Of the Arraial of Tijuco Completely originated Diamantina in the baroque style, its colonial houses and its churches keep secrets on great treasures hidden for the slaves. The churches (San Francisco, Support, Rosary, of the Graces.)with its interior turned pages to the gold with workmanships of the Aleijadinho master and Athade master, they show the opulence of a time where the Portuguese culture predominated. For its slopes great myths had paraded, as: Chica Da Silva, Juscelino Kubitschek, Foot. Rolim (great countenance of the Mining Inconfidncia) and others. Constructed in a steep small farm, it possesss traced urban winding, formed for narrow streets with stone pavement in rock.
The casario, defining of the streets, does not possess jib frontal and if it detaches for the alive coloring of the esquadrias that contrasts with the white of the walls. It has some churches in the center, in general are distinguished of entorno in which they are inserted. The use of elements that they send to the Portuguese architecture influenced by the Arab, as muxarabis and trelias in the windows is noticed and varandas. The urban morphology of Diamantina was inspired in the Portuguese medieval cities. In the central area of the city we find a part plain, of acinzentadas rocks. The common tipologia is the colonial, having few examples of neoclssicas, eclectic or neocolonial constructions. The modern architecture is represented by three workmanships of Oscar Niemeyer, of the decade of 50. Stuck in the inhospitable Mountain range of the Espinhao, Diamantina is an alive example of colonial architecture of lines and soft forms, adapted to the tropics. Religious Serenatas and vesperatas, traditions, beautiful rivers, (Crystals and Sentry), the Real Road, rich and proper gastronomia of the region (gumbo with angu) beyond its joint architectural overthrown for National the Historic site and Artistic in 1938 make of Diamantina the obligator destination in the ample tourist circuit of Minas Gerais.