Ouro Preto
Unesco World Heritage
Founded in the early 18th century 513km north of Rio de Janeiro, the Historic Town of Ouro Preto (Black Gold) covers the steep slopes of the Vila Rica (Rich Valley), centre of a rich gold mining area and the capital of Minas Gerais Province from 1720-1897. Along the original winding road and within the irregular layout following the contours of the landscape lie squares, public buildings, residences, fountains, bridges and churches which together form an outstanding homogenous group exhibiting the fine curvilinear form of Baroque architecture.The Historic City of Ouro Preto was the symbolic center of the Inconfidência Mineira in 1789, a Brazilian independence movement, and home to exceptional artists responsible for many of the most significant works of the Brazilian Baroque period, including the Church of São Francisco of Assisi by the distinguished architect and sculptor Antônio Francisco Lisboa (Aleijadinho). The area’s isolation for the better part of the 19th and 20th centuries generated economic stagnation, fostering preservation of the original colonial constructions and urban pattern. Source: http://whc.unesco.org
Unesco World Heritage
Founded in the early 18th century 513km north of Rio de Janeiro, the Historic Town of Ouro Preto (Black Gold) covers the steep slopes of the Vila Rica (Rich Valley), centre of a rich gold mining area and the capital of Minas Gerais Province from 1720-1897. Along the original winding road and within the irregular layout following the contours of the landscape lie squares, public buildings, residences, fountains, bridges and churches which together form an outstanding homogenous group exhibiting the fine curvilinear form of Baroque architecture.The Historic City of Ouro Preto was the symbolic center of the Inconfidência Mineira in 1789, a Brazilian independence movement, and home to exceptional artists responsible for many of the most significant works of the Brazilian Baroque period, including the Church of São Francisco of Assisi by the distinguished architect and sculptor Antônio Francisco Lisboa (Aleijadinho). The area’s isolation for the better part of the 19th and 20th centuries generated economic stagnation, fostering preservation of the original colonial constructions and urban pattern. Source: http://whc.unesco.org
Museu da Inconfidência
What used to be the city hall and jail (1785 - 1855), built with neoclassiocal touches, is today a museum which holds the mortal remains of the twelve rebels, a collection of religious art and copies of Aleijadinho's works. Source: www.v-brazil.com
What used to be the city hall and jail (1785 - 1855), built with neoclassiocal touches, is today a museum which holds the mortal remains of the twelve rebels, a collection of religious art and copies of Aleijadinho's works. Source: www.v-brazil.com
Museu de Mineralogia and Escola de Minas
This building was erected in 1741 and served as the Governor's house until 1898. When the capital of the State was moved to Belo Horizonte, the building was turned into the School of Mining, and today houses the Musueum of Science and Technology and the Museum of Mineralogy. The internal fountain was designed by Aleijadinho. Source: www.v-brazil.com
This building was erected in 1741 and served as the Governor's house until 1898. When the capital of the State was moved to Belo Horizonte, the building was turned into the School of Mining, and today houses the Musueum of Science and Technology and the Museum of Mineralogy. The internal fountain was designed by Aleijadinho. Source: www.v-brazil.com
Igreja da Nossa Senhora do Carmo
Aleijadinho's last works are in this charming church, in the sacristy and on the altars of Nossa Senhora da Piedade (Our Lady of Mercy) and of the "Bound Christ". The church was built in 1766 and is the only church in the region decorated with Portuguese tiles from the 18th century. It also introduced the rococo style to Minas Gerais. The painting in the sacristy is by Mestre Athayde. In the novice house beside the church is the grandiose Museu do Oratório, with 300 pieces of religious art from the 17th to 20th centuries and 160 splendid oratórios (small cabinets for individual praying containing images of saints) ranging from 3 cm (1 inch) to 3.2 meters (10.5 feet) in height. It also houses the so-called itinerant oratórios, which were carried on the back of mules for protectionduring muleteer's journeys, and the more refined oratórios which attested to the wealth of the church's congregation. Source: www.v-brazil.com
Aleijadinho's last works are in this charming church, in the sacristy and on the altars of Nossa Senhora da Piedade (Our Lady of Mercy) and of the "Bound Christ". The church was built in 1766 and is the only church in the region decorated with Portuguese tiles from the 18th century. It also introduced the rococo style to Minas Gerais. The painting in the sacristy is by Mestre Athayde. In the novice house beside the church is the grandiose Museu do Oratório, with 300 pieces of religious art from the 17th to 20th centuries and 160 splendid oratórios (small cabinets for individual praying containing images of saints) ranging from 3 cm (1 inch) to 3.2 meters (10.5 feet) in height. It also houses the so-called itinerant oratórios, which were carried on the back of mules for protectionduring muleteer's journeys, and the more refined oratórios which attested to the wealth of the church's congregation. Source: www.v-brazil.com
Igreja de São Francisco de Assis - Largo de Coimbra - Casa de Gonzaga
This church, built in 1776, is Aleijadinho's masterpiece and the highest expression of the rococo style. It has some oddly military features, such as cylindrical towers that look like watchtowers, and roofs that resemble helmets adorned with spears. The Cross of Lorena, with two arms flanked by balls of fire, is especially impressive. Inside, Aleijadinho created sculptures for the pulpits, wood panels, a soapstone sculpted door, the main chapel's altars, and the fountain of the sacristy. Mestre Athayde painted the ceiling, which appears higher thanks to the arrangement of the columns and parapets. Source: www.v-brazil.com
This church, built in 1776, is Aleijadinho's masterpiece and the highest expression of the rococo style. It has some oddly military features, such as cylindrical towers that look like watchtowers, and roofs that resemble helmets adorned with spears. The Cross of Lorena, with two arms flanked by balls of fire, is especially impressive. Inside, Aleijadinho created sculptures for the pulpits, wood panels, a soapstone sculpted door, the main chapel's altars, and the fountain of the sacristy. Mestre Athayde painted the ceiling, which appears higher thanks to the arrangement of the columns and parapets. Source: www.v-brazil.com
Matriz de Nossa Senhora da Conceição de Antonio Dias
This façade is very similar to the Pilar church, but the 1727 church distinguishes itself on the inside. The eight altars, four on each side, are lavishly decorated, and the church contains the graves of Aleijadinho and his father, Manuel Francisco Lisboa, who is believed to have adorned the nave. The Museu Aleijadinho is located in the sacristy; this museum has priceless pieces such as a soapstone bust of São Francisco de Paula (Saint Francis of Paola), whose eyes appear lifelike. Source: www.v-brazil.com
This façade is very similar to the Pilar church, but the 1727 church distinguishes itself on the inside. The eight altars, four on each side, are lavishly decorated, and the church contains the graves of Aleijadinho and his father, Manuel Francisco Lisboa, who is believed to have adorned the nave. The Museu Aleijadinho is located in the sacristy; this museum has priceless pieces such as a soapstone bust of São Francisco de Paula (Saint Francis of Paola), whose eyes appear lifelike. Source: www.v-brazil.com
Igreja Nossa Senhora do Rosário
The unusual circular shape and three oval sections make this church somewhat similar to those of northern Europe. Constructed in 1785, it replaced the original chapel, built in 1709. Source: www.v-brazil.com
The unusual circular shape and three oval sections make this church somewhat similar to those of northern Europe. Constructed in 1785, it replaced the original chapel, built in 1709. Source: www.v-brazil.com
Casa dos Contos
Contos was the name of Portuguese currency in colonial times. Between 1724 and 1735 this building served as the Mint, where gold was weighed and cast. It was also where the rebels of Inconfidência were imprisoned. One of the rebels, poet Cláudio Manoel da Costa, died here in 1789. As was usual, the lower part of the building served as slave quarters. This is one of the best preserved houses in Ouro Preto. It contains an exhibit of 18th and 19th century furniture and operates as a library and research center for the gold rush era. Source: www.v-brazil.com
Contos was the name of Portuguese currency in colonial times. Between 1724 and 1735 this building served as the Mint, where gold was weighed and cast. It was also where the rebels of Inconfidência were imprisoned. One of the rebels, poet Cláudio Manoel da Costa, died here in 1789. As was usual, the lower part of the building served as slave quarters. This is one of the best preserved houses in Ouro Preto. It contains an exhibit of 18th and 19th century furniture and operates as a library and research center for the gold rush era. Source: www.v-brazil.com
Capela do Padre Faria
Built in the mid-18th century at the initiative of Father João Faria, this chapel, also known as Igreja Nossa Senhora do Rosário dos Brancos, is a small gem. Well preserved, it's important historically (making the creation of the city) and architecturally, since it is the only remaining example of the first buildings in the Ouro Preto mountains. Notice the cross with three armsa in the church plaza, the scenes from the life of Mary on the side panels and the gilded wood carvings on the three tablets. Source: www.v-brazil.com
Built in the mid-18th century at the initiative of Father João Faria, this chapel, also known as Igreja Nossa Senhora do Rosário dos Brancos, is a small gem. Well preserved, it's important historically (making the creation of the city) and architecturally, since it is the only remaining example of the first buildings in the Ouro Preto mountains. Notice the cross with three armsa in the church plaza, the scenes from the life of Mary on the side panels and the gilded wood carvings on the three tablets. Source: www.v-brazil.com