Rio de Janeiro, which were important administrative cities in constant contact with the metropolis. In Belém, the Pombaline influence is revealed in the work of the Italian architect Giuseppe Antonio Landi, for example in the churches of São João and of Santana, in the capital of Pará. In Rio de Janeiro, the oldest example is the Third Order of Carmo Church, built between 1755 and 1770. The stonework facade, the sinuous pediment, and the windows and portals, the latter imported from Lisbon, are indicative of the style. Other Carioca churches influenced by the Pombaline style are São Francisco de Paula and Candelária. Religious Baroque in Minas Gerais In Minas Gerais, the gold rush favored construction activity throughout the 18th century, giving rise to some of the most interesting Brazilian colonial architectural monuments. As in other regions, almost all churches were built following Plain Mannerist plans, such as the Cathedral of Mariana, built in the first half of the 18th century, which in addition to the rectangular plan has a two-dimensional facade with a triangular pediment, reminiscent of the Jesuit temples of the previous century. Very innovative is the Nossa Senhora do Pilar Mother Church in Ouro Preto, completed around 1733 according to the project of the military engineer Pedro Gomes Chaves. The interior of the church has a decagonal shape given by the exuberant gilded carving by Antônio Francisco Pombal, giving this church a bold internal organization. The decagonal shape is integrally given by the interior carving: externally the church presents a rectangular shape. Later on, even bolder churches appeared, such as the Nossa Senhora do Rosário dos Pretos Church in Ouro Preto (begun in 1757) and the São Pedro dos Clérigos Church in Mariana, both designed by Antônio Pereira de Sousa Calheiros. The plans of these churches, without exact parallels in Portuguese architecture of the time, are formed by three juxtaposed ellipses flanked, in the case of the Ouro Preto church, by circular towers. The entrance is made by a curvilinear galley of three arches. It is likely that the church plan was conceived under the influence of the São Pedro dos Clérigos Church in Rio de Janeiro, begun two decades earlier. The influence of Central European buildings is also possible, through engravings of architectural treatises that circulated in Minas Gerais in the 18th century. Rococo on the seaside Rococo, considered by many authors as the final phase of