You are in the accessibility menu

Please use this identifier to cite or link to this item:
Igreja de Santa Ifigênia do Alto da Cruz de Ouro Preto
Other Titles: 
Church of Santa Ifigênia do Alto da Cruz
Lisboa, Manuel Francisco
Fechada em 2008 para o restauro da arquitetura, estrutura e elementos artísticos da nave e do coro, com a proposta de recuperação de todos os altares e do forro, até 2012 ainda não havia sido finalizada. Tombado pelo IPHAN sob o nº 75-T-248.
A construção da igreja foi iniciada em 1733, ficando pronta apenas em 1785. O retábulo-mor segue o estilo joanino, executado por Francisco Xavier de Brito. A abóbada da capela-mor em forma de barrete de padre tabuada recebeu pintura ilusionista de Manuel Rebelo de Souza (1768). Na tribuna, sobre a cartela do coroamento, há um papa negro com barrete frígio: homenagem ao financiador da igreja, o lendário negro Chico Rei.
Issue Date: 
Issue Date: 
The façade may be seen from the first steps in the enclosed churchyard, with the towers set apart from the main body, presenting a portal surmounted by a straight pediment, adapted to receive the niche in a jack arch that overlaps the trilobite oculus. The cornice, beginning on the faces of the rounded towers, supports the curvilinear pediment at the same time it makes a curve over the oculus. The bulbous trimming on the towers alleviate the bulky look. The construction, begun in 1733, was put under master builder and bricklayer Antônio Coelho da Fonseca; and the design for the façade (1743-1749) is attributed to Manuel Francisco Lisboa, Aleijadinho’s father. In the interior, the Joanino side altars are encrusted in the walls, and the ones in the chancel arch, unfettered and curvilinear, soften the front wall’s angles. The main chapel has its architectural structure faced in wall elements, with decorations similar to those in the Mother Church of Pilar. The main retable, of the most elegant Joanino style, by Francisco Xavier de Brito, is well-balanced between ornamental elements and figures of well-proportioned, perfectly executed angels. The gilding on the high altar was done by João Vila and Lourenço Petriza. The wooden-planked dome in the main chapel, shaped like a priest’s biretta, has illusionist paintings (1768) by Manuel Rebelo de Souza. With columns and balustrades designed in a way that lead the structural lines to a central point, it enlarges the space for arches and tribunes in which the saintly doctors preach. Surprising, there is a black pope wearing a Phrygian biretta above the crowning tablet in the tribune: in honor to the church’s financier, the legendary black, Chico Rei.
  • Pintura Barroca
  • Estilo Barroco
  • Arte Sacra
  • Entalhe Barroco
  • Baroque Painting
  • Baroque Style
  • Sacred Art
Texto de Percival Tirapeli; Fotografia de Eduardo Murayama.
Ouro Preto, MG – Brasil
Bibliographic Citation: 
  • BAZIN, Germain. A Arquitetura Religiosa e Barroca no Brasil. Rio de Janeiro: Record, vol. 1 e 2, 1983.
  • TIRAPELI, Percival. Igrejas Barrocas do Brasil. Baroque Churches of Brazil. São Paulo. Metalivros, 2008.
Licence Type: 
Appears in Collections:Restauros

Item Files
File Description SizeFormat 
mg_ isifig_01.JPGAltar3.19 MBJPEGThumbnail
mg_ isifig_02.JPGCartela4 MBJPEGThumbnail
mg_ isifig_03.JPGPapa negro4.05 MBJPEGThumbnail
mg_ isifig_04.JPGPintura teto da capela-mor3.91 MBJPEGThumbnail
mg_ isifig_05.JPGPintura teto da capela-mor4.01 MBJPEGThumbnail
mg_ isifig_06.JPG.JPGFachada987.69 kBJPEGThumbnail
mg_ isifig_07.JPG.JPGRestauro2.39 MBJPEGThumbnail
mg_ isifig_08.JPG.JPGPintura teto1.5 MBJPEGThumbnail

Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.