The Church of St Francis of Assisi, located in Ouro Preto, Minas Gerais, is considered one of the masterpieces of Brazilian Baroque.
During the colonial period, no city grew as much and as fast as the curvaceous Ouro Preto in Minas Gerais.
The abundance of gold and precious metals meant that thousands of people flocked to the place in search of easy wealth and business opportunities.
Among them were the Portuguese and Brazilian elites, both cultural and political. And also the religious.
At that time, Catholicism was an integral part not only of the local culture but also of the government power itself.
Building churches was a way of repaying the graces received and also of demonstrating power.
Each confraternity – religious institutions made up of lay people whose aim was to help their members and the community, but in obedience to the rules sanctioned by the Catholic Church – sought to build their church high up on the hills that made up the city, always as beautiful and luxurious as possible.
It was in this context that the Church of St Francis of Assisi was built.
The Third Order of Penance of St Francis of Assisi, the first order founded in what was then Vila Rica, brought together the most important names in society. The members met in other churches until 1762, when they began to consider the possibility of building their own temple.
Video on the history, architecture and art of the Church of St Francis of Assisi
IGREJA DE SÀO FRANCISCO DE ASSIS EM OURO PRETO
Church of St Francis of Assisi: History, Architecture and Art
- Historical context
- Restoration and Conservation
- Baroque masterpiece in Minas Gerais
- The three phases of the Baroque in Brazil
- Architecture and Sculpture – Aleijadinho
- Painting – Mestre Ataíde
- Religious and tourist function
- St Francis of Assisi – The Saint
1. Historical context
Construction of the Church of St Francis of Assisi began in 1766, at the height of the gold mining boom in Minas Gerais. Ouro Preto (then Vila Rica) was teeming with riches, which fuelled an artistic and architectural production unprecedented in colonial Brazil.
Two of the greatest names in Brazilian Baroque were called upon to carry out the work:
- Antônio Francisco Lisboa or Aleijadinho, responsible for the architectural design and the soapstone sculptures.
- Manuel da Costa Ataíde or Master Ataíde, who painted the interior, especially the ceiling of the nave.
The building was completed around 1810, at the end of the gold rush, but the church has never ceased to be an artistic and spiritual reference point.
2. Restoration and conservation
- The interventions in 1883 and 1925 were carried out without due technical care.
- In 2001 a major restoration was carried out on the high altar, the six side altars and the floor, focusing on cleaning and fixing the pieces and restoring the original colours and textures.
Conservation of the church is essential: it is part of the ensemble that led to Ouro Preto becoming Brazil’s first UNESCO World Heritage Site in 1981, and is considered one of the Seven Wonders of the World.
3. Masterpiece of Baroque in Minas Gerais
Dom Francisco Barroso Filho, Bishop Emeritus of the Diocese of Oliveira, defines the church as “the most perfect model of Baroque in Minas Gerais”. With its innovative lines, delicate sculptures and vibrant colours, the church represents the most beautiful fusion of European Baroque and Brazilian creativity.
4. The three phases of the Baroque in Brazil
- First phase (1710-1730): small scale, twisted columns, gilded woodwork, blue and red predominate.
- Second phase (1730-1760): intense use of gold, neoclassical facades, intense polychromy.
- Third phase – the Baroque of Minas Gerais (after 1760): its own identity, light decoration, free forms, use of soapstone. Many call this phase the Brazilian Rococo.
5. Architecture and Sculpture – Aleijadinho
Aleijadinho used an innovative language:
- Curved façade and recessed towers, with military references: windows in the shape of “glasses” and towers like cannons.
- Soapstone sculptures, such as the angels supporting the coats of arms of the Portuguese Crown and the Franciscan Order.
- The image of the Virgin with a sling on her arm (as Aleijadinho wore) and St Francis of Assisi on Mount Alverne in the central medallion.
- The interior is richly decorated, with rococo side altars full of flowers, garlands and gilded carvings.
- The two pulpits, created by Aleijadinho with the help of three slaves, stand out, depicting faces with Mongolian eyes, protruding cheekbones and split chins – hallmarks of his unmistakable style.
The historian Germain Bazin recognised the impact of these works when he said:
“It is surprising that the most perfect realisation of this Portuguese Rococo should take place in Brazil and not in the metropolis, and that it should be the work of a mestizo”.
6. Painting – Master Ataíde
The painting on the ceiling of the nave is a spectacle:
- It depicts Our Lady of the Angels ascending to heaven, surrounded by angels and musical cherubs.
- The perspective technique creates the illusion of infinite height.
- The side panels depict scenes from the life of Abraham, simulating Portuguese tiles.
- Vibrant use of blue and red, typical colours of the Minas Gerais Baroque.
7. Religious and tourist function
As well as being a temple of faith, the church attracts tourists from all over the world. It is visited both for its artistic value and for the religiosity that still pulses through its celebrations. During masses and rituals, tourism is suspended, demonstrating the mutual respect between faith and visitation.
“Tourism and devotion can coexist very well, as long as one respects the needs of the other.”
– Ivo Porto de Menezes, Professor at the UFMG School of Architecture
8. St Francis of Assisi – The Saint
Born Giovanni di Pietro di Bernardone, he was nicknamed Francis by his merchant father. He had a turbulent youth until he heard Christ’s call in the church of San Damiano, asking him to restore the house of God.
After a confrontation with his father over the sale of cloth to donate to the church, he publicly renounced his inheritance, stripped before the bishop and went naked to live in poverty.
He was canonised in 1228, two years after his death, and is one of the most popular saints in Catholicism. He is a symbol of humility, peace and love for the poor, animals and nature.
