Dissemination of Baroque Architecture within Brazil
Emily Matt
M.Arch Thesis
Lawrence Technological University
Baroque Concepts
List of Concepts:
Azulejos
Azulejos are ceramic wall tiles. Blue tiles are often used to illustrate scenes on the walls of Baroque buildings. Azulejos were imported to Portugal until the 16th century and once production started within Portugal their usage became more widespread, even appearing in Portuguese colonies. Brazilian Baroque buildings used imported azulejos until the early 18th century, but Brazil never started its own production.
By Alegna13 (Own work) [CC BY-SA 3.0], via Wikimedia Commons
Pilgrimage Stairs
In the Portuguese Empire there have only been three pilgrimage staircases leading to churches within the Baroque period: two in Portugal, one in Brazil. All three bear a strong resemblance, but the Brazilian version lacks the steep slope and azulejos found in the others. Although all three have sculptures to honor saints at the end of each turn or stair landing, the Bom Jesus do Matosinhos has Aleijadinho’s renowned emotive sculptures.
By Botafogo (eigenes Bild) [Public domain], via Wikimedia Commons
By Ricardo André Frantz (Own work) [CC BY 3.0], via Wikimedia Commons
Two-Tower Facade
The two-tower façade can be traced to the Sao Vicente da Fora façade and became a common attribute of Portuguese Baroque churches. Upon its arrival in Brazil variations developed, such as the rotation of the square towers by 45 degrees, the rounding of the towers, and setting the towers back from the façade.
By Alvesgaspar (Own work) [CC BY-SA 3.0], via Wikimedia Commons
By Ricardo André Frantz (Own work) [CC BY 3.0], via Wikimedia Commons
Quadratura Painting
Quadratura or illusionistic mural painting started in the Renaissance with the development of the perspective. It was embraced during the Baroque period because it unites architecture, painting, and sculpture to create awe in the viewer by creating the illusion of a space that does not exist. The technique travelled from Italy to Portugal, and from Portugal to Brazil. Of note is Brazilian artist Manuel da Costa Atiade’s 1810 painting in the Sao Francisco church in Ouro Preto, which depicts the immaculate conception with African and mixed race figures.
José Joaquim da Rocha [CC BY 3.0], via Wikimedia Commons
By Mestre Ataíde ([1]) [Public domain], via Wikimedia Commons
Octagonal Nave
The elongated octagonal nave trait seen in Brazil can be traced back to the Menino Deus church in Lisbon, Portugal. The Menino Deus is one of the few churches to have survived the 1755 earthquake so it is possible that the trait was prevalent in Baroque churches prior to 1755, though there is little remaining trace of these churches to verify. This trait was transferred from Menino Deus to the Conceicao da Praia church in Salvador, brazil where the octagonal shape was further elongated. From there it was transferred to Minas Gerais where, despite the freedom for endless variations due to a lack of institutionalized restrictions, it is among the few foms to be used repeatedly. The elongation of the octagonal shape in Minas Gerais is elongated like the Conceicao da Praia rather than short like the Menino Deus, suggesting that the Conceicao da Praia had an influence on the designs in Minas Gerais. Additionally, it is notable that in all cases studied thus far, the vast majority of octagonal naves have some form of quadratura ceiling.
Yves Bottineau