Church of Saint Francis of Assisi (Ouro Preto) — church building
Sarah and Iain · CC BY 2.0

Church of Saint Francis of Assisi (Ouro Preto)

Igreja de São Francisco de Assis (Ouro Preto)

  • 2 min read
  • 20.387° S 43.503° W

Interesting facts

  • Manuel da Costa Ataíde spent about eleven years, from 1801 to 1812, painting the illusionistic sky on the nave ceiling.
  • According to tradition, Ataíde used his own wife as the model for the Virgin, which is why she appears with mixed-race features.
  • Art historian Germain Bazin considered the oval relief medallion on the facade to be Aleijadinho's masterpiece.
  • Aleijadinho personally carved the two soapstone pulpits that flank the great arch between the nave and the chancel.
  • The Third Order first petitioned Lisbon's Council of Conscience and Orders for permission in 1752, some thirteen years before work began.
  • Master mason Domingos Moreira de Oliveira was contracted in 1766 to build to Aleijadinho's design and did not finish the masonry until 1794.
  • The six Rococo side altars were built between 1829 and 1890, carrying out Aleijadinho's designs decades after his death.
  • Ataíde also painted the chancel's wall panels with scenes from the life of Abraham and gilded the main altarpiece.
  • In 2009 the church was voted one of the Seven Wonders of Portuguese Origin in the World.
  • It is the centre of Ouro Preto's Holy Week celebrations, whose processions still draw thousands of people.

Why it is worth it

Of all the churches of Ouro Preto, the old gold capital of Minas Gerais, the church of Saint Francis of Assisi is the one most closely tied to a single genius. Antônio Francisco Lisboa, known as Aleijadinho, designed both the building and much of its carved decoration, and in it the Brazilian Rococo reaches a lightness that the heavier gilded churches of the coast never sought. The church belonged to the Third Order of Saint Francis, a lay brotherhood, which started building in the mid-1760s under a provisional licence, years before Lisbon gave its final approval in 1771.

Look first at the facade. Instead of the usual square towers, two round bell towers flank the front, giving the building a soft, curving silhouette against the hills. Above the single doorway Aleijadinho carved a soapstone frontispiece crowned by a relief of Saint Francis receiving the stigmata, and where a window would normally be there is a round oculus filled with a relief instead — both unusual in the religious architecture of colonial Brazil. Carved in the local soapstone, the ornament still reads with remarkable crispness two and a half centuries on.

Inside, the carved and gilded woodwork, statues and high reliefs follow Aleijadinho's designs, though the work dragged on long after his death and was only finished towards the end of the nineteenth century. Then look up. The wooden nave ceiling carries the masterpiece of Manuel da Costa Ataíde, Ouro Preto's great painter: the Glorification of Our Lady among Musician Angels, an illusionistic sky in which the Virgin floats among angels playing instruments, framed by painted columns, balconies, bishops and saints. The architecture of the real church seems to continue upward into the painted one. Aleijadinho himself, the son of a Portuguese architect and an enslaved African woman who went on working despite a crippling illness, makes the building a monument to the mixed society that the gold rush created. The church was protected by Brazil's national heritage service in 1938 and forms part of the World Heritage historic town of Ouro Preto.

Getting there

The church stands in the historic centre of Ouro Preto, a hilly town of steep cobbled streets best explored on foot. The nearest airport is Belo Horizonte's Tancredo Neves International Airport (CNF), about 96 km away in a straight line. Ouro Preto is about 96 km from Belo Horizonte, and the Pássaro Verde company runs frequent buses between the two cities, taking roughly one and a half to two hours.

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From the encyclopaedia

The Church of Saint Francis of Assisi is a Rococo Catholic church in Ouro Preto, Brazil. Its erection began in 1766 after a design by the Brazilian architect and sculptor Antônio Francisco Lisboa, otherwise known as Aleijadinho. Lisboa designed both the structure of the church and the carved decorations on the interior, which were only finished towards the end of the 19th century. The circular bell towers and the oculus closed by a relief were original features in religious architecture of that time in Brazil. The façade has a single entrance door under a soapstone frontispiece under a relief depicting Saint Francis receiving the stigmata. The interior is richly decorated with golden woodwork, statues and paintings, and the wooden ceiling displays a painting by Manuel da Costa Ataíde.

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