Salvador's Historical Churches Tour (Self Guided), Salvador

Back in 1726, amid the remnants of an old defensive trench overlooking the stunning Bay of All Saints (“Baía de Todos-os-Santos”), the Brotherhood of Pardos approached Brazil’s Viceroy, Vasco F. Cesar de Menezes, with an audacious request: “We’d like to build a church here.” The result was this remarkable temple, perched on Santo Antônio Além do Carmo’s slopes, looking for all the world as if it was placed there by divine decree.

Its architecture bears a striking resemblance to the Church of Our Lady of the Rosary of the Black People (“Igreja do Rosário dos Pretos”) over in Pelourinho, but with its own Rococo flair. Construction wrapped up in the mid-1800s, with gleaming white-tiled towers marking its façade. Inside, the décor dances between neoclassical elegance and baroque drama. And the name “Boqueirão”? That’s a nod to the geological fault that conveniently splits Salvador’s Upper and Lower Towns right where the church stands.

Step inside, and you’ll find three altars gilded in gold and rich detail, plus once-hidden paintings revealed during a 2009 restoration. Look up at the ceiling, and you’ll see the Virgin Mary, under the title of the Immaculate Conception, being glorified alongside the Holy Trinity. Add two basements—one transformed into a catacomb—a ground floor, a first floor, and rooms for a sacristy, galleries, a choir, and a consistory, and you’ve got a church that does it all.

When the construction dust finally settled, the Brotherhood of Pardos was upgraded to a Venerable Third Order, a fitting honor for a community that made up the majority of Salvador’s population yet held no political sway. This church was more than a place of worship—it was a symbol of pride and identity for pardos, long before the Rosary of the Black People Church entered the picture.

Today, recognized by IPHAN for its cultural and historical significance, this glorious structure serves as both a sanctuary for religious services and the headquarters of the Brotherhood.

Erected in the early 1600s in a prim-and-proper neoclassical style, the Church of Our Lady of Mount Carmel shows off one of the most jaw-dropping sacristies on the planet. Tucked behind it, you’ll find the world’s largest Carmelite convent—complete with two cloisters, 80 cells, and a past life as Brazil’s first fancy-pants historic luxury hotel.

This holy hotspot, founded in 1585 on Rua do Carmo, played host to the Dutch surrender back in the day. Inside, you’ll stumble upon a glorious image of Our Lady sculpted by none other than Chagas, “O Cabra“—one of Brazil’s greatest chisel-wielding geniuses. The altar and tabernacle are dripping in silver, and yes, that’s the very chair King John VI parked himself in during religious services. As if that weren’t enough, the chapel of Our Lady of Piety doubles as the final resting place for poet Junqueira Freire and Dutch-expulsion hero Count Bagnuoli. Talk about VIP seating.

But the real showstopper? That sacristy. It’s a carnival of gilded carvings, ceiling panels spinning tales of Saint Elias, and standout pieces like a 17th-century bronze crucifix and grand statues of Carmelite VIPs—Saint Telesphorus, Saint Dionysius, Saint Peter Thomas, and Saint Andrew Corsini. Oh, and don’t overlook the jacaranda wood cabinets with handcrafted silver handles—pure artistry. And did we mention O Cabra’s masterpiece, “Christ at the Column“? It’s right there, too—a nod to the sculptor’s brilliance.

As for that Dutch surrender story: In 1624, Salvador fell to Dutch troops, and this convent became the nerve center of the Portuguese-Spanish-Brazilian resistance. After a months-long standoff at the Carmo Gates (“Portas do Carmo“), the invaders finally called it quits. And where did they sign the surrender? You guessed it—in what’s now the sacristy. From that day on, the Convent of Mount Carmel stood as a proud symbol of Salvador’s defiance and resilience.

The Church of Our Lady of the Rosary of the Black People is a Roman Catholic church along Pillory Street in Salvador. Construction on the Baroque-style church began in 1709 and took nearly 100 years.

The church was built by members of the Brotherhood of Our Lady of the Rosary of the Black Men of Pelourinho. Afro-Brazilian brotherhood, made up of both slaves and free blacks, petitioned for the church and used their learned skills and arduous labor under the direction of master craftsman Caetano Jose da Costa.

The facade of the building, designed by da Costa, was added after 1780. The frontispiece of the Church of the Rosary is highly complex. It is similar to the Parish Church of Saint Bartholomew in Maragogipe.

The church has two towers made of plain stone masonry, in contrast to the blue limestone of the facade. The towers have rectangular belfries with circular openings on four sides below the church bell windows. Each corner of the belfry has a stylized torchiere. A graveyard is accessible at the rear of the church.

The Church of Our Lady of the Rosary of the Black People was listed as a historic structure by the National Institute of Historic and Artistic Heritage in 1938 and is part of the Historic Center of Salvador Unesco World Heritage Site.

São Francisco Church and Convent of Salvador is a church of the Third Order of Saint Francis in the historical center of Salvador.

The friars of the Franciscan Order constructed a convent and church after they arrived in Salvador in 1587. The religious buildings were destroyed during the Dutch invasions of Bahia in the 17th century. The current church was built on the ruins of the original structure. New construction began in 1708 and finished in 1723.

The interior of the church, completed in 1755, includes ornate gilded woodwork that covers the surfaces of the nave. The nave aisles were patterned after the Sao Francisco Church of Oporto and the Sao Roque in Lisbon.

The church has the distinction of featuring 55,000 glazed colored azulejos, the largest number of traditional Portuguese tiles in any church in Latin America. The tiles adorn the lower parts of the wall in the main chapel, and they entirely cover the cloister. The artist is unknown, but the artwork of the tiles is attributed to Bartolomeu Antunes de Jesus.

A large stone cross, common to Franciscan churches in Brazil, sits in front of the cathedral. It is 26 feet tall and has a base of 18 feet. The cross was imported from Lisbon in 1807.

The São Francisco Church and Convent of Salvador are important Colonial monuments in Brazil. The church and convent were listed as historic structures by the National Institute of Historic and Artistic Heritage in 1938. They are also considered one of the Seven Wonders of Portuguese Origin in the World.

The São Francisco Church and Convent are open to the public. Visitors may enter the church for tours or worship.

Perched on Terreiro de Jesus, flanked by the Cathedral Basilica of Salvador and Bahia’s Faculty of Medicine, stands a church that stops passersby in their tracks—not because it’s towering, but because it’s got just one tower. This lopsided beauty is the Church of Saint Dominic of Osma, or simply São Domingos to its friends.

Built in 1731, São Domingos sports a Rococo façade while the interior leans Neoclassical. But the pièce de résistance is undoubtedly the nave’s ceiling. Stretching a whopping 173 square meters, it’s adorned with a Baroque illusionist masterpiece attributed to José Joaquim da Rocha—Brazil’s Baroque VIP. The painting offers a dazzling view of paradise, using the concave ceiling to trick your eyes into seeing infinite heavenly depth.

Once you’ve marveled at the ceiling and soaked in the ornate décor, you can step into the sacristy and the Chapel of the Good Death. Back in the day, this chapel hosted numerous wakes thanks to its proximity to Pelourinho’s Institute of Legal Medicine. Now it moonlights as a museum featuring Dominican Order saints like Saint Martin de Porres, Saint Thomas Aquinas, Saint Catherine of Siena, Saint Paula, and Saint Cecilia.

Feeling adventurous? Descend into the catacombs to mingle with some 18th-century tombs. Or, if you’re up for a climb, tackle the 75 steps to the top of the lone tower. This cube-shaped lookout features four windows, each hosting its own bell. The largest bell, weighing in at 1.2 tons, was installed in 1789. Unfortunately, it’s never been restored, so it’s strictly a “look, don’t listen” situation.

The Brotherhood of Saint Peter of the Clergymen got its start back in the 15th century on the Iberian Peninsula. Known as the “secular priests in Saint Peter’s habit,” their main purpose was (and still is) looking after aging, ailing, or retired priests who don’t belong to a religious order. Naturally, they picked Saint Peter—the lead apostle in Christ’s crew—as their patron saint.

Fast-forward a bit, and the Brotherhood made its way to Brazil in the 16th century, settling down in Salvador during the time of Dom Antônio Barreiros, the third bishop of Brazil. Their base was Largo Terreiro de Jesus in Pelourinho, where they constructed a church that’s a love letter to the artistic styles of the era. Built around 1709 and given a few touch-ups in the 18th and 19th centuries, it became a certified historic treasure in 1938, courtesy of IPHAN, and now enjoys UNESCO World Heritage status as part of Salvador’s Historic Center.

Inside, the décor is a charming clash of Rococo exuberance and Neoclassical elegance. The main altar, inspired by prints from Italian Jesuit artist Andrea Pozzo (a big name in 18th- and 19th-century Brazil), takes center stage. Supporting the scene are two corner altars flanking the chancel arch. At the heart of it all stands a stunning image of Our Lady of the Immaculate Conception, flanked on either side by grand statues of Saint Peter and Saint Paul. In short, it’s a visual feast that Saint Peter himself would be proud of.

The Cathedral Basilica of Salvador, officially dedicated to the Transfiguration of Christ and named Primatial Cathedral Basilica of the Transfiguration of the Lord, is the seat of the archbishop of Salvador. The cathedral has been listed as a historic structure by the National Institute of Historic and Artistic Heritage since 1938.

The Cathedral Basilica of Salvador was originally built as part of a Jesuit monastic and educational complex. The first church was constructed in 1590. When the Dutch entered Salvador in 1624, the church was stripped of its silverwork and used as a warehouse.

The reconstruction of the complex was finished in 1654 after the Portuguese regained control of the city. It was built closely resemble the Jesuit Church of Coimbra in Portugal, carried out through the Mannerist architectural style and building the structure with Lioz stone sourced from Portugal.

Inside, the cathedral is a one-aisled church of rectangular shape, without transept, and with a very shallow main chapel. The side walls have a series of lateral chapels decorated with altarpieces. The chapels illustrate altarpiece art from the late 16th through the mid-18th centuries, all decorated with sculptures and paintings. The sacristy cabinet dates to the 17th century and showcase the life of Jesus in paintings on copper panels.

Much of the complex burned in 1905, leaving only the church behind. It was reconstructed in 1933 and then gained protected status. The cathedral is open to the general public for tours and worship.

This stately 17th-century mansion, perched between two squares, doesn’t just house history—it practically whispers it through its walls. Step into the Museum of Mercy, where every corridor and grand hall doubles as a time machine. Once the site of Bahia’s very first hospital (dating back to 1549, no less), it’s seen everything from royal visits to high-stakes medical miracles.

The museum isn’t just any old cultural hotspot; with a jaw-dropping collection of over 3,000 items, it’s like scrolling through 500 years of Bahia’s backstory—but, you know, without the scrolling. Highlights? A chair specially made for Emperor Dom Pedro II’s 1859 visit, Ruy Barbosa’s historic desk, Portuguese tile panels depicting eerie processions, the Pharmacy Hall, and the pièce de résistance: the oldest gasoline-powered car on display in all of Brazil.

Meanwhile, the Church of Mercy, conveniently connected to the museum, offers a mash-up of Baroque, Rococo, and Neoclassical styles, serving as both a spiritual haven and a backdrop for everything from weddings to concerts. It also features the “Concert in the Churches” series, with performances by groups and conductors.

So, whether you’re here for the ancient furniture, the tile panels, or just to attend a concert, this site delivers on every level.

At the foot of the mountain connecting the Upper and Lower Cities, you'll find the Basilica of Our Lady of the Conception of the Beach—yes, the third one built on this spot. Its name comes from the locals, who figured it was pretty close to the beach. Built in 1623, it’s one of the oldest parishes in the Archdiocese of São Salvador da Bahia.

A little history lesson: In 1549, Portuguese ships arrived in Salvador, and guess who they brought? An image of the Patroness of Lisbon, which went on a world tour with the troops. This unique image was placed in the first church, whose ruins are still standing today. It reigned supreme until 1946, when Our Lady of the Immaculate Conception was crowned the Patroness of Bahia. The church itself, built in the Baroque style, was crafted entirely from lioz stone brought from Portugal. It took 300 years to complete—three generations of artisans, whale oil, and a whole lot of stonework. Fun fact: it's the only modular church in Salvador.

Inside, the floor is a jaw-dropper—crafted from lioz stone and Carrara marble, it’s one of the site's main attractions. Step into the “primitive church,“ where it all started, left in ruins with candles flickering all around. Oh, and there’s a window that lets you peek at the historic staircase that once connected the Lower City to the Upper City.

Next door, the brand-new Conception of the Beach (“Conceição da Praia“) Ceremonial has a modern twist, blending sleek design with the church's original stone walls. It can hold 1,000 guests—perfect for a big wedding, or you know, a major celebration.