecture, painting and sculpture, architecture, painting and sculpture, with some Baroque features developed exclusively on Brazilian soil.
The Baroque of Minas Gerais was born as a mestizo, incorporating Brazilian tendencies into European Baroque and Rococo.
The emergence of the two main third orders, Carmo and São Francisco, between 1740 and 1760, made up of the wealthiest classes, is reflected in the decision to build churches and in the aesthetic value of these monuments.
This led to the construction of some Baroque and Rococo masterpieces, on which the Portuguese Masters and a first generation of Minas Gerais artists, such as Antônio Francisco Lisboa or Aleijadinho, worked.
Despite the expansion of the city along the streets and the surrounding area, the scale of the new buildings has remained unchanged from the urban landscape built in the 18th and 19th centuries.
Also preserved are the monuments of religious and civil architecture such as oratories, chapels, bridges and fountains. As for the residential and commercial buildings, unavoidable internal alterations have been allowed as long as the original form of their exteriors is maintained.
The exceptional value of Ouro Preto, reflected in the urban landscape that was consolidated during the 18th and 19th centuries, remains perfectly legible, not only due to the economic stagnation suffered by the city in the first half of the 20th century, but above all due to the protective measures that followed its protection order.
Buildings such as palaces, churches, fountains, bridges and most of the commercial and residential houses from the colonial period have also been preserved.
1.1. The Church of St Francis of Assisi
It is one of the most admirable expressions of the Minas Gerais style of the late 18th century, with a façade that follows the Portuguese layout of large parish churches.
The building is a religious, social and artistic landmark for the city and the state, the building is a landmark in the city and in the state, with an architectural design, a doorway and ornamental elements such as pulpits, a high altarpiece, lavabo and ceiling of the choir by Aleijadinho and paintings by Ataíde.
The ceiling of the nave is completely covered with paintings by Ataíde, depicting the Ascension of Our Lady of the Conception (patron saint of the Franciscans).
1.2. The mother church of Pilar
Its construction began between 1728 and 1730, replacing the city’s oldest church, dedicated to the Virgin of Pilar.
This is one of the most important examples of Minas Gerais Baroque from the Gold Cycle. The Church also houses the Silver Museum.
A corridor next to the Consistory houses the Church Archives, the most complete archives in Ouro Preto.
1.3. Church of Our Lady of the Rosary of the Blacks
Dating from 1785, it is dedicated to the patron saint of blacks and mulattos and has the most original design of all the baroque churches in Minas Gerais.
In the shape of an ellipse, the roof of the nave resembles a ship’s keel. The interior impresses with its acoustics and clarity.
The side-chapels are dedicated to St Helena, St Efigênia, St Anthony of Nubia, Our Lady Mother of Men, St Elesbão and St Benedict.
Some researchers claim that the pictures of St Anthony and St Benedict were made by Father Félix, the elder brother of Aleijadinho.
1.4. The Church of Our Lady of Mount Carmel
Built during the third phase of the Baroque period, the main part was completed in 1772 and the embellishments and finishing work were completed in 1848.
Artists such as Manoel Francisco Lisboa (father of Aleijadinho), Manoel da Costa Ataíde and others took part in its decoration.
Situated at the top of a hill, reached by a long staircase, it was frequented by the local aristocracy.
The Portuguese tiles in the ten panels must have cost a lot of gold to the religious brotherhood that financed them. Coming from Portugal, the tiles landed in Rio de Janeiro and travelled by donkey to Minas Gerais.
1.5. Iphigenia Church (Church of Chico Rei)
Built in 1736. Several artists worked on it, including Manoel Francisco Lisboa, Francisco Xavier de Brito and Manuel Gomes da Rocha.
The funds for the construction came from gold extracted from a mine leased by Chico Rei, who used the gold to free other slaves.
1.6. Mother Church of Our Lady of the Conception of Antônio Dias
Located between Praça Barão de Queluz and Praça Tiradentes, its construction began in 1727 and work continued until the second half of the 18th century.
The builder Manuel Francisco Lisboa worked on the construction of the Igreja Matriz de Nossa Senhora da Conceição de Antônio Dias, where he and his son Aleijadinho are buried.
One of the oldest parishes in Minas Gerais, the Mother Church is also one of the largest in size and pomp.
The old Sacristy houses the Aleijadinho Museum, where you can admire various works by the master, such as the image of St Francis of Paula and a Crucified Christ.
1.7. Chapel of Our Lady of the Priestly Rosary
The chapel is named after Father João de Faria, who commissioned its construction in the early years of the 18th century. The chapel was originally dedicated to Our Lady of Mount Carmel, and around 1740, Father Faria’s chapel also housed the White Brothers of the Brotherhood of the Rosary.
The Chapel is the only example in the urban area of Ouro Preto of the primitive constructions of the Serra de Ouro Preto, and is considered by many to be the most exquisite of them all.
2. Sanctuary of Bom Jesus de Matozinhos – Congonhas MG
Considered one of the world’s Baroque masterpieces, the Sanctuary of Bom Jesus de Matozinhos was inscribed in the Book of Fine Arts by Iphan in 1939, by Iphan in 1939 and was declared a World Heritage Site by UNESCO in December 1985.
Located in Minas Gerais, in the municipality of Congonhas, the Sanctuary of Bom Jesus de Matozinhos was built in the second half of the 18th century. Since 2015, the Congonhas Museum has been located next to the Sanctuary and is open to the public, in order to enhance the perception and interpretation of the multiple dimensions of this heritage site.
The complex consists of a church with a rococo interior, a walled cemetery and a monumental external staircase decorated with soapstone statues of the 12 Prophets, and six chapels arranged side by side on the slope in front of the church, called Passos (Steps, illustrating the Via Crucis of Jesus Christ.
Its inspiration is closely related to Portuguese examples such as the Church of Bom Jesus do Monte (Braga) and the Sanctuary of Nossa Senhora dos Remédios (Lamego), both in Portugal.
The 66, life-size, polychrome wooden sculptures, housed in the six chapels, bring together the seven groups of steps of the Passion of Christ, form one of the most complete sculptural groups of sacred images in the world, and is undoubtedly one of the masterpieces of Francisco Antônio Lisboa or Aleijadinho, who bequeathed to mankind a work of great expression and originality.
The Sanctuary is in a good state of preservation, allowing its materiality to express the importance and values attributed to it, representing a unique artistic achievement and an exceptional example of 18th century Brazilian architecture.
The built and sculptural ensemble retains its intrinsic values: the Church of Bom Jesus; the cemetery with the soapstone statues of the prophets; the stairs and chapels with their seven stations, both completed in 1805, and an expressive sculptural ensemble representing the Passion of Christ.
Despite the process of transformation that took place with the urban growth of the city of Congonhas, due to the intense process of iron mining, the Sanctuary remained intact and is, to this day, an icon of religious art and religiosity in Brazil.
3. Mariana MG
Mariana was the first capital of Minas Gerais and Ouro Preto. It is the only city with a planned layout among the colonial cities of Minas Gerais.
The historic centre of Mariana, declared a Historic-Artistic Monument by IPHAN in 1945, presents an architectural collection that recalls the golden years of opulence of the past, marked by gold mining.
The polycentric urban layout – dotted with churches, Passos da Paixão and fountains – reveals the typical scenic effect of the Portuguese-influenced Baroque aesthetic.
Mariana was designed by the Portuguese architect José Fernandes Pinto Alpoim, with straight streets and rectangular squares, following modern precepts that can still be seen despite its expansion and constant de-characterisation.
In the second half of the 18th century, institutional buildings appeared, and by the end of the century its entire architectural collection had been built.
It is the only town in the province to have had its urban layout planned during the colonial period, setting it apart from the other towns that sprang up as a result of the gold mines.
Among the religious monuments listed are
- Cathedral of Our Lady of the Assumption (Igreja da Sé, one of the oldest churches in Minas Gerais),
- Mariana Major Seminary (neoclassical style),
- The group of sobrados in Rua Direita (with commercial houses on the ground floor and balconies on the upper floor, one of which is the house where the poet Alphonsus Guimarães lived),
- and the Holy paintings by Manoel da Costa Ataíde.
In João Pinheiro Square, just a few metres from each other, are the churches built by the powerful brotherhoods of São Francisco de Assis and Carmo.
The churches of Nossa Senhora das Mercês and do Rosário, belonging to the black brotherhoods, are further apart: the first is five blocks from the square, the other on a hill further away.
Having not reached the development of Ouro Preto, Mariana has fewer civic buildings and temples than old Vila Rica.
4. São João del Rei MG
The city, with its hillsides, churches, museums and houses, preserves the wealth obtained from gold and reveals to its visitors the lifestyle of the miners, as well as presenting magnificent buildings of the Brazilian Baroque.
São João Del Rei is a city where gold has made it an example of Baroque, while commerce has given it an eclectic character with modern touches.
Visitors can see the Baroque of Minas Gerais in its churches and houses, but also Neo-Gothic, Neo-Classical and even Modern influences on the facades of some buildings. The city offers a rich architectural experience, from baroque to contemporary.
Like other colonial towns in Minas Gerais, São João del Rei arose from the agglomeration of small nuclei near the mining sites. Initially the settlement was scattered, with low houses grouped around a small chapel.
The town’s religious architecture largely follows the traditional patterns of Minas Gerais parish churches, with a nave, chapel, sacristies and side-aisles, and a façade with a main body flanked by two towers, usually square in profile. The ornamentation is predominantly in the Rococo style, typical of the second half of the 18th and early 19th centuries.
Even before the discovery of gold, the region was an obligatory stop for those travelling to the mines.
5. Tiradentes, MG
The architectural and urban complex of Tiradentes, listed by IPHAN in 1938, represents one of the most important episodes in the interiorisation and consolidation of the colonisation of Brazilian territory.
In addition to the typical colonial buildings, the declared heritage includes traces of the way the town was settled, the way the plots were subdivided, the formation of the blocks, the relationship between the denser and less populated areas, and the green areas adjacent to the traditional urban layout.
The city has one of the most important architectural collections in Minas Gerais, made up of religious, civil and official buildings from the eighteenth century.
In terms of civil architecture, the harmony of the single-storey houses stands out, characterised by the simplicity of their lines, which run continuously along the city’s main streets.
Some features of the townscape also stand out, such as the single-storey houses with an odd number of windows, the recessed lintels and the carefully crafted windows and lattice fences.
The sobrados, fewer in number, are characterised both by the exquisite treatment of the stone work in the openings (including, in some cases, polychrome painting) and by the extremely rich internal decoration, particularly in the painted and panelled ceilings, which are characterised by polychrome compositions with Baroque figures and decorative elements.
The larger panelled buildings include the City Hall and other official buildings such as the Forum Building.
The Igreja Matriz de Santo Antônio stands out as one of the most important examples of colonial religious architecture in Minas Gerais, designed by Antônio Francisco Lisboa, or Aleijadinho.
The church was built according to the standards of the great parish churches of Minas Gerais and boasts rich ornamentation in the nave and choir and in the various richly decorated sacristies, as well as the exceptional composition of the choir and the beautiful decoration of the organ, considered to be unique in Minas Gerais.
In Tiradentes, the traces of the interaction between natural and social processes, created from the 18th century onwards, stand out in a territory cleared by settlers in search of riches, overcoming resistance and taking advantage of natural conditions.
The town was built on the sloping high ground, between the streams and the River Mortes, avoiding the fragile soil that opens up in the ravines and steeper slopes.
In the lowland areas – swampy and unsuitable for urban occupation – gold was extracted and some urban services were provided.
6. Diamantina MG
Diamantina is the most beautiful historic city in Minas Gerais, the land of diamonds and Chica da Silva.
Diamantina is a kind of gem of Brazilian Baroque art. A city whose historical heritage is one of the most important in Brazil, ranking alongside icons such as Ouro Preto, Tiradentes, Olinda and Paraty.
The city of Diamantina, in the state of Minas Gerais, is an architectural jewel that Unesco has declared a World Heritage Site.
What few people know is that this jewel belongs to the São Francisco River Basin and is one of its great cultural attractions.
Majestic in its preserved houses, welcoming in its mountain climate, appetizing in its typical delicacies, the city also enchants with its baroque colour and great youthful buzz.
The baroque side comes from the churches, sobrados and restored public buildings.
The youthful side comes from the students who fill the city with their fraternities and turn the hillsides and narrow streets into meeting places.
Diamantina also stands out for being the birthplace of two illustrious children.
The first is the former slave Francisca da Silva de Oliveira – Chica da Silva, a black queen who rose to prominence in the elite society of 18th century Minas Gerais.
The second is the statesman Juscelino Kubitschek, the revolutionary founder of Brasilia in the early 1960s and one of the most memorable presidents in recent Brazilian history. Both Chica and Juscelino have had their homes transformed into must-see tourist attractions for anyone visiting Diamantina.
7. Olinda, PE
Baroque is an architectural style that enchants and captivates with its richness and ornamentation.
In the Churches of Olinda, this style is magnificently manifested, telling the history of the city and conveying its cultural and historical importance.
A tour of these churches is a journey through the history of Olinda, revealing the unique characteristics of Baroque architecture.
The Igreja da Sé, the Igreja de São Bento, the Igreja do Carmo and the Igreja da Misericórdia are stunning examples of this style, with imposing façades, elaborate altars and impressive works of art. These churches are cultural and historical treasures that preserve Olinda’s identity.
The future of these churches promises to continue to delight future generations, keeping alive the Baroque heritage and the unique importance of Olinda’s churches.
8. Recife PE
The Baroque style in the Northeast emerged from lay associations such as the Confrarias, Irmandades and Ordem Terceira, which took the initiative to sponsor artistic production in the 18th century with the weakening of the religious orders.
Baroque churches in the centre of Recife:
- Basilica and Convent of Nossa Senhora do Carmo – The exterior is in Baroque style. Inside, the Baroque decoration is of great value. It was built between the 17th and 18th centuries.
- Church of Santa Teresa D’Ávila da Ordem Terceira do Carmo – Originally built for wealthy whites. Highlights include the baroque ceiling and altar.
- Igreja Matriz do Santíssimo Sacramento de Santo Antônio – has a colonial baroque style.
- Capela Dourada da Ordem Terceira do São Francisco – The ultimate expression of baroque in Recife.
- Church of the Venerable Third Order of St Francis – There are panels of Portuguese tiles from the 17th and 18th centuries.
- Igreja e Convento Franciscano de Santo Antônio – The position of the church’s only tower, set back from the façade, favours a diagonal deviation in the composition, which is a Baroque characteristic.
See the main baroque churches in Recife PE.
9. Salvador de Bahia
The churches of Salvador represent the splendour of the Baroque style in Brazil.
See the Baroque churches in Salvador de Bahia
- Grandiose facades and interiors, often with curved forms and dramatic lines.
- Lavish ornamental details such as friezes, Solomonic columns and volutes.
- Exuberant use of colour and contrast, often with gold and red tones.
- Sculptures and paintings that express intense emotion and spiritual depth.
- Dynamic architectural elements, such as domes and winding corridors, which create a sense of movement and energy.
The Baroque sought to affect the viewer not only visually but also emotionally, using architecture and art to convey a sense of grandeur and power.
History of Baroque Architecture in Northeast Brazil and Minas Gerais
