|
Proceeding to the west and, again, uphill (via Rua Sao Josd and Rua Rondolfo Bretos) leads you to one last splendid church, Nossa Senhora do Pilar (1733). Although unremarkable from the outside, the single-naved decagonal structure features lavish Baroque decoration, including dragons' heads and pudgy-cheeked cherubs.
The church derives the do pilar part of its name from the Madonna that stands on a pillar in the main altar. The interior was designed by Aleijadinho's uncle, and the choir (1747) by Francisco Xavier de Brito. The galleries over the side altars and the vaulted coffered ceiling lend the church a serene, seamless harmony, and the Chinese influences on its decoration are reminders of the heyday of Portugese colonial power. The extravagance of the interior of the church clearly demonstrates that the gold that was donated to the Church was not included in the quinto, the compulsory payment made to the Crown: the colonists preferred to use the gold to beautify their churches rather than send it to the universally disliked royal family in far-off Lisbon.
A short walk down Rua Antmnio de Albuquerque back towards Tiradentes Square leads to Largo do Rosario and Nossa Senhora do Rosario dos Pretos (1785), the double-ellipse Rosicrucian church that dominates the plaza. On its northern end is the city's best hotel, the completely refurbished Hotel Solar Nossa Senhora do Rosario. This still largely intact 18th-century structure (complete with defunct gold mine) features 37 exquisitely appointed and luxurious guest rooms, as well as an exclusive French restaurant, Le Coq d'Or, whose chef studied with Paul Bocuse.
| Praca Tiradentes |
|
Just south of the bus station, visitors meet up with Sao Francisco de Paula, the first of the city's 13 Baroque churches, from which they are treated to a wonderful panoramic view of Ouro Preto - still looking much as it did in the 19th century - and of the green hills on which it is situated. A ten-minute walk along the main street leads past Nossa Senhora das Merces and to the main square, Praia Tiradentes.
A favorite meeting place for the city's youth as well as for tour groups is the statue of Jose Joaquim da Silva Xavier, who was called Tiradentes (Tooth Puller) owing to the fact that he earned his living as a dentist. 1t was in this square that he assembled his followers, the Inconfidentes (Wary Ones), and called for a rebellion against Portugal's attempt to levy a retroactive tax on the fifth part, or quinto, of all gold discovered. If the crown failed to collect a predetermined sum, the derrama was levied, which required each citizen to pay a share of the missing amount. In 1792, Tiradentes, the leader of the uprising, was hung in Rio, and his head was brought to Ouro Preto and displayed in the square that now bears his name. His statue stands opposite the former Municipal Palace, built by forced labor in 1800 and now the site of the Museu da Inconfidencia, which displays documents pertaining to the unsuccessful rebellion, as well as colonial furniture, and sculptures by Aleijadinho.
Behind the monument and above the square rises the grandiose former Governor-General's Palace, which now houses both the university's Department of Mining and the small but fascinating Museu de Mineralogia. Visitors can inspect samples of the region's wealth of precious stones, as well as spectacular finds from elsewhere in Brazil. The balcony of the palace has a flower garden bursting with color, a good vantage point from which to observe the hustle and bustle of the main square of this vibrant city - which fortunately has not been turned into a museum.
East of Praga Tiradentes
Proceeding uphill to the northeast through narrow, picturesque streets leads you to the parish church of Ouro Preto, Nossa Senhora da Concei~ao, which was designed by Aleijadinhos' father, Manuel Francisco de Costa Lisboa, and built by Ant6nio Dias between 1727 and 1760. Both Aleijadinho and his father are buried here, and the Museu do Aleijadinho, which is also housed in this structure, contains religious art, colonial furniture and works by Aleijadinho.
An interesting stop on the way back down the hill is the 18th-century Ponte de Marilia, a stone bridge with benches and marvelous fountains. The pilgrimage up the long steep hill to the church of Santa Efigenia begins here and is worth undertaking, not only for the church itself, but also for the chance to peer into the kitchens, living rooms, and tiny bars and shops encountered on the arduous way up. As you huff and puff, take comfort in the fact that the locals have to struggle up this steep incline year-round. Visitors who make it to the top of the hill and to the plaza in front of the church will find the panoramic view breathtaking - probably in the most literal sense. Built by and for slaves, this church is thought to have been financed by Chico Rei, an enslaved African prince whose discovery of a gold mine allowed him to buy his freedom, and who was subsequently revered like a king. For a brief period, from 1733 to 1745, the church was under the overall control of Francisco Xavier de Brito, who was the teacher of Aleijadinho's father. Both the vestment cupboard in the sacristy and the balustrade are made of Brazilian rosewood. The paintings on the choir reflect Chinese influence from the Portuguese colony of Macao.
Just behind the Museu da Inconfidencia (on Rua do Carmo) stands the magnificent Carmelite church of Nossa Senhora do Carmo, which was begun by Manuel Francisco de Costa Lisboa at the same time as the Franciscan church and was completed by Lisboa's son, Aleijadinho. Next door to the church is the Museu de Arte Sacra, whose collection consists primarily of sculptures by Francisco Xavier de Brito, as well as sacred objects in silver.
A sight not to be missed is the Teatro Municipal, which dates from 1769, making it the oldest theater in Latin America. Originally called the Casa da Opera, it constituted conspicuous proof of the burgeoning wealth of "Vila Rica." It lies northwest of the Carmelite church, and in addition to being the site of frequent concerts and theatrical performances, it can also be toured by day. A stairway leads to Rua Conde de Bobadela, whose shops and restaurants make it the liveliest and most frequented in all of Ouro Preto. Walk straight down this street and turn right, and you will come upon picturesque Praia Reinaldo Alves de Brito, with its magnificent and still-functioning fountain, Chafariz dos Contos, designed by Aleijadinho and dating from 1760. A small vegetable market is held in this square every morning. On the corner stands Casa dos Contos, a typical colonial construction that was originally used to weigh and melt down gold. It has undergone thorough restoration and now open to the public. |
| Sao Francisco |
|
Aleijadinho's Masterpiece
The two steep uphill streets east of the Tiradentes monument lead to Largo Sao Francisco, where large numbers of soapstone vendors eager to sell their wares await tourists on a visit to one of the most glorious Baroque churches in Latin America. Built by the Third (lay) Franciscan Order in 1765 and consecrated in 1810, the structure was completely restored in 1820. The Igreja da Ordem Terceira de Sao Francisco de Assis da Penitencia is famous as Aleijadinhos's masterpiece of flawlessly harmonious design, in every respect the equal of later Baroque works by the Asam Brothers and Balthasar Neumann. The visitor's eye is initially struck by the arched faqade, as well as the towers set back from it that are incorporated into the main structure; and then by the two extraordinary tympana above the portal. The upper composition depicts Francis of Assisi receiving the five stigmata from Christ, while the lower one consists of a portrait of the Virgin Mary wearing a crown, lavishly bedecked with jewels.
The inside of the church contains other works by Aleijadinho. The main altar, made of mahogany, is a magisterial interpretation of one of the most frequently employed iconographies of the colonial period in Minas Gerais, the Apostles and the Virgin Mary. In the center of this altar stands St. Francis of Assisi, in whose name the church was consecrated. Also well worth seeing are the chanceries, of which there are almost always two in Portuguese churches, and the lavabo (basin) in the sacristy. The ceiling fresco depicting Mary as a cinannamon-skinned mulatto surrounded by angels is a work by Manuel da Costa Thayde, who often assisted Aleijadinho. | |
