Ouro Preto, a World Heritage Site, is one of the most important tourist destinations in Brazil. With its baroque churches, colonial mansions and rich cultural life, the city attracts visitors interested in history, art and nature.

Ouro Preto: From gold to World Heritage

The city of Ouro Preto, formerly Vila Rica, is poetically portrayed by Cecília Meireles in the following description: “Look at the road, look at the bridge, look at the mountain where the white church is cut out”. This image symbolically sums up the city’s characteristic landscape of church spires and colonial roofs set against the dark backdrop of the mountains.

Ouro Preto’s origins date back to 1698, when the bandeirante Antônio Dias from São Paulo founded a settlement near the Itacolomi peak, where gold was discovered. Later, other urban centres were founded, including Ouro Preto, founded by the Portuguese.

Over time, the cities of Antônio Dias and Ouro Preto grew together and eventually merged. In 1711, the union led to the creation of Vila Rica, although the rivalry between the two parishes – Antônio Dias and Pilar – persisted for decades and remained latent even after the union.

This duality is symbolically expressed in the existence of two matrices. During the Easter Week, the main manifestation of the local religious and cultural life, the procession starts from the Parish Church of Pilar in even-numbered years; in odd years from the Parish Church of Antônio Dias..

In 1823 Vila Rica became the capital of the province of Minas Gerais and was renamed Ouro Preto. However, with the transfer of the capital to Belo Horizonte in 1897, the city entered a period of economic and political decline.

Paradoxically, this decline contributed to the preservation of the colonial architectural ensemble, which has remained virtually intact over time. This historical and artistic value was officially recognised in 1980, when Ouro Preto was declared a World Heritage Site by UNESCO.

Today, the city faces a number of challenges, including heavy traffic that threatens the integrity of historic buildings, unregulated urban occupation and the socio-economic vulnerability of a significant part of the population.

Despite these obstacles, Ouro Preto preserves an architectural and artistic heritage of inestimable value, visible in the baroque churches, the colonial houses, the stone bridges and fountains, and the hillsides steeped in history.

These elements alone justify a visit to the city, which also has an adequate tourist infrastructure, including hotels, restaurants, sophisticated craft shops and ecological routes through the surrounding region.

Videos of Ouro Preto’s Attractions

 

Ouro Preto: Synthesis of History, Art and Identity in Minas Gerais

The historic cities of Minas Gerais were born out of the mining fever that gripped Brazil from the 18th century until the first decades of the 19th century. These cities can be divided into two main groups: The Gold Circuit, which includes Ouro Preto, Mariana, São João del-Rei, Tiradentes and several neighbouring towns and districts; and the Diamond Circuit, whose main highlights are Diamantina and Serro.

The cities of Ouro Preto and Diamantina have been declared World Heritage Sites by UNESCO. The others, although they don’t have the same title, also preserve valuable examples of Brazilian colonial art and architecture.

What all these cities have in common – more than the colonial houses, the beautiful churches and monuments, the uneven cobblestones or the mountainous landscapes – is a unique atmosphere, where nature and history, past and present are inextricably intertwined.

Ouro Preto, considered the most important Brazilian city of the gold cycle, has its origins linked to the discovery of alluvial gold by the explorers Antônio Dias de Oliveira and Father João de Faria Fialho, who settled on the banks of streams and hills where the ore was abundant.

Founded in 1698 by bandeirantes from São Paulo, Ouro Preto was elevated to city status in 1711 under the name of Vila Rica de Albuquerque and became the seat of the Captaincy of Minas Gerais. Situated on the slopes of a narrow, winding valley surrounded by two mountain ranges, the city grew out of the agglomeration of several gold mining settlements founded in the region at the beginning of the 18th century.

The richness of the gold deposits justifies both the original name, Vila Rica, and the definitive name, Ouro Preto, adopted in 1720. From the mid-18th century, rudimentary building techniques such as pau-a-pique and adobe were gradually replaced by stone and lime constructions, revealing the wealth that came from mining and slave labour.

The Minas Gerais Baroque, an artistic and architectural style that marked the era, found one of its greatest exponents in Ouro Preto. The combination of mineral wealth and the talent of artists such as the sculptor Antônio Francisco Lisboa or Aleijadinho and the painter Manoel da Costa Ataíde led to the construction of monuments that put the city on the world architectural scene.

Among the most important episodes in national history to take place in Ouro Preto was the Inconfidência Mineira (1789), a movement for Brazilian independence from Portugal. Its martyr, Joaquim José da Silva Xavier, or Tiradentes, became the civic patron of the Brazilian nation.

At the end of the 18th century, the city reached its urban and cultural peak. However, in the 19th century, with the transition of the economy to coffee growing and animal husbandry, a period of decline began. Nevertheless, after Brazil’s independence, D. Pedro I granted the city the title of Imperial City of Ouro Preto in 1823, elevating it to the status of Capital of the Province of Minas Gerais.

The drastic decline of mining and the reorientation of economic activities led to the gradual emptying of the city, which in 1897 lost its position as capital to the newly created Belo Horizonte. Nevertheless, Ouro Preto remained part of the gold circuit, with mineral extraction still one of its main economic activities.

Today, Ouro Preto stands out as one of the most important centres of historical and cultural tourism in Brazil, combining its rich heritage with a vibrant artistic and academic life. As in the past, the city continues to assert itself as a national reference in culture and historical identity.

OURO PRETO’S TOURIST ATTRACTIONS

1. MUSEUM OF THE UNCONFIDENT
2. CHURCH OF OUR LADY OF MOUNT CARMEL
3. MUSEUM OF SCIENCE AND TECHNOLOGY OF THE SCHOOL OF MINES
4. NOSSA SENHORA DAS MERCÊS E MISERICÓRDIA CHURCH (MERCÊS DE CIMA)
5. OPERA HOUSE (MUNICIPAL THEATRE)
6. CHURCH OF SAINT FRANCISCO DE ASSIS
7. NOSSA SENHORA DAS MERCÊS E PERDÕES (MERCÊS DE BAIXO) CHURCH
8. GUIGNARD HOUSE MUSEUM
9. MOTHER CHURCH OF OUR LADY OF THE CONCEPTION OF ANTÔNIO DIAS
10. CHAPEL OF FATHER FARIA
11. HOUSE OF STORIES
12. CHURCH OF NOSSA SENHORA DO ROSÁRIO DOS PRETOS (SANTA IFIGÊNIA)
13. CHURCH OF SAINT JOSEPH
14. MOTHER CHURCH OF OUR LADY OF THE PILLAR
15. CHURCH OF OUR LADY OF THE ROSARY
16. CHURCH OF THE GOOD JESUS OF MATOSINHOS (SAINT MIGUEL AND SOULS)
17. CHURCH OF SAINT FRANCIS DE PAULA
18. OTHER ATTRACTIONS
19. GOLDEN MINES

1. MUSEUM OF INSOLENCE

The building, formerly the town hall and prison of Vila Rica, was built in 784 and rebuilt in 1854.

One of the most representative and well-preserved examples of 18th-century architecture in Minas Gerais, it houses the remains of the Inconfidentes.

It’s hard to find a Brazilian who isn’t moved by the names engraved on the tombstones of the austere pantheon of the Inconfidentes.

The museum also houses works by Aleijadinho and Ataíde, as well as furniture and documents from the 18th and 19th centuries.
Pça. Tiradentes, 139, Centro

2. CHURCH OF OUR LADY OF MOUNT CARMEL

Whether in the tiles / or in the gold of the carving / see what’s alive / are the dead of Carmo.

The tiles mentioned in the poem by Carlos Drummond de Andrade decorate the Church of the Third Order of Carmo (1776), which inaugurated the rococo style in Ouro Preto; the dead are buried in the adjacent cemetery.

It is the only church in Minas Gerais decorated with luxurious Portuguese tiles. Inside, the soapstone baptismal font and side altars by Aleijadinho and the painting in the sacristy by Ataíde stand out.

Next to the church, in the novitiate house – where Aleijadinho spent his last years – is the Oratory Museum, which houses 162 oratories and 300 religious images from the 17th to 20th centuries, collected by the collector Angela Gutierrez.

The collection includes curiosities such as portable oratories, so small they could be carried in travellers’ pockets, and Afro-Brazilian oratories built by slaves, as well as richly crafted pieces by both anonymous and famous artists. R. Brigadeiro Musqueira, s/n.

3. MUSEUM OF SCIENCE AND TECHNOLOGY OF THE SCHOOL OF MINES

The former Governor’s Palace, built in 1741, now houses the Mining School of the Federal University of Ouro Preto.

The Museum of Science and Technology is located here. Its extensive and educational collection is divided into mineralogy (with a large collection of rare gems and crystals), mining, astronomy, steelmaking and natural history.

The building, an attraction in itself, has a beautiful chapel and a fountain carved by Aleijadinho.

At the back of the museum is an astronomical observatory, open on Saturday nights for those who want to enjoy the starry skies of Ouro Preto. Tiradentes Square, 20, Centre.

4. CHURCH OF OUR LADY OF MERCY AND COMPASSION (MERCÊS DE CIMA)

Inaugurated in 1774, this church follows the style of buildings from the early 1700s.

A later remodelling altered the façade and introduced a single central tower, the standard of the 19th century; in 1858 an adjoining cemetery was built, now disused.

The beautiful soapstone medallion above the door, depicting the Virgin spreading her cloak over the Moorish slaves, was for a long time wrongly attributed to Aleijadinho. R. Fr. Rolim, s/n.

5. OPERA HOUSE (MUNICIPAL THEATRE)

Built in 1769, it is the oldest theatre still in use in Brazil.

Its triangular façade, topped by a lyre, differs from the general pattern of the city’s colonial buildings, while the interior preserves 18th-century furniture and equipment. With perfect acoustics, the theatre has an active cultural programme.

Currently closed for restoration, it is expected to reopen in July 2006. R. Brigadeiro Musqueira, s/n, Centre.

6. CHURCH OF SAINT FRANCIS DE ASSIS

A highlight of Brazilian colonial architecture, this church, built between 1767 and the beginning of the 19th century, is the masterpiece of Aleijadinho, author of the design, the high altar, the pulpits, the frontispiece and the interior sculptures.

On the outside, the two cylindrical towers, the cross of Lorraine flanked by two fireballs and the magnificent carvings on the medallion and the doorway are impressive.

Inside, there is another masterpiece: the ceiling painting by Manuel da Costa Ataíde, which depicts a moving image of the Virgin of Porciúncula, with the black features of her concubine, surrounded by small mestizo angels.

The wooden side panels, painted like tiles, are also by Ataíde. Lgo. de Coimbra, s/n, Centre.

7. CHURCH OF NOSSA SENHORA DAS MERCÊS E PERDÕES (MERCÊS DE BAIXO)

A legend surrounds this church, completed in 1772: the chapel on which it stands was supposedly built by the wife of a judge sentenced to death for the murder of her own daughter.

Documents show that the event did take place, but its relation to the construction is doubtful; the story, however, gives the church additional interest, as it houses a rich collection of images and sacred pieces, three of them by Aleijadinho: a crucifix and two roca images (composed only of hands and face, with the body covered in fabric) representing St. Pedro Nolasco and St. Raimundo Nonato. R. das Mercês, s/n, Centre.

8. GUIGNARD HOUSE MUSEUM

Alberto da Veiga Guignard, one of the great names in Brazilian art, was born in Rio de Janeiro but lived for a long time in Minas Gerais.

The city of Ouro Preto, where he spent the last years of his life, was one of his recurring themes.

In 1987, a museum was opened in his honour in a 17th-century mansion with a fountain by Aleijadinho. The collection consists of about a thousand pieces, including personal objects, paintings, documents, photographs and, of course, paintings.

The museum also organises cultural and educational activities. R Conde de Bobadela (r. Direita), 110, Centro.

9. MOTHER CHURCH OF OUR LADY OF THE CONCEPTION OF ANTÔNIO DIAS

The construction of this church began in 1727, on the same site where the Bandeirante Antônio Dias had built a chapel in 1699, making it a milestone in the birth of Vila Rica.

Manuel Francisco Lisboa, Aleijadinho’s father, was responsible for the design and construction (which lasted until the mid-18th century), and both are buried in the church.

The façade is very similar to that of the Parish Church of Pilar, but the richness of the interior is unique, starting with the eight altars separated by large carved pilasters.

The soapstone sinks were considered by the poet Manuel Bandeira to be the most beautiful in the city.

In the sacristy is the Aleijadinho Museum, with magnificent rosewood chests of drawers and pieces such as the image of St. Francis of Paola, with its menacing gaze, and the disturbing lions that used to support coffins.

Also note the delicacy and perfection of the Christ carved in ivory. Pça. Antônio Dias, s/n, Antônio Dias.

10. CHAPEL OF PADRE FARIA

Built at the beginning of the 18th century to replace the improvised chapel where Father João de Faria Fialho celebrated the first mass in the village, this chapel is also known as Nossa Senhora do Rosário dos Brancos.

The recent restoration has brought back the exuberance hidden behind the simple façade, such as the magnificent gilded woodwork on the high altar and side altars, and the painting on the ceiling, one of the oldest in Minas Gerais.

Oriental elements can be seen in the side paintings, which show the influence of Chinese porcelain ornaments brought by the Portuguese from Macau.

In the cemetery, there is a three-armed quartzite cross and the bell tower – the only one that rang the funeral bell on the day of Tiradentes’ execution, against the orders of the Crown. R. Nossa Senhora do Parto.

11. HOUSE OF TALES

One of the best preserved examples of colonial civil architecture, this house was built between 1782 and 1784 as the residence of a wealthy local merchant.

In 1789, it was used as a prison for insignificant people: one of them, the poet Cláudio Manuel da Costa, died there.

Later it was occupied by the Intendência do Ouro and other public offices. Today it has been restored with furniture from the 18th and 19th centuries and houses an office of the Federal Tax Service, a study centre on the gold cycle and a specialised library.

It has a monumental staircase, beautiful paintings on the ceiling and large furnaces and crucibles used for smelting gold. R. Sào José, 12, Centre.

12. CHURCH OF OUR LADY OF THE BLACK ROSARY (SAINT IFIGENIA)

As well as having their own parish church, each parish in Ouro Preto (Ouro Preto and Antônio Dias) had its own church dedicated to Our Lady of the Black Rosary.

This church, to which the devotion to Saint Iphigenia is added, was built in Antônio Dias between 1733 and 1785 at the behest – according to tradition – of Chico Rei, a freed slave who became the owner of a prosperous gold mine and freed hundreds of other captives.

To get to the church, which is located at the top of a hill, you have to climb a large flight of stairs.

The façade is simple, with an image of Our Lady of the Rosary sculpted by Aleijadinho; inside there is no gold, but beautiful wood carvings of shells, prawns and other elements that evoke the African universe.

The tower clock, dating from 1762, still works.

At the entrance you can see the stone basin where black women used to wash their hair in order to donate the gold dust smuggled out of the mines to the Brotherhood. R. Santa Ifigênia, 396, Alto da Cruz.

13. CHURCH OF SAINT JOSEPH

Built between 1752 and 1811, this church has a high altar designed by Aleijadinho.

Unfortunately, it has been closed for restoration and there are no plans to reopen it.

Nevertheless, it’s worth stopping to admire the façade of the terrace, with the soapstone balustrade that surrounds the central tower, one of the most original in the city. The writer Bernardo Guimarães (1825-84), author of the novel A escrava Isaura, is buried in the adjacent cemetery. R. Teixeira Amaral, s/n.

14. MOTHER CHURCH OF OUR LADY OF THE PILLAR

The current building, built in 1731, replaced the original parish church of Pilar, a symbol of the city’s foundation, built between 1700 and 1703 in rammed earth and wood.

The altars of Saint Anthony and Our Lady of Sorrows, among the six that remain, must have belonged to the old parish church.

The simple façade contrasts with the extraordinary richness of the interior, where more than four hundred kilos of gold were used.

There is opulence in every detail: the central arch contains more than a hundred Brazilian flowers, sculpted and gilded; the carving on the high altar is by Francisco Xavier de Brito, one of Aleijadinho’s masters.

During the restoration, the original version of the painting of the Last Supper on the central panel, which had been repainted twice too late, was restored.

In the basement of the church is the Ouro Preto Museum of Sacred Art, with a large collection of pieces produced between the 16th and 19th centuries, such as images, vestments, gold-embroidered fabrics and silverware. Monsenhor Joào Castilho Barbosa Square, s/n.

15. CHURCH OF OUR LADY OF THE ROSARY

The circular layout of this church, built between 1733 and 1785, is unique in Ouro Preto and is reminiscent of northern European buildings – a clever solution applied to a church built by an order of slaves to replace the original chapel of 1709.

The originality of the work contrasts with the uncluttered interior, where the altars dedicated to black saints stand out.

The image of Saint Helena is by Aleijadinho. Lgo. do Rosário, s/n.

EUCHARISTIC TRIUMPH

In 1731, during the construction of the altar of the parish church of Nossa Senhora do Pilar, the Blessed Sacrament was temporarily transferred to the church of Nossa Senhora do Rosário dos Pretos.

To celebrate its return in 1733 and the official inauguration of the parish church, a procession was held, a great Baroque festival known as the Triumph of the Eucharist.

The procession included biblical figures, the seven planets, Moors and Christians, the four winds, followed by members of the various brotherhoods of Ouro Preto, whose costumes and vestments, as well as the horses’ harnesses, were made of silk, gold, silver, precious stones and feathers.

The festival lasted for days and gives a measure of the splendour of the Golden Age, the strength of the Church in the 18th century and the ritual and festive aspect of the religiosity of Minas Gerais.

16. CHURCH OF GOOD JESUS OF MATOSINHOS (SÃO MIGUEL E ALMAS)

The highlight of this church is the portico by Aleijadinho, which dramatically depicts the archangel St Michael above the fires of hell, surrounded by the souls of purgatory.

Inside, there are only three altars in the Rococo style, with painted altarpieces and no gilding.

The church dates from the gold rush – it is estimated that it was built around 1763 and completed in the early 19th century.

The ceiling of the high altar and the nave has been restored, revealing parts of the original painting by Ataíde, who also painted the Last Supper and the Crucifixion in the nave.

In the sacristy, there are altars with paintings from the 18th century and five paintings of the Way of the Cross attributed to Aleijadinho or his disciples. R. Alvarenga Peixoto, s/n, Cabeças.

17. SAINT FRANCIS DE PAULA CHURCH

The city’s newest church took almost a hundred years to build: construction began in 1804 and was completed in 1898, when mining was already in decline.

Clearer and brighter than previous buildings, it is one of the few churches in Ouro Preto with information panels next to some of the pieces and altars.

The red and green glass door was designed by Aleijadinho, and the blue paintings on the seven altars are gilded.

On one of the altars, on the left, there is a coat of arms with the symbol of the Empire and a carnation, placed by Dom Pedro II in 1871 to commemorate his death.

Experts attribute the beautiful image of Saint Francis of Assisi on the high altar to Aleijadinho.

The church also houses two of the four Portuguese porcelain statues that decorate the entrance staircases. Its location, at the top of the Piedade hill, offers a beautiful panoramic view of the city. R. Fr. Marcos Pena, s/n, Centre.

18. OTHER ATTRACTIONS

18.1 CITY TOUR

To get to know the soul of Ouro Preto, the visitor must take the time to walk around the city.

This is the only way to see, for example, the different steps – small chapels with a single compartment where processions stop during Holy Week – built between the 18th and 19th centuries.

One of the oldest is located in Praça Tiradentes, in the heart of the city, next to the Residence, on the corner of Conde de Bobadela Street.

The Antônio Dias Pass dates from the mid-19th century and is located next to the recently restored Antônio Dias Fountain.

The stone fountains that supplied Vila Rica during the gold rush are another symbol of the city: in the centre, see the Contos Fountain (1745), near the Casa dos Contos, and the Marília Fountain (1758), in Rua Santa Ifigênia, built by Manuel Francisco Lisboa, Aleijadinho’s father.

During your walk, you’ll also see the old bridges that cross Ouro Preto and the wealth of buildings, many of them of great historical importance, such as the house of Tomás Gonzaga (61, Rua Cláudio Manuel), which houses the Secretariat of Tourism and Culture, and the house of Cláudio Manuel da Costa (6, Rua Carlos Tomás), now a private residence.

18.2 ATELIOS

Throughout its history, Ouro Preto has attracted artists of different styles. Many of them open their studios to visitors or sell their paintings from their homes.

18.3 SHOPPING

Gold has long since disappeared, but Ouro Preto still maintains its tradition as a centre for the sale of jewellery and precious stones.

However, the only gemstone mined in the region is the rare and valuable Imperial Topaz; the others come from elsewhere in the state. Whatever your interest – gemstones or assembled jewellery – avoid fairs and street vendors; only buy from shops that issue certificates of authenticity.

19. GOLD MINES

Of the many gold mines that made Vila Rica famous, two, dug by hand at the beginning of the 18th century, can still be visited and give tourists a glimpse of the impressive reality of the workers who exploited them.

19.1 Chico Rei Mine

At the Chico Rei mine, legend and history are intertwined: according to the imperial tradition of Topázio, Chico – who would have been a king in Africa before he was captured – bought the lavra, became rich and managed to free several other captives.

He also built the church of Santa Iphigenia with the gold he extracted.

It is thought that he was responsible for introducing the congado, a dance of African origin, into the city’s religious festivities.

The mine, now privately owned with a restaurant and craft shop, is 360 metres long.

Access to the more than ninety galleries under Ouro Preto is restricted to researchers and geologists (Rua Dom Silvério, 108, Antônio Dias.

19.2 Veloso Mine

This is further away from the centre, in the São Cristóvão district. We were guided by Dudu, who was great and explained a lot about the different types of mining.

In one of the halls of the mine you can see stalagmites (but you don’t go in, you just see them from a distance). What’s different is that there’s a well of super-crystalline water, although it’s undrinkable due to the high concentration of ore.

In some places the walls are covered with ferns.

19.3 Felipe dos Santos Mine

This is also further away, in the Alto da Cruz district.

It has recently been opened to visitors and is the subject of studies by geologists and engineers, who believe that the mine was also used to extract ochre.

The visit was guided by the current owner of the mine, who focuses more on legends and beliefs. There is a small waterfall in the mine.

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