Pelourinho is the name of a neighbourhood in the capital of the Brazilian state of Bahia, located in its Historic Centre, which has a preserved Portuguese Baroque colonial architectural complex and is a UNESCO World Heritage Site.

The architectural, landscape and town planning complex contained in the polygonal area of Salvador’s Historic Centre is one of the most important examples of Portuguese overseas town planning. It was built as an acropolis, with two distinct planes: the administrative and residential functions at the top and the port and commerce on the seafront.

Combined with its unique topography, the landscape of this area is basically made up of buildings from the 16th to the 19th centuries, with monumental ensembles of religious, civil and military architecture standing out.

Pelourinho presents groups of buildings and spaces that allow us to read the model of the cities founded by the Portuguese overseas.

The limits of the first city (morphologically planned and orthogonal), its expansion (of less rigorous characteristics, with streets formed by uniform houses, interspersed with monumental architectural ensembles) and, above all, the distinction between the Upper City and the Lower City guarantee the identification of a landscape inherited from the colonial period.

With the wealth generated by the sugar plantations in the mid-17th century, the so-called monumental phase of Bahian architecture began, marked by the transition from the Renaissance to the Baroque style.

See the Map of Salvador

The main buildings of this colonial period:

• Church of the Jesuits (now the Cathedral Basilica of Salvador)
• Church and Convent of St Francis
• Church of Carmo
• Church and Convent of Santa Teresa (currently the most important sacred art museum in Brazil)
• Church and Monastery of São Bento
• Church of the Third Order of St Francis
• Governor’s Palace

See Churches in Salvador de Bahia

Important public spaces:

• Municipal Square
• Terreiro de Jesus
• Caminho de São Francisco
• Pelourinho Square
• St Anthony’s Square
• Boqueirão Square

The two or more storey townhouses and the solutions for building on hilly terrain are typical examples of Lusitanian culture.

Between 1938 and 1945, several monuments in the Historic Centre were listed as national heritage sites to ensure the preservation of Largo do Pelourinho and its immediate surroundings.

However, this instrument did not prevent the progressive degradation of the area, especially from 1960 onwards, when the centre lost importance to the new areas of urban expansion.

Videos – Pelourinho and Historic Centre Tourist Attractions

Tourist attractions in Pelourinho and the Historic Centre

1. Terreiro de Jesus in Pelourinho
2. Basilica Cathedral
3. Church of St Peter of the Clerics
4. Church of the Third Order of St Dominic
5. Church and Convent of St Francis
6. Church of Our Lady of the Rosary of the Black People
7. Church of the Blessed Sacrament of Rua do Passo
8. Jorge Amado House Foundation
9. City Museum
10. Tempostal Museum in Pelourinho
11. Benin House Museum
12. Solar do Ferrão
13. Abelardo Rodrigues Museum
14. Former Faculty of Medicine
15. Museum of Bahian Gastronomy
16. Largo Cruzeiro de São Francisco

See also the History of the Founding of Salvador de Bahia

1. Terreiro de Jesus in Pelourinho

In the early 1550s, during the founding of Salvador by Governor-General Tomé de Sousa, the Jesuits were given an area to the north of the new city. Led by Manuel da Nóbrega, the priests of the Society of Jesus built the first mud chapel there and the first building of the Jesuit College of Salvador.

Because of the presence of the Jesuit priests, the square in front of the college came to be known as Terreiro de Jesus.

The college building was completed in 1590, and in 1584, Gabriel Soares de Sousa, in his work ‘Notícia do Brasil’, recorded that ‘…a sumptuous college of the priests of the Society of Jesus, with a beautiful and cheerful church…’ occupies this terreiro and part of the street on the seafront.

The first little church built on the site in the 16th century was very small and fragile, and between 1652 and 1672, the Jesuits built a sumptuous church, considered the most imposing of the Brazilian 17th century.

The church’s Mannerist façade, made of blocks of lioz stone brought from Portugal, still dominates the square. The interior is made up of magnificent gilded altarpieces in Mannerist and Baroque styles, with the carved wooden ceiling and sacristy standing out.

In 1933, after the old Cathedral of Salvador was demolished, the Jesuit church was elevated to become the new Cathedral of Salvador.

As well as the cathedral, Terreiro de Jesus is home to important temples such as:

• The Convent and Church of St Francis
• The Church of the Third Order of St Francis
• The Church of the Third Order of St Dominic
• The Church of St Peter of the Clerics

These temples, especially the first two, are prime examples of Brazilian colonial art.

At the beginning of the 19th century, the building of the former Jesuit College was used as a hospital and in 1833 it housed Brazil’s first medical school. Unfortunately, the original colonial building was destroyed in a fire in 1905 and replaced by an eclectic style building.

2. Salvador Basilica Cathedral

Built at the beginning of the 18th century, the church is the fourth temple of the Jesuit College, the first chapel having been erected in 1604.

Considered to be the richest of all Luso-Brazilian Baroque art, the church is clad internally and externally in lioz stone and has two towers and wooden vaults on the ceiling.

On the façade, the niches above the doors display images of three important Jesuit saints:

• St Ignatius of Loyola
• St Francis Xavier (patron saint of Salvador)
• St Francis of Borja

The interior of the church reveals the richness and complexity of the altar carvings, which narrate the evolution of architectural styles in Bahia over the centuries.

A remarkable fact is that, in one of the cathedral’s cells, the famous priest Antônio Vieira died on 18 July 1697, whose sermons led to him being condemned by the Inquisition.

The tombstones in the church include that of the third governor-general of Brazil, Mem de Sá.

The building also houses the Cathedral Museum, which has a valuable collection of pieces from the 16th to the 20th centuries, including items of jewellery and silverware.

3. Church of St Peter of the Clerics

The church is located in the Terreiro de Jesus in the Historic Center of Salvador, nestled among low-rise buildings. It is part of the site listed by IPHAN, which includes areas from the Sé and Passo neighborhoods.

Architecture and Interior

The church features modest architecture with significant environmental value. Its interior is decorated in a transitional style between Rococo and Neoclassical, highlighted by a large ceiling panel. In addition to the main altar, there are two altars positioned at the angle of the transept arch.

The layout follows the typical plan of early 18th-century Bahian churches, with side aisles overlaid by tribunes. However, like other Bahian churches of that period, it does not include a transversal sacristy; this feature is a natural development of the “T” plan (see Palma), common in the 17th century.

Facade and Decoration

The Rococo facade (19th century) is relatively late. The interior presents a transitional decoration between Rococo and Neoclassical styles. While the transept arch and ceiling are Rococo, the altars are Neoclassical.

Architectural History

• 17th Century: The Brotherhood of São Pedro dos Clérigos had its chapel next to the old Sé Cathedral, where in 1708 the Archiepiscopal Palace was erected.
• 1709: Archbishop D. Sebastião Monteiro da Vide granted permission for the clergymen of São Pedro to build a new church on the Jesuits’ terrapleno, in the area designated for the Seminary. However, the church was actually constructed on a different site after the Brotherhood acquired two houses.
• 1741: Royal Order authorized funds to repair the church’s towers and facade, which were in ruins.
• 1784: Mention of land purchases.
• 1802: Permission granted to resume construction work that had been halted by the City Council.
• 1887: The church was expanded with the addition of a sacristy. The current facade also dates from the 19th century.

4. Church of the Third Order of St Dominic

The church is located in Terreiro de Jesus, in the Historic Centre of Salvador, among low-rise buildings, forming part of the IPHAN listed site, which covers areas in the Sé and Passo sub-districts.

Despite being a smaller building, its value lies mainly in its environmental context. The interior is decorated in a transition between rococo and neoclassical style, with a large panel on the ceiling standing out. The church has a high altar and two altars located at the angles of the crossing arch.

The church’s floor plan follows the typical pattern of Bahian churches from the early 18th century, with side aisles surmounted by tribunes. However, as in other Bahian churches of the time, the plan does not yet include a cross sacristy. It is the result of a natural development of the ‘T’ shape, common in the 17th century, as seen in examples such as the Church of Nossa Senhora da Palma.

The rococo frontispiece, dating from the 19th century, is a late addition. The interior, with its mixture of styles, features the crossing arch and ceiling in rococo style, while the altars already follow the neoclassical style.

Architectural history

• In the 17th century, the Brotherhood of St Peter of the Clerics had a chapel next to the old Cathedral, where the Archbishop’s Palace was built in 1708.
• In 1709, Archbishop D. Sebastião Monteiro da Vide authorised the construction of a new church for the clerics of St Peter’s on the Jesuits’ embankment, which was intended for the seminary. However, the church was built elsewhere after the Brotherhood bought two houses.
• In 1741, a Royal Order authorised subsidies to repair the church’s towers and frontispiece, which were in ruins.
• In 1784, there is mention of the purchase of land, and in 1802, the Brotherhood received a licence to continue the work that had been embargoed by the Senate of the Chamber.
• In 1887, the church was enlarged with the addition of a sacristy. The current frontispiece is also a 19th century work.

5. Church and Convent of St Francis

The Church and Convent of São Francisco is located in Pelourinho, in Salvador, on an IPHAN listed site. The main façade of the church opens onto an elongated square, where you’ll find the cross, a typical element of Franciscan urbanisations, which gives the place its name.

Largo do Cruzeiro, where the cross stands in front of the church, joins Terreiro de Jesus to form one of Salvador’s most important architectural and historical complexes. The Cruzeiro de São Francisco space, linked to the Terreiro de Jesus, is considered one of the most interesting urban spaces in the city, largely delimited by 19th century buildings.

The convent of São Francisco, built around a square cloister, forms, together with the chapel of the Third Order, one of the most important monumental complexes in Salvador. The building is of great monumental value and, in accordance with Municipal Decree no. 4.524 of 01.11.1973, the convent’s old farm was declared a non aedificandi area.

Architecture and decoration

The church has a body made up of three naves: the side naves, lower than the central nave, are separated by arcades interspersed with massifs that resemble chapels. The decoration is an example of the Baroque of the first half of the 18th century, reflecting the ideal of the ‘church of gold’, as it appeared in Lisbon and Goa at the end of the 17th century.

In addition to the interior decoration, the convent’s library stands out. The building has a basement and two floors above street level.

Tiles

The rich tile panels are another highlight:

• In the chancel, they date from 1737 and were made in Lisbon by Bartolomeu Antunes de Jesus.
• In the cloister, the tiles date from around 1746-1748.
• In the anteroom and sacristy, they date from between 1749 and 1752.
• In the towers and part of the façade, there are tiles from around 1805-1808.

Sculpture and influences

The sculptures include the figure of St Peter of Alcântara, a beautiful piece of Brazilian imagery.

The church differs from typical Franciscan buildings in the north-east, which usually have a single nave with two side passages leading to the transversal sacristy. The influence of the Gothic-style Church of São Francisco do Porto and the traditional Luso-Brazilian Jesuit floor plan is evident in the organisation of the church.

Façade and architectural influences

The church’s sumptuous façade is a development of the type adopted in the Maragogipe parish church, with some elements from the old Cathedral of Salvador, such as the central door flanked by two smaller doors in the style of triumphal arches. From the Church of the College of Jesus, the façade adopted the division of the rectangular body into five parts, with two orders of superimposed pilasters. The volutes on the façade derive from the style created in Cairu, and are also found on the Jesuit College in Santarém (Portugal).

The façade of the Church and Convent of São Francisco inspired other buildings, such as the church in Barroquinha and the Franciscan Convent in Vila de São Francisco.

Ceiling and paintings

The nave has a coffered ceiling with octagonal panels alternating with square cushions. The ceiling of the convent entrance is decorated with an illusionist perspective, attributed to José Joaquim da Rocha, around 1774.

Architectural History of the Church and Convent of St Francis

• 1587: Foundation of the Franciscan convent in Bahia.
• 1686: Friar Vicente das Chagas begins building a new convent and church with a grandiose plan.
• 1705-1707: Work continues, with the construction of panelling and the altar for the infirmary.
• 1707-1710: Completion of the cloister walls and start of the pillars.
• 1708: The first stone of the church was laid under the direction of Manoel Quaresma. By the end of Friar Vicente’s administration, the church was almost finished up to the cross.
• 1710-1714: Friar Hilario da Visitação continues the work.
• 1713: The church is consecrated, with construction up to the elevation of the pulpits.
• 1723: Church completed, including the sandstone frontispiece and the installation of the choir stalls.
• 1729-1732: Friar Álvaro da Conceição brings the stones for the cloister columns.
• 1733-1737: The church ceiling is painted and decorated by Friar Jerônimo da Graça.
• 1737: Tiles are laid in the chancel.
• 1738-1740: Friar Gervásio do Rosário completes the columns of the cloister, gilds the chancel and side altars, and makes the large altarpiece of St Louis (now the Heart of Jesus) on the crossing.
• 1741-1743: Friar Manoel do Nascimento laid the floor of the chancel. The large altarpiece of Our Lady of Glory arrives from Portugal (on the cross, on the Gospel side).
• 1749-1752: Friar Manoel de Santa Maria finalises the work on the cloister and lays the tiles.
• 1751: Completion of the library’s ceiling.
• 1752-1755: Finalisation of the gatehouse and altar. The tiles were installed in 1782.

This timetable reflects the detailed development of the construction of the Church and Convent of St Francis, which became a landmark of the Luso-Brazilian Baroque, known for its architectural grandeur and decorative richness.

6. Church of Our Lady of the Rosary of the Black People

The Church of Our Lady of the Rosary of the Black People is located in the old Rua das Portas do Carmo, in a triangular square in Pelourinho, Salvador, which arose from the demolition of a defensive structure. As part of the IPHAN listed site, it is considered a work of outstanding architectural merit.

The church was built by the Brotherhood of Our Lady of the Rosary of Black Men, one of the first black brotherhoods in Brazil. Construction lasted almost a century and was carried out in the spare time of the brothers of the brotherhood.

Main architectural features

• Façade and towers: Thefaçade, with a bulbous end to the tile-covered towers, is an example of traditional religious architecture in Bahia. The classical pediment was replaced by a rococo model. The towers were completed in 1780/81.
• Inside: There are tiles depicting scenes of devotion to the Rosary of Lisbon, dating from around 1790. The altarpiece of the high altar was sculpted by João Simões F. de Souza in 1870/71, with the ceiling painted by José Pinto Lima. The sacred images include Our Lady of the Rosary (17th century), St Benedict, St Anthony of Catigerona and an ivory Crucifix.
• Original plan: The church was initially planned without side aisles, with only narrow passages connecting the nave to the cross sacristy. This changed in 1780, when the side aisles were added.
• Influences: The architecture reflects influences from Franciscan churches in the north-east and the church of São Paulo de Braga in Portugal. The traditional Bahian model is also present on the façade, similar to the Matriz de Maragogipe.

Evolution of the building:

• 1685: The Brotherhood was approved by the Cathedral of Bahia.
• 1704: Authorisation was granted by Archbishop D. Sebastião Monteiro da Vide to build the church.
• 1710: The first religious acts were celebrated.
• 1780/81: Completion of the new façade, side aisles and towers.
• 1815-1826: The church was remodelled and enlarged.
• 1870-1871: Radical remodelling with the construction of the altars and the altarpiece of the high altar.
• 1895: The final gilding of the church was completed by Vitoriano Eduardo de Oliveira.

The Church of Nossa Senhora do Rosário dos Pretos stands out not only for its architectural and decorative beauty, but also for its role as a symbol of the struggle and devotion of Afro-descendants in Salvador.

7. Church of the Blessed Sacrament in Rua do Passo

The Church of the Blessed Sacrament in Rua do Passo, located in Pelourinho, Salvador, is an imposing building located on top of a hill, offering a view that extends to the sea. Its elevated position is accessed by a long staircase, which stands out as a monument in itself, symbolising a penitential journey. The staircase, isolated by railings, separates the church from the rest of the houses.

History

• 1718: The parish is created during the government of D. Sebastião Monteiro da Vide.
• 1736: The new parish church is established.
• 1737: Royal subsidy is granted for the construction of the chancel.
• 1938: The church is listed by IPHAN, preserving its historical and architectural value.

Architecture

The plan of the church is typical of early 18th century parish churches, with side aisles surmounted by tribunes and a cross sacristy. The steep slope of the land resulted in an ingenious solution, where the ossuary, sacristy and consistory were organised vertically in the same plumb line.

Façade

The façade is made up of three bodies:

1. Side towers: Both have pyramidal crowns and curved cymatia.
2. Central shutters: The three shutters are joined together in a single stone carving. Above, the entablature opens into volutes to accommodate a window supporting an oculus, aligned with a second oculus and a medallion on the pediment axis, crowned by a cross.

This set of decorative elements directs the gaze upwards, symbolically leading to spiritual elevation.

Inside

• Altarpieces: Dating from the 19th century, they are the work of renowned craftsmen.
• Tiles: The chancel is covered in Lisbon tiles dating from 1750. In the nave there are industrial tiles from the 19th century.
• Nave ceiling: Attributed to the artists António Pinto and António Dias, the ceiling features rich sacred decoration, with themed panels that reinforce the spirituality of the space.

The church is an impressive example of Baroque religious architecture in Brazil, maintaining its artistic and historical value. The interaction between the decorative elements, the imposing staircase and its location at the top of the hill creates an atmosphere of reverence and devotion.

8. Jorge Amado House Foundation

The Casa de Jorge Amado Foundation, inaugurated on 7 March 1987, is located in two mansions in Pelourinho, in the heart of Salvador’s historic centre. This cultural space was created to preserve, study and exhibit the vast legacy of the renowned Bahian novelist Jorge Amado.

Collection

On its four floors, the foundation houses an extensive archive of Jorge Amado’s work, including:

• Books by the author, published in 60 countries on five continents.
• Films, video tapes and photographs documenting his career.
• Posters and personal objects linked to Amado’s life and literary productions.

The space also celebrates the contributions of Zélia Gattai, Jorge Amado’s wife and also an important writer, who was elected a member of the Brazilian Academy of Letters (ABL) in 2001. The collection offers visitors an immersion in the life and work of the couple, who had a marked influence on Brazilian literature and culture.

The foundation plays a vital role in preserving the cultural memory of Salvador and Brazil, promoting literary activities, exhibitions and keeping Jorge Amado’s relevance in world literature alive.

9. City Museum

The City Museum, housed in one of the most beautiful mansions in Pelourinho, was inaugurated on 5 July 1973 and is linked to the Gregório de Mattos Foundation.

The museum is an important cultural and historical centre, bringing together a diverse collection that includes:

• Traditional dolls from Bahia: Handcrafted representations that reflect the region’s popular culture.
• Sculptures and tapestries: Works that illustrate the local artistic tradition.
• Ceramics and cloth: Items that are an integral part of Afro-Brazilian cultural heritage.
• Ex-votos and rosaries: Religious objects that demonstrate local spirituality and devotional practices.
• Collections of life-size images of orixás: Representations of candomblé deities, essential for understanding Afro-Brazilian heritage.
• Personal belongingsof the poet Castro Alves: Items that belonged to the renowned Bahian poet, offering an insight into his life and work.

The City Museum offers a comprehensive view of Bahia’s rich culture and history, preserving and celebrating the region’s diversity and tradition.

10. Tempostal Museum in Pelourinho

A museum exclusively dedicated to postcards? Yes, it exists! Located in Salvador, the Tempostal Museum has around 45,000 pieces. Founded in 1997, the museum houses the collection of Antônio Marcelino do Nascimento (13/06/1929 – 22/11/2006), a native of Sergipe with a passion for postcards. The idea for the name ‘Tempostal’ was created by Antônio himself.

The museum’scollection is mainly made up of postcards. Among the highlights are:

• Belle Époque collection
• Old landscape postcards
• Postcards from cities in Bahia and other states
• Various images from other countries

As well as postcards, the collection also includes postcards from the late 19th century and Eucalol prints, the first in the collection, which have historical, artistic and documentary value.

This entire collection offers a rich insight into the history, customs, daily life, architecture and beliefs of both Bahia and various parts of the world.

11. Benin House Museum

Opened on 6 May 1988, the Benin House Museum is the result of cultural exchanges between Bahia and the African country of Benin, through the city of Cotonou.

Belonging to the Gregório de Mattos Foundation, the museum has a colonial exterior and an interior designed by the renowned architect Lina Bo Bardi.

Collection

• Pieces of popular art from Cotonou, People’s Republic of Benin.
• Temporary exhibitions featuring local artists.

The museum offers a rich immersion in the art and culture of Benin, as well as serving as a meeting point for cultural and artistic exchange between Bahia and Africa.

12. Solar do Ferrão

Solar do Ferrão was inaugurated on 5 June 1981. The Abelardo Rodrigues Museum is located on the noble floor of Solar do Ferrão, a building dating from 1701 in Pelourinho.

The collection

• The museum houses the most valuable private sacred art collection in Brazil.
• 808 works of erudite and popular art from the 16th to the 19th centuries.
• The collection includes images, paintings, oratories, altars, crucifixes and carving fragments.
• The exhibition covers an area of 536 square metres.

History

• The pieces belonged to the Pernambuco collector Abelardo Rodrigues and were acquired by the state government.

The Abelardo Rodrigues Museum is an important centre for the preservation and exhibition of Brazilian sacred art, reflecting the country’s cultural and historical wealth.

13. Abelardo Rodrigues Museum

Opened on 5 June 1981, the Abelardo Rodrigues Museum is located on the noble floor of the Solar do Ferrão, a building dating from 1701 in Pelourinho.

Collection

• 808 works of sacred art, spanning the 16th to 19th centuries.
• It includes images, paintings, oratories, altars, crucifixes and carving fragments.
• Exhibited in an area of 536 square metres.

History

• The pieces belonged to the Pernambuco collector Abelardo Rodrigues and were acquired by the state government.

The museum is known for its valuable collection, representing one of the largest private collections of sacred art in Brazil.

14. Old Medical School

The first medical school in Brazil, the Old Faculty of Medicine is located in Pelourinho and is famous for having served as the setting for the character Pedro Arcanjo in Jorge Amado’s Tenda dos Milagres.

The building iscurrently being restored by the state government and private initiative and houses three important museums:

The Afro-Brazilian Museum

• This exhibits African and Afro-Brazilian sacred art.
• It has 27 panels by Carybé on the orixás.
• It includes photographs by French anthropologist Pierre Verger.

Museum of Archaeology and Ethnology

• Features paintings, objects, photos and indigenous funerary urns.

Memorial of Medicine

• Brings together books and theses on the history of medicine.

This space not only preserves academic and cultural memory, but also promotes the study and appreciation of African and indigenous traditions and knowledge.

15. Museum of Bahian Gastronomy

Located in the Senac Pelourinho complex, the Museum of Bahian Gastronomy is the first in Latin America entirely dedicated to gastronomy. Instead of displaying paintings and sculptures, the MGBA delves into the stories of typical Bahian foods such as acarajés, vatapás and moquecas, offering a rich analysis of the ethnic, social and cultural references that shape Bahia’s cuisine.

MGBA’s Main Attractions

History and Gastronomic Culture

The museum highlights Bahian gastronomy, exploring the formation and evolution of iconic dishes and their cultural influences.

Museum spaces

The museum has a theatre, arena and restaurant.

Walls of Santa Catarina

Upon entering, visitors are greeted by the Muralhas de Santa Catarina, Salvador’s oldest and most important archaeological landmark, dating back to the city’s foundation.

Collection

• Films and Photos: They document Bahian cuisine and culture.
• Models and Utensils: Various types of materials that help to synthesise the formation of Brazilian cuisine.
• Photographic Panels: Exhibitions by leading photographers on a variety of themes.

Specific Exhibitions

• Acarajé
• Cassava
• Rotating Showcases: Periodically alternating tributes.

Souvenir Shop

At the end of the visit, tourists can buy jam, cookery books or have a coffee.

The MGBA offers a deep immersion in the richness of Bahian cuisine and the cultural impact of gastronomy in Bahia.

See Northeastern Cuisine

16. Largo Cruzeiro de São Francisco

Largo Cruzeiro de São Francisco is an important urban space in the Historic Centre of Salvador. This square is known for its cross, which stands in front of the Church of St Francis, and is a typical element of the urban participation of the Franciscans.

Main Features

• Location: Located in the Historic Centre of Salvador, it is part of the Terreiro de Jesus.
• Historical Significance: The square is an important point of connection between two important architectural and historical spaces in Salvador.
• Urban Elements: The cross in the square is a classic example of the influence of the Franciscans on the urbanisation of Salvador.

The Largo Cruzeiro de São Francisco and the Terreiro de Jesus form a significant architectural ensemble, reflecting the historical and cultural importance of the Franciscan presence in the city.

Pelourinho Tourist Attractions in Salvador de Bahia

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