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n21The so-called hinterland of the colonial period of the current Southeast Region, is Minas Gerais, which belonged to the General Captaincy of São Paulo, which was spun off in 1720.

The mining cycle lasted throughout the first half of the eighteenth century, when the Crown dug for gold and diamond coinciding with the reign of King John V, the Magnanimous. The region has experienced immediate prosperity, and Brazil, after two centuries, turned to the then hinterland. The foundation of the villages had accelerated pace as the populational. The severity of the laws were not enough to contain the fighting between São Paulo pioneers and new explorers called Emboabas, who drove those to Goiás and Mato Grosso (now Midwest Region), when the Paulistas found new gold mines and where they stayed until 1744.

Even with a delay century in relation to Europe, the Baroque mining building surprises. The continuity of the Portuguese carvingornamental work in high or low relief usually done in wood by craftsmen (among his most important wooden reliefs are the sets of the Holy Trinity of Ouro Preto, in the Franciscan church and in the Mother Church of Nova Lima). tradition of North Portugal, seen in the oldest churches in the Baroqueartistic style of the seventeenth century and part of the eighteenth, during the Protestant Reformation against the Catholic reform and the absolutist policy; stylistically it is associated with forms in movement, dramatic expressions, intense color, shadows and lights. style, allows acclaim works as true “gold caves”. In a second step, local craftsmen in such isolated region imposed original solutions to the rococoornamental style emerged in France during the reign of Louis XV (1710-1774) and characterized by the use of capricious curves, asymmetrical shapes and delicacy of decorative elements, such as stylized shells (rocailles), bonds, flowers, foliage, which tended a refined elegance; in Brazil last out neoclassicism (1816). churches of undeniable artistic value, resulting in what is conventionally called Minas Gerais’ Baroque.

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ÁVILA, Affonso e outros.
Barroco mineiro. Glossário de arquitetura e ornamentação. Belo Horizonte : Fund. Roberto Marinho e Fund. João Pinheiro, 1979.



BAZIN, Germain.

Aleijadinho e a Escultura. Rio de Janeiro: Record, 1971.



OLIVEIRA, Myriam Andrade Ribeiro.

O rococó religioso no Brasil e seus antecedentes. São Paulo : Cosac & Naify, 2003.


SMITH, Robert.
A talha em Portugal. Lisboa: Livros Horizonte, 1963.

Congonhas do Campo. Rio de Janeiro: AGIR, 1973,


TIRAPELI, Percival.
Igrejas barrocas do Brasil. Baroque Churches of Brazil. São Paulo: Metalivros, 2008.