which one or two bear an air of resemblance, especially on feast days, when the windows and balconies are decorated with red, yellow or green damask bedspreads. There are two very beautiful squares, besides the Palace. One, once Roça (Rossio), now Constituição, to which a very noble appearance is given by the theater, some beautiful barracks and beautiful houses, behind which the hills and mountains dominate on both sides. The other, the Campo de Sant'Ana, is extremely extensive, but is unfinished." Neoclassical architecture: 18th and 19th centuries Neoclassical architecture is characterized by a search for the nobility and rationality of ancient Greco-Roman architecture. Harmony is sought using classical motifs: colonnaded porticoes, use of Greek orders, symmetry in the composition, regularity in the openings, and triangular pediments. The decoration is restrained, far from the Baroque and Rococo "exaggerations". In colonial Brazil, buildings with a certain neoclassical character have existed at least since the 18th century. As already mentioned, the Joanine and Pombaline Baroque were greatly influenced by the severe Roman Baroque classicism, having reflections in Brazil. In Recife, the Corpo Santo Church, which had its origins in the early days of the settlement, was enlarged in the 18th century gaining a beautiful Lioz stone faCade in the neoclassical style. In Rio de Janeiro, the Santa Cruz dos Militares Church, built in 1780 according to a project by José Custódio de Sá e Faria, and the faCade of the Candelária Church, built in 1775 by Francisco João Roscio, are examples of colonial buildings with a strong classical Pombaline influence, visible in the proportions of the facades and the use of architectural orders. In Belém do Pará, Antônio José Landi also designed buildings of marked classical character, such as the Santana Church (1760-1782), the São João Batista Chapel (1769-1772) and the Grão-Pará General Governors' Palace (1768-1772), among others. The Santana Church, in particular, is a rare party building in colonial Brazil, with a Greek cross plan with dome. In 1808, with the arrival of the Portuguese Royal Family in Brazil, the local architecture was renovated. The royal architect José da Costa e Silva, coming from Portugal, possibly built in Rio de Janeiro the São João Royal Theater, inspired by the neoclassical design of the São Carlos National Theater in Lisbon, built in 1792 by Costa e Silva himself. In Salvador, engineer Cosme Damião da Cunha Fidié designed in 1813 the city's Comércio Square,