example in Minas Gerais is the Nossa Senhora do Pilar Mother Church in Ouro Preto, with magnificent Joanine carving in the nave and chancel dating from the 1730s-50s. In the middle of the century the carving evolved to Rococo forms, in which the ornaments are more delicate, not covering the entire available surface of the interiors. During this phase, sculptors such as Antônio Francisco Lisboa (Aleijadinho), Valentim da Fonseca e Silva (Mestre Valentim) and many others shined. At the end of the colonial phase, the carving already begins to adopt neoclassical forms. Painting, especially the perspective painting of illusionist nature, also played an important role in interior decoration, particularly in the wooden ceilings of the naves. The earliest one in Brazil was the already mentioned Third Order of São Francisco da Penitência Church in Rio (Caetano da Costa Coelho, 1736–1743). Other famous later examples are the paintings on the linings of the Nossa Senhora da Conceição da Praia Basilica, in Salvador (José Joaquim da Rocha, after 1772) and the São Francisco de Assis Church in Ouro Preto, by Mestre Ataíde (1801-1812). Imported azulejos from Portugal also played an important role in the interior decoration of churches in the Northeast and Rio de Janeiro. Not in Minas Gerais, due to the fragility and high cost of shipping. Religious Baroque on the seaside Throughout the 18th century, the overwhelming majority of religious buildings in Brazil, as well as in Portugal, continued to use the rigid floor plans linked to the Mannerist Plain Style, with naves and chapels of rectangular or square shape, without any kind of movement as curved or polygonal plans. In all of Colonial Brazil, the number of churches with Baroque floor plans that depart from the traditional Plain Style, is less than twenty. These churches are located in a few places: Recife and Salvador, with one each, and Rio de Janeiro and some vilas in Minas Gerais, with the rest. In the other churches of the 18th century, the Baroque style was restricted to the decorative motifs of the facades and interiors, with many examples throughout Brazil. Among these, an unusual example is the Third Order of São Francisco Church, in Salvador, built in 1703 with a completely carved facade in the Churrigueresque Baroque style of the Hispanic America churches. The style of this facade, however, was not continued in other buildings. One of the first churches with a