Journeys of Faith - English by Jornada Mundial da Juventude JMJ

CHURCHES OF RIO DE JANEIRO AND NITERﾃ的 SPIRITUAL AND ARTISTIC HERITAGE

Journeys of

Faith

INDEX Why Journeys of Faith? 04 Acknowledgements 05 Ecclesiastical Heritage of Rio de Janeiro 06

Mosteiro de São Bento – Igreja Abacial Nossa Senhora de Monserrate Monastery of Saint Benedict – Abbey of Our Lady of Monserrat 08 Igreja de Santa Rita Saint Rita´s Church 14 Igreja de Nossa Senhora do Rosário e São Benedito dos Homens Pretos Church of Our Lady of the Rosary and Saint Benedict of the Black Men 18 Igreja de Nossa Senhora da Conceição e Boa Morte Church of Our Lady of Conception and Good Death 22 Igreja de Nossa Senhora Mãe dos Homens Church of Our Lady Mother of Mankind 26 Igreja de Nossa Senhora da Candelária Church of Our Lady of Candelaria 30 Igreja de Santa Cruz dos Militares Church of the Soldiers´ Holy Cross 34 Igreja de Nossa Senhora da Lapa dos Mercadores Church of Our Lady of Lapa dos Mercadores 38 Igreja de Nossa Senhora do Carmo (Antiga Sé) Church of Our Lady of Carmel (Old Cathedral) 42 Igreja da Venerável Ordem Terceira de Nossa Senhora do Monte do Carmo Church of the Venerable Third Order of Our Lady of Mount Carmel 46 Igreja de São José Saint Joseph´s Church 50 Igreja Nossa Senhora do Bonsucesso Church of Our Lady of Bonsucesso 54 Igreja de Santa Luzia Saint Lucy´s Church 58 Igreja e Convento de Santo Antônio Saint Anthony´s Church and Convent 62 Igreja da Venerável Ordem Terceira de São Francisco da Penitência Church of the Venerable Third Order of the Penitent Saint Francis 66

Catedral Metropolitana de São Sebastião e Museu Arquidiocesano de Arte Sacra

Saint Sebastian´s Metropolitan Cathedral and the Archdiocesan Museum of Sacred Art 70

Igreja do Santíssimo Sacramento (Antiga Sé) Church of the Most Holy Sacrament (Old Cathedral) 76

Igreja de São Francisco de Paula Saint Francis of Paula Church 80 Igreja de Nossa Senhora do Carmo da Lapa do Desterro Church of Our Lady of Mount Carmel of Lapa do Desterro 84 Convento e Igreja de Santa Teresa Saint Teresa´s Church and Convent 88 Igreja de Nossa Senhora da Glória do Outeiro Church of Our Lady of Glória do Outeiro 92 Basílica de Santa Teresinha do Menino Jesus Basilica of Saint Thérèse of the Child Jesus 96 Igreja de Nossa Senhora da Glória Church of Our Lady of Glory 100 Basílica da Imaculada Conceição Basilica of the Immaculate Conception 104 Igreja e Colégio de Santo Inácio Saint Ignatius´ Church and School 108 Igreja de São João Batista da Lagoa Church of Saint John the Baptist of Lagoa 112 Basílica do Imaculado Coração de Maria Basilica of the Immaculate Heart of Mary 116 Santuário Nacional de Nossa Senhora da Penha de França National Sanctuary of Our Lady of Peñafrancia 121

Ecclesiastical Heritage of Niterói 124

Catedral Metropolitana São João Batista Saint John the Baptist´s Metropolitan Cathedral 126 Igreja de São Lourenço dos Índios Church of Saint Lawrence of the Indians 130 Basílica de Nossa Senhora Auxiliadora Basilica of Our Lady Help of Christians 134 Igreja de São Francisco Xavier Saint Francis Xavier Church 138 Igreja Nossa Senhora da Conceição Church of Our Lady of the Conception 142 Igreja Nossa Senhora da Boa Viagem Church of Our Lady of Good Journey 146

Christ the Redeemer with arms wide-open 150 Glossary 152 Bibliography 155 Credits 156

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WHY JOURNEYS OF FAITH? Pilgrims who undertake this Journey of Faith, through the thirty-four sacred spaces mentioned in this book, should know that God will offer them an unparalleled experience. Along the way, you will see many material expressions of different spiritualties, forms of artistry from across the years whose authors and creators come from the simplest backgrounds to the most erudite. Persons who, regardless of their cultural refinement, were able to express their experiences with God through the visual arts: from painting to architecture and sculpture. During this journey, pilgrims will have the opportunity to experience new spaces, which they just might find unforgettable. For this to happen, our hearts must be open to this transcendental encounter. May this wandering itinerary, which meanders across sacred hills, be seen as the spiritual ascent of every pilgrim to the feet of the Redeemer, and may the pilgrim let himself be drawn ever closer to the Creator of eternity.

Rev. Mauro Maia Fragoso, OSB Professor at Saint BenedictÂ´s College of Rio de Janeiro

ACKNOWLEDGEMENTS This book’s publication relied upon the support of many persons and institutions, and it is almost impossible to thank them all by name. Even still, we would like to especially thank the researchers and all those who made putting this book together possible. We must emphasize the immeasurable assistance of the Archdioceses of Rio de Janeiro and Niterói. Though extensive, we would like to bring attention to the participation of the following experts: Professor Márcia Valéria Teixeira Rosa, Assistant Professor DEPM/CCH at UNIRIO; Professor Helena Uzeda, Cultural Coordinator for the Culture and Outreach Dean´s Office at UNIRIO; Professor Cesar Augusto Ornellas Ramos, Master´s in Social History from the Federal Fluminense University and Teacher-Researcher at La Salle University (UNILASALLE-RJ); Professor Marli Assis Martins, Specialist in Residence at Saint Benedict´s College of Rio de Janeiro, Doctor Mauro Murilo Maia Fragoso, OSB, Professor at Saint Benedict´s College of Rio de Janeiro, as well as the Niterói WYD Rio2013 Team, particularly Bárbara Leal, Roberta Vale, and Ingrid Lucas. We cannot forget all of the priests, monks, friars, sisters, trustees, administrators, secretaries, and many individuals from Confraternities and Communities who contributed so much information and were so welcoming to the Historic Church Tour Team of the WYD Rio2013 Cultural Events Committee at all 34 of the sacred places visited. Moreover, everyone who brought this idea to life, which makes up part of our vision for World Youth Day Rio2013 rooted in Christ´s Heart. May God bless every one of them. Cultural Events / World Youth Day Rio 2013

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ECCLESIASTICAL HERITAGE OF RIO DE JANEIRO To visitors who wish to get to know the city of Rio de Janeiro, a word of advice: be open to the new and novel, be receptive to beauty, and well disposed towards a diversity of experiences. Founded under the sign of the Christian Faith on March 1, 1565, by the Portuguese explorer Estácio de Sá, Saint Sebastian of Rio de Janeiro was built through the efforts of the Portuguese, native Brazilians, and Jesuits. The city, mirrored by the calm waters of Guanabara Bay, was nestled between the blue ocean and verdant mountains. A city-port, merchant center, capital of the colony (1763-1808), head of the Portuguese metropolis (1808-1821), center of power of the Empire (1822-1889), and capital of the Brazilian Republic (1889-1960), Rio de Janeiro´s trajectory has been marked by the presence of the Catholic Church and by the spirituality of its mixed population. Rio de Janeiro´s urban space is dotted with ecclesiastical structures of great importance, not only in religious terms, but also in aesthetic, artistic, and historical terms. From the top of the city´s hills, sacred buildings define the cityscape. In the oldest part of the urban nucleus, originally sandwiched between lagoons, ponds, and beaches, are the essential Monastery of Saint Benedict and the Convent of Saint Anthony, which today can be spotted between the skyscrapers of the financial district. Churches like Our Lady of Mount Carmel, Saint Joseph´s, and the Soldiers´ Holy Cross, for example, define the former Direita Street 6

(now Primeiro de Março Street), at the end of which is the Church of Our Lady of Candelaria, with its towers visible from great distances away. Many churches were built in the heart of the old colonial city, which became one of the major metropolises of Latin America. Churches which refer to events and awaken memories of the cycles of past generations: the Former Cathedral (built in the XVI century and demolished in 1922 with the razing of Castle Hill), Our Lady of the Rosary and Saint Benedict, Saint Lucy´s, Saint Rita´s, Our Lady Mother of Mankind, Our Lady of the Rosary, Most Holy Sacrament, Saint Francis of Paula, Penitent Saint Francis, among others. The churches of Our Lady of Gloria do Outeiro and Our Lady of Penha, traditional colonial sanctuaries are still attended to this day, and contain stories and tales of faith, hope, and charity. In the middle of one of today´s truly cosmopolitan cities, on Avenue of the Republic of Chile, the modern Metropolitan Cathedral of Saint Sebastian was constructed. In the bustling of this busy, festive, and devoted city, urban pilgrims visit churches in search of silence, introspection, and spiritual comfort. Discovering the nuances of the ecclesiastical heritage of Rio de Janeiro involves two aspects: a renewing of faith and a deep experience of culture. Getting to know these chapels, churches, and monasteries, contemplating styles that span from Baroque all the way to Modernism, involves walking alongside history, preserving our memories, and cultivating our spirits, contributing to a more fraternal society. On every street, a church. In every church, a story. In every story, many lives. Prof. Cesar Augusto Ornellas Ramos. Masters´ in Social History from the Federal Fluminense University. Professor and Researcher at La Salle University Center (UNILASALLE-RJ)

JOURNEYS OF FAITH

MOSTEIRO DE SÃO BENTO Monastery of Saint Benedict

Address: Rua Dom Gerardo, 68 – Centro

Architectural design: Exterior – Plain, Interior - Golden and multicolored engravings.

Contact: 2206-8100 Website: http://www.osb.org.br/

Features: Golden and multicolored engravings. Church designed by Friar Bernardo de São Bento: engravings and sculptures by Friars Domingos da Conceição and José da Conceição, Simão da Cunha and Alexandre Pereira.

Type of Church: Monastery Hours open to the public: Daily from 7:00 to 18:00 Mass schedule:

Interesting facts: The 10:00 o´clock Sunday Mass is widely attended due to the Gregorian Chant and the use of incense. The Monastery also runs a high school and a university.

Weekdays: 7:30 – Mass with Gregorian Chant. Sunday Mass: 10:00 – Solemn Mass with Gregorian Chant. 18:10 Divine Office Schedule:

Patron feast days: Journey of Saint Benedict on March 21, Solemnity on July 11.

Laudes (Morning Prayer): Weekdays: 6:45; Sundays: 7:15

Accessibility: Good

Vespers: Weekdays: 18:00; Saturdays: 17:00; Sundays: 17:30

Brief History The Benedictine Order goes back to Saint Benedict of Nursia (480 – 547) and the founding of Subiaco and Monte Cassino, in what is now Italy. Throughout the Middle Ages, the saying ora et labora was attributed to the saint because of his focus on work and prayer. In Brazil, the first Benedictines located themselves in the City of Salvador, in Bahia, in 1582. From Salvador, they left for Olinda in Pernambuco, where they founded their second monastery in the Americas. 9

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In 1590, Friar Pedro Ferraz and Friar JoĂŁo Porcalho founded the monastery in Rio de Janeiro under the patronage of Our Lady of the Conception, which was later changed to Our Lady of Monserrat in 1602. Devotion to Our Lady of Monserrat originated in the Iberian Peninsula, close to Barcelona, where the first Sanctuary was built. Its name comes from the mountainous chain in which it is located. The image represents the Virgin of Monserrat on a throne, bearing a royal scepter, with the Child Jesus on her lap. He holds the globe in his left hand and holds up his right hand in the form of a blessing, and pointing to his Mother as a mediator of graces. Both figures are crowned as they are descended from the Royal Line of David. During the XVI and XIX centuries, the Monastery of Saint Benedict of Rio de Janeiro built its church and monastery complex. From the cloister, the institution grew along the Rio de Janeiro coast and became one of the most important suppliers of sugar and cattle for the Royal Court. In 1827, the Brazilian Province gained its Independence from the Portuguese Congregation, and gave birth to the Benedictine Congregation of Brazil. With the shortage of vocations at the end of the XIX century, the Brazilian Congregation was revived by Benedictines from Beuron in Bavaria, Germany. The German Benedictines began their restoration with the Abbey in Olinda, Pernambuco in 1895, and arrived in Rio de Janeiro in 1903.

Church building Following the aesthetic trends of the period, there is a very noticeable contrast between the austere faĂ§ade and the rich, decorative interior, with engravings from the Portuguese colonial period. Construction on the Abbey of Our Lady of Monserrat began in 1633 and was built by hand by monks, slaves, and free tradesmen, from the very foundations all the way to the ornate decorations. As in the choir loft, the main decorative motif is the acanthus leaf. At the cusp of the altarpiece, there is an image of the Virgin of Monserrat, 10

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surrounded by Saint Benedict and Saint Scholastica. On the roof above the altar, fourteen panels recount the apparitions of the Virgin to saints from the Benedictine Order.

Symbols The altar collumns are garnished with four symbolic figures that mark the transitional space between the presbytery and the churchÂ´s nave. At the level of the cornices, there are two allegorical images: Hope with a cross in the shape of an anchor who secures a ship in port as it awaits its definitive departure for the celestial Jerusalem; and Faith with a chalice of the Blood of Christ who sustains the body and soul of the devoted passengers. Below, close to the columns, there are two angels with torches and shields which mark the Liturgy of the Hours twice a

day. The angel on the right bears on his chest the star that announces the Office of Vespers at sunset. The star is a Marian symbol, a symbol of the transition between the Old and New Testaments, precursor to the splendid dawn that is Christ the Lord. On the chest of the angel on the left, there is the sun, which announces the Office of Laudes, symbol of the Resurrection of Christ as the Sun of Justice. Between the arches that separate the nave from the side chapel, there are twelve figures: four kings symbolizing nobles who built monasteries on their lands or who gave up their thrones to become monks; four Bishops and four Popes. The Bishops, identifiable by their miters and double crosses, symbolizing their moral and spiritual responsibility of those clergy for their faithful. The Popes are represented with a triple crown and cross, additionally representing their episcopal responsibilities as status as regent of the Papal States. The Pope, being an ordained minister, worships God on behalf of the faithful; as a teacher, he teaches the challenge of moral conduct, and as king, he administers the temporal wealth of the Church. There are two side chapels dedicated, one to Saint Ida of Louvain and one to Saint Francisca Romana. Between the benches of the nave and the entrance is the windscreen, which serves to disrupt currents of air that would otherwise extinguish the candles. Under the choir loft, there is a semicircle with an Atlas surrounded by Caryatids, figures who, according to Greek mythology, supported the sky.

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IGREJA DE SANTA RITA Saint Rita´s Church

Address: Largo de Santa Rita s/n - Centro Contact number: 2233-2731 Website: www.matrizdesantarita.org.br Type of Church: Diocesan Church Hours open to the public: Weekdays: 7:00 until 19:00; Saturdays: 8:00 until 12:00; Sundays: 7:00 until 12:00. Mass schedule: Weekdays: 7:00, 7:30, 8:00, 9:00, 9:30, 10:00, 12:15, 18:00 Architectural design: Interior – Rococo, façade – lower section has a Classical style,with the medallion of the patroness over the doors; above the capstone, there is a Baroque pediment, with curves and counter curves. Features: In the sacristy, there are primitive paintings and sculptures of Saint Rita of Cascia and a marble washbasin

imported from Lisbon, with marble breccia and in the center, a two-headed eagle, symbol of the wisdom and dual nature of Christ. Interesting facts: The Parish maintains an active community service program, distributing food baskets to the 150 registered families monthly. The church contains relics of Saint Rita of Cascia and Saint Lenho. It is watched over by the National Historic and Artistic Heritage Institute (IPHAN). Many slaves were baptized in this church, and even the famous Brazilian writer Machado de Assis. The couple who donated the land was buried under the high altar as they had requested. Patron feast day: May 22 Accessibility: Good

Brief History Saint Rita of Cascia is one of the most popular Saints of the Catholic Church. She is known as the Saint of Impossible Causes for her impressive answer to prayer, as well as the notable events of her own life. One of the iconographic representations of Saint Rita is a palm branch with three crowns, symbolizing her triple vocation as wife, mother, and religious sister. Manuel Nascente Pinto and his wife, who were from Porto, were devotees of Saint Rita and brought along a painting and a sculpture of Saint Rita. Both were donated to the Confraternity and installed in the church. In 1751, the bishopric of Rio de Janeiro created the parish of Saint Rita. 15

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Two years later, the Confraternity of the Most Holy Sacrament was instituted and the property of the church was divided between the two organizations to make the organization of various projects easier. The winding pediment and the capstone of the tower date from this time. The Rococo engravings in the interior where completed between 1753 and 1759.

Church building The faĂ§ade is somber, with a neoclassical entrance that replaced the original entrance which featured decorative elements. The left side has a bell tower. The church has only one nave, with four side altars and a long barrel vault above the altar. The church maintains some features from the XVIII century. This includes: Saint Michael, Our Lady of Sorrows, Our Lady of Grace, and Saint Anne with Mary. The high altar bears images the patroness, Saint Rita, as well as Saint AndrĂŠ Avelino, and Saint Augustine, writer of the Rule which Saint Rita followed. Between the arch and the oculus, there is a wooden engraving of a monstrance, referring to the Confraternity of the Most Holy Sacrament. On the second floor, consistory with two altars and a coffered ceiling with paintings relating to Saint Rita.

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IGREJA NOSSA SENHORA DO ROSÁRIO E SÃO BENEDITO DOS HOMENS PRETOS Church of Our Lady of the Rosary and Saint Benedict of Black Men Address: Rua Uruguaiana, 77 – Centro Contact number: 2224-2900 / 2224-0205 Type of Church: Confraternity Hours open to the public: 8:00 to 17:00 Mass schedule: Weekdays: 8:00, 12:00 and 16:00; Saturdays: 12:00 and 1st Sunday of the Month: 15:00. Architectural design: Façade from the XVIII Century, interior was remodeled due to a fire in 1967. Features: What attracts one´s attention are the images of the patrons: Our Lady of the Rosary and Saint Benedict. Museum of Afro-Brazilians.

Interesting facts: From 1737 to 1808, this church was the seat of the Episcopal See. It was the stage for the preparations that led to “Fico” Day (the day that the Prince Regent Lord Pedro announced his intentions to stay in Brazil against the wishes of the Portuguese court. On the church´s façade there is a bronze plaque commemorating the event), as well as the stage for the abolition movement against slavery in Brazil. In the building lay the remains of Master Valentim, one of the most preeminent artists of colonial Brazil. Patron feast day: April 4: Our Lady of the Rosary; October 8: Saint Benedict. Accessibility: Difficult

Brief History Devotion to Our Lady of the Rosary begin with the Dominicans around the year 1200. Thanks to Portuguese missionaries, the devotion spread, even into the Kingdom of the Congo. In Rio de Janeiro, devotion to Our Lady of the Rosary dates back to 1639. The faithful had an image of their patroness in the Church of Saint 19

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Sebastian, on Castle Hill. In 1669, the official Confraternity of Our Lady of the Rosary and Saint Benedict was founded. Our Lady of the Rosary had her devotion spread throughout Europe and Africa by Dominicans and in Brazil by the Capuchins. The Virgin is represented above the clouds with cherubim, holding the Child Jesus in her left arm and a rosary in her right hand. Saint Benedict, a descendent of black Ethiopians, was born in Saint Filadelfo, in Sicily. After living as a hermit, he entered the Franciscan Order as a lay person, living in the Convent of Saint Mary of Jesus, in Palermo, where we acted both as cook and superior. In iconography, he is represented as a youth in a Franciscan habit. Other attributes include a tablecloth in his hands, an apron with flowers, or carrying the Child Jesus in his arms with a mantel. When the Church of Saint Sebastian was about to be made a Cathedral, it was decided to remove the image of Our Lady of the Rosary and to build a special church dedicated to this Marian Title. Thus, work on the building began in 1700, on land donated to the Confraternity on Rua da Vala Street (now Uruguaiana Street). In 1737, as the Castelo Church threatened to collpresbytery, the Seat of the Diocese was transferred to the Church of Our Lady of the Rosary and Saint Benedict, where it stayed until 1808, when the See moved again to the Convent of the Carmelites, closer to the residence of the royal family. At the beginning of the XIX century, the church hosted the Senate twice. The Afro-Brazilians of the parish, in the second half of the XVIII century, celebrated many festivals, and reenacted the Court of the King of the Congo with a parade with the King and Queen, with their whole entourage accompanied by typical music and dance. For many years, this church served as a refuge for run-away slaves, and they brought many symbols of their captivity with them. For this reason, the church is a very important site for the identity of the Afro-Brazilian community of the Confraternity of Our Lady of the Rosary and Saint Benedict of Black Men of the city of Rio de Janeiro.

Church building The church still has the faรงade from the XVIII century, the entrance topped with an image of the patroness. In the XIX century, the church had to be renovated. Beside the church, there is the Museum of AfroBrazilians, a center for popular religiosity, where pieces of the history of slavery are stored, such as texts, instruments of torture, carvings, and iconographic material in general. A special feature are objects used by the slave Anastacia.

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IGREJA NOSSA SENHORA DA CONCEIÇÃO E BOA MORTE Church of Our Lady of Conception and Good Death Address: Rua Buenos Aires, 71 - Centro Contact number: 2252-7488 Type of Church: Confraternity Hours open to the public: Weekdays and Saturdays: from 8:30 until 15:30 Mass schedule: Weekdays: 10:00; Saturdays: 11:45. Architectural design: Construction began in 1735, through the façade has evolved through many consecutive renovations, and features a pediment and bell tower from the XX century, as well as a Rococo high altar. Features: Rococo high altar designed by Master Valentim. Interesting facts: Altar in the form of

a sarcophagus hidden by a rectangular pediment decorated with silver. On the altarpiece, close to the head of the altar, there are two espanholettes with indigenous features. In the past, it was common to celebrate Our Lady of Boa Morte on the 14th of August and then the Assumption the next day. To safeguard the dogma of the Assumption of Mary, the celebration of Boa Morte (Good Death) was suppressed. At the beginning of the XX century, the church had one of its side chapels destroyed due to the opening of Avenue Rio Branco, where work had been done by the Architect René Barba. Patron feast day: December 8: Our Lady of Conceição; August 15: Our Lady of Boa Morte Accessibility: Difficult

Brief History In 1700, there was a small chapel on Rosário Street, at the corner of Miguel Couto Street (formerly Ourives), which belonged to the Third Order of the Penitent Saint Francis, known as the Church of Hospice, which hosted religious persons on their travels. The Church of Saint Sebastian, situated on Castle Hill and the former See of Rio de Janeiro, was also the seat of many Confraternities, among these the Confraternity of Our Lady of Conceição of Black Men, which had existed since 1700. Once transferred to the See, the Confraternity of Black Men obtained authorization to take over that small chapel. 23

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At the Convent of the Carmelites, a group of Brothers and friars in 1734 found themselves at odds with the convent, and they resolved to leave the Carmelites and found another confraternity with the title of Our Lady of Boa Morte. This group based themselves out of the chapel of Our Lady of Conceição of Black Men. They later fused their confraternity with the Confraternity already at the chapel, under the new title of the Venerable Third Order of Our Lady of Conceição and Boa Morte. According to tradition, the Virgin appeared to various persons, affirming her Immaculate Conception and later, after the dogma´s proclamation by Pope Pius IX, she appeared to Bernadette Soubirous at Lourdes saying: “I am the Immaculate Conception.” She is represented on top of the globe, crushing a serpent at her feet – a symbol of original sin – and with her hands folded in prayer. She wears a white tunic and a blue mantel. The moon at her feet links Mary to the Woman of the Apocalypse. The evening star that announces the fullness of the Sun´s light, which is Christ. Generally, images of Our Lady of Boa Morte have her dressed simply. She is represented laying down on a bed or in a coffin, with her hands crossed over her chest.

Church building The first attempt to build the church started in 1738, but because of the lack of financial resources that the Confraternities had, and the falling out between them, it was not finished until 1853. On the somber façade with three doors features the date 1785. In 1916, the door to the bell tower was replaced, according to the trends of the time. The high altar was designed by Master Valentim. The wooden lining of the roof, dating back to 1838, was done by José Mário Trindade.

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IGREJA NOSSA SENHORA MÃE DOS HOMENS Church of Our Lady Mother of Mankind Address: Rua da Alfândega, 54 – Centro Contact number: 2253-0665 Type of Church: Confraternity Hours open to the public: Weekdays: From 7:00 to 15:00. Mass schedule: Weekdays: 7:45 to 12:30. Architectural design: The façade is a simplified version of an ornate Portuguese style and the interior is done in Rococo. Features: The interior decoration is subordinated to the architectural space. The nave is shaped like an elongated octagon. On the high altar, there is an image of Our Lady Mother of Mankind, the altarpiece itself done by Master Inácio

Ferreira Pinto, and on the walls near the altar there are images of the Annunciation on the right and the Assumption on the left. Interesting facts: Devotion to Our Lady Mother of Mankind arrived in Brazil through Brother Lourenço during the second half of the XVIII century. In Rio de Janeiro, the devotion started with a small oratory, as did many confraternities in the city and throughout Brazil. This was one of the locations where Tiradentes took up refuge in Rio de Janeiro just before he was captured. Patron feast day: First Sunday of May Accessibility: Difficult

Brief History Devotion to Our Lady Mother of Mankind arrived in Brazil through Brother Lourenço during the second half of the XVIII century, in the city of Serra do Caraça in Minas Gerais. In Rio de Janeiro, the devotion started with a small oratory, as did many confraternities in the city and throughout Brazil. As the number of the faithful grew, they selected a new location close to the oratory to construct another chapel, on what is now Rua da Alfândega Street. In 1758, the Diocesan Bishop Antônio do Desterro, a Benedictine monk, founded the Confraternity of Our Lady Mother of Mankind, which started the construction of the Church. 27

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Church building The main door of the façade is significantly larger than the side doors, and the pediment features the Virgin crowned with the inscription Stella Matutina (Morning Star). The body of the church is made up of a single nave, where there are four dais and two pulpits. In the presbytery, the Rococo altarpiece with the image of Our Lady of Mankind was constructed by Inácio Ferreira Pinto in 1789. For years, the Confraternity did not have the resources to finish the church. In 1836, the church had to be renovated, such as the painting and gilding, as well as the pulpits, the wooden floor, and the marble surfaces. In 1848, the paintings were redone and the encasing for the image of Our Lady Mother of Mankind was repaired. Features two side altars with Saint Joseph on the left and the Holy Family on the right, both of which are good examples of an austere neoclassical style from the hands of Antônio de Pádua e Castro, from the year 1850. In 1803, the bell tower was renovated and the façade in 1856. In the presbytery, paintings of the four Evangelists, the Annunciation, and the Ascension are featured, by the artist Joaquim Lopes de Barros Cabral in the year 1816.

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IGREJA DE NOSSA SENHORA DA CANDELÁRIA Church of Our Lady of Candelaria Address: Praça Pio X – Centro Contact number: 2233-2324 Type of Church: Confraternity Hours open to the public: From 8:00 to 17:00. Mass schedule: Weekdays: 12:15; Sunday: 10:30 and 12:00. Architectural design: Neoclassical and Art Nouveau. Features: On the frontispiece, there are stained glass windows from Munich, which line the three front doors, sculpted from

bronze by the Portuguese artist Teixeira Lopez and honored by the Universal Exposition of Paris in 1900. The paintings on the ceiling are the work of João Zeferino da Costa. Interesting facts: Widely featured in photographs and paintings because of its monumental size and strategic position, which has made it one of the symbols of the city of Rio de Janeiro. Patron feast day: February 2 Accessibility: Good

Brief History This title of Our Lady of Candelaria originated on Tenerife Island in the Canary Islands. Two shepherds found an image of Our Lady with the Child on her lap in a grotto, surrounded by numerous candles. The residents there began to honor that Lady, and with the arrival of the Christian Spanish near the end of the XV century, they explained that the statue was of the Virgin with Jesus. Our Lady is represented standing with the Child Jesus in her left arm, and with her right hand holding up a candle. A primitive church of Our Lady of Candelaria was built in the XVII century, as the request of the devotees Antônio Martins da Palma and his wife Leonor Gonçalves, as a form of fulfilling a promise they made as they were crossing the Atlantic and ran into a ferocious storm. 31

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Church building The dome and the eight statues that surround it represent the four evangelists (Matthew, Mark, Luke, and John), the three theological virtues (Faith, Hope, and Love) and the last is a personification of the Church in the form of a woman. In the narthex, there is an windscreen whose stained glass depicts Saints Peter and Paul. The work was done by the painters Zeferino da Costa and Henrique Bernardelli. The high altar, the side chapels, and the internal walls are adorned with Carrara marble. In the overlay, there is also the rose of Verona, reflecting Italian influences. The ceiling of the main nave has six large panels by the painter João Zeferino da Costa, which narrate scenes from the history of the church: the departure, the storm, the arrival in Rio de Janeiro, the fulfilled vow, the consecration of the corner stone, the inauguration. The painter also designed panels for the vault the dome the walls, and the choir loft. The church features eight side altars: Our Lady of Conceição, Our Lady of Navigators, Saint Michael, the Most Holy Sacrament, Our Lady of Piety, the Holy Family, Saint Manuel, and Our Lady of Sorrows. The two pulpits are made of marble and were designed by the Portuguese artist Rodolfo Pinto do Couto, in the Art Nouveau style and were consecrated in 1931.

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IGREJA DE SANTA CRUZ DOS MILITARES Church of the Soldiers´ Holy Cross

Address: Rua Primeiro de Março nº 36 Centro

Pombaline, like the churches in Lisbon during that period.

Contact number: 2509- 3878

Features: Rococo altarpieces and engravings by Master Valentim.

Website: www.irmandade.com.br Type of Church: Confraternity Hours open to the public: Weekdays: from 9:00 to 16:00. Mass schedule: Monday, Wednesday, and Friday: 12:30; Saturday: 12:30 (Devotion to the Afflicted Lord). Architectural design: The church´s interior is Rococo and the façade is

Interesting facts: The Confraternity of the Soldiers´ Holy Cross was recognized by Pope Pius XI. This means that prayers in this church receive the same graces and indulgences as if they were performed in Saint Peter´s Basilica in Rome. Patron feast day: September 14 Accessibility: Difficult

Brief History This church began in an old fort, the Fort of the Holy Cross, which was built at the very beginnings of Rio de Janeiro. Later, in ruins, it served as a cemetery for soldiers, and a small chapel was built there. In the XVII century, a larger chapel was built, and maintained by sailors devoted to Saint Pedro Gonçalves Telmo. In 1780, the church was reconstructed through the efforts of Brigadier José Custódio de Sá e Faria. 30 years later, it was consecrated on September 28, 1811.

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Church building It´s façade is Pombaline, with only one tower. The general look is inspired by Italian architecture. There are three altarpieces, two pulpits, a crossed arch, and a choir loft. Along the walls, there are panels which allude to the Passion of Christ. Between 1853 and 1869, the ornamentation had to be renovated under the direction of Antônio de Pádua e Castro. A dais was built in the nave and presbytery, and engravings put around the entrance, with military crests belonging to the Portuguese and Brazilian Empire. The nave is well lit because of the large openings in the ceiling. Important iconographic depictions include Saint Pedro Gonçalves Telmo and Our Lady of Sorrows. On the high altar, there is Our Lady of Piety on a throne, and the Crucified Lord in a sarcophagus. In 1924, the church burned down and the reconstruction was altered in many ways. As a centerpiece of the Passion of Christ, the Cross became a symbol of Faith and Hope. As the patron of the church, the Cross is frequently depicted all throughout the church´s decorations. On the border of the arch that separates the presbytery and nave, there is a depiction of the Holy Face of Christ.

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IGREJA DE NOSSA SENHORA DA LAPA DOS MERCADORES Church of Our Lady of Lapa dos Mercadores

Address: Rua do Ouvidor, 35 - Centro Contact number: 2509-2339 Type of Church: Confraternity Hours open to the public: Weekdays: From 8:00 to 14:00. Architectural design: The frontispiece is a mix of Neoclassical and Baroque elements; the interior is Rococo. Features: The transition between the street and the nave through a set of triple arches.

Interesting facts: There is a legend that, more than a Thousand years ago, a mute girl regained her voice upon finding an image of Our Lady hidden in a grotto in the region of Quintela in Portugal. The chapel built of the site gave rise to the devotion to Our Lady of the Grotto, who welcomes all who are suffering. Patron feast day: September 8 Accessibility: Difficult

Brief History On a key commercial street, near the beginning of the XVII century, there was a small oratory where businessmen would get together to pray to Our Lady of the Grotto. On June 20, 1747, merchants and shopkeepers decided to organize themselves into a Confraternity and to build a church. They managed to buy three buildings, demolish them, and in the same year begin construction on the new church. The stones came from Ilha das Cobras, the granite from the Gl贸ria quarry, and the marble from Portugal. On August 6, 1750, the church was consecrated. The engravings were finished in 1771, as well as the three altarpieces, the arches, and a like dais for the organ, among other items. The current fa莽ade dates from 1869 to 1873, when the presbytery was enlarged.

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Church building Upon entering, one can see the interior illuminated with light coming in through the ceiling. On the high altar, Christ Crucified is invoked under the title of Jesus of Charity, and there is also an image of Our Lady of the Grotto. The paintings on the ceiling are also noteworthy depictions of the Blessed Virgin. The façade is simple, and divides the nave from the street with triple arches, and there are three large doors with marble balconies from Lisbon. A broken pediment features the image of the Coronation of the Blessed Virgin by the Most Holy Trinity. Above the side doors hang images of Saint Adrian on the left and Saint Bernard on the right. Above, there is a triangular pediment, which has a circular clock, and on the sides, sculptures from Portugal of Saint Felix on the right and Saint João da Mata on the left. The bell tower is made from white Italian marble and is topped with a cross on top of the globe. There is an atrium inside with an windscreen decorated with white and blue glass. During the second half of the XIX century, the ornamentation was completed by Antônio de Pádua e Castro, a teacher at the Academy for the Fine Arts. In the dome, there are representations of the four Evangelists: Matthew (an angel), John (an eagle), Mark (a lion), and Luke (a bull). On the high altar, there are paintings of Saint Anthony and Saint Narciso, as well as a depiction of the Coronation of the Blessed Virgin by the Most Holy Trinity. The walls feature four panels with Marian themes. In the circular dome, there are images: the faces of Christ during His Passion, Our Lady of Sorrows, Saints Peter and Paul, a symbol of the Eucharist, the offering cruets, the Lamb and the Tablets of the Law.

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IGREJA DE NOSSA SENHORA DO CARMO - ANTIGA SÉ Church of Our Lady of Carmel (Old Cathedral) Address: Rua Primeiro de Março Centro Contact number: 2242-7766 Type of Church: Confraternity Hours open to the public: Weekdays: from 7:00 to 16:00, Saturdays and Sundays: from 10:00 to 14:00. Weekday masses: 8:00, Saturdays: 10:00 Style: Rococo Features: On the lining of the cceiling over the altar, there is a painting of Our Lady of Mount Carmel giving the Scapular to Saint Simon Stock. It is possible to discern the various influences from the XVIII, XIX, and XX centuries. After a period

of renovation in 2005, the Museum of the Former Cathedral was opened. Interesting facts: As the Royal Chapel, this church was the stage for many important events in Brazilian history, like the consecration of Dom João VI, the coronation of Dom Pedro l, the consecration of Dom Pedro II, the marriages of the Emperors Dom Pedro l and Dom Pedro II as well as the Princess Isabel. From 1900 to 1976, it was the Cathedral of the Archdiocese of Rio de Janeiro. Patron feast day: July 16 Accessibility: Good

Brief History The Carmelite Friars arrived in Rio de Janeiro in 1590 and received as a donation a chapel dedicated to Our Lady of Ó on what used to be Direita Street, which is now Praça XV. They began work on a convent in 1619, and on the church starting in 1761. These religious lived in the convent until the arrival of the Court of Prince Regent Dom João VI in 1808, when they were transferred to a different residence in order to house members of the Royal Family and the Court, as the Governor´s Palace (now the Imperial Palace) could not house everyone. Dom João VI chose the Church of Our Lady of Mount Carmel as the Portuguese Royal Chapel because of its proximity to his residence and 43

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the ease of attending the Divine Office there. In 1808, the Prince Regent signed a charter elevating the Royal Chapel to the position of Cathedral of the See, which it remained until 1976.

Church building When Rua do Cano Street (now Sete de Setembro Street) opened in 1857, the tower and the entrance to the old Convent were knocked down. There was a corridor through which the Royal Family could get to the church to attend liturgical celebrations. The façade has been significantly changed since the XIX century, and it was completed by the Portuguese architect Pedro Alexandre Carvoé in 1822. Though simple in design, there are two Pombaline doors in the façade. The tower was decorated with an image of Saint Sebastian, patron of the city. In the narthex, there is an interior door with the images of Saints Peter and Paul. In the interior of the church, there are impressive Rococo engravings done by Inácio Ferreira Pinto in 1795. He also designed the altarpieces for the side chapels. The church has seven side chapels: Saint Peter of Alcantara (this one was done in Carrara marble and presented to Dom Pedro I), Saint John Nepomuk, the Holy Family, and the Sacred Heart of Jesus. On the walls, there are eight elliptical panels which represent the apostles, as well as the motif of a star, a Marian symbol mentioned in Litanies, as well as a symbol of the Carmelite order. The presbytery was occupied by the Royal Family and members of the Court. The nave was reserved for ladies of the palace.

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IGREJA DA ORDEM TERCEIRA DE NOSSA SENHORA DO MONTE DO CARMO Church of the Venerable Third Order of Our Lady of Mount Carmel Address: Rua Primeiro de Março, s/nº Centro Contact number: 2242-4828 Website: www.igrejanscarmorj.com.br Type of Church: Confraternity Hours open to the public: Weekdays: from 8:00 to 16:00, Saturdays: from 8:00 to 11:00. Weekday Mass schedule: Mondays at 12:00 Architectural design: Pombaline façade. Features: The side altars were designed by Luís da Fonseca Rosa, according to Carmelite iconography, and represent the Passion, done by Master Valentim between the years of 1772 and 1800. The Novitiates’ chapel, built between 1796 and 1797. In the

sacristy, there is an image from the Oratory of Our Lady of the Cape of Good Hope dating back to 1763. Interesting facts: Most of the churches were built due to the popular devotion that grew up in the oratories in downtown. Behind the Church, at 38 Carmel Street (Rua do Carmo 38), we still have one of the few remaining oratories. This particular example is dedicated to Our Lady of the Cape of Good Hope. Patron feast day: July 16 – Our Lady of Mount Carmel; October 15 - Saint Teresa of Avila Accessibility: Difficult

Brief History Constructed by devotees to Our Lady of Mount Carmel, who formed a Confraternity in 1648, the church originates from the Chapel of the Passion of Christ, the first chapel of the Third Order brothers, constructed between 1661 and 1669 under the direction of the Portuguese Manuel Alves Setúbal. On July 16, 1755, the feast day of Our Lady of Mount Carmel, the brothers laid the foundational stone for the new church, on a plot of land neighboring 47

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the Church and Convent of Mount Carmel. Devotion to Our Lady of Mount Carmel began in Palestine, and invokes the memory of the Prophet Elijah on Mount Carmel, in Samaria, where the project Elisha also prayed. In the early days of Christianity, hermits constructed a convent under the protection of Our Lady. The Blessed Virgin is represented with a Carmelite habit: a brown tunic and scapular, with the crest of the Order on the scapular, and with a white veil. In her left hand, she holds tight to the Child Jesus and in the right the scapular that she gave to Saint Simon Stock who is also dressed in a Carmelite habit.

Church building The church was finished in 1768, with a frontispiece typical of Pombaline architecture, the style that define the period of Lisbon´s reconstruction after the earthquake in 1755. In 1761, a medallion was placed over the main entrance, depicting the apparition of Our Lady of Mount Carmel giving the scapular to Saint Simon Stock. The nave is rectangular and has various side chapels. The internal decorations are defined by golden engravings on a light colored background, done at many different times by various engravers: Luís da Fonseca Rosa, Master Valentim da Fonseca e Silva, and Antônio de Pádua e Castro. The side altars were designed by Luís da Fonseca Rosa, who followed tradition Carmelite iconography in his representation of the Passion. The columns’ style links the Chapel to the tomb of Saint Peter, as well as to the Temple of Jerusalem. In the presbytery, an image of Our Lady of Mount Carmel stands at the base of a pyramid which forms an encasing, and on the top, there is Christ Crucified. Close to the encasing, there are devotional images that occupy two niches: Saint Teresa of Avila on the left and on the right a statuette of the three Holy Mothers. Between 1772 and 1800, Master Valentim sculpted many wooden, silver, and stone decorations for the church. The Novitiates’ Chapel was built between the years of 1796 and 1797.

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IGREJA DE SÃO JOSÉ Saint Joseph´s Church

Address: Av. Presidente Antônio Carlos, s/n – Centro Contact number: 2553-4545 / 2231-0630 Type of Church: Confraternity Hours open to the public: Weekdays: from 8:00 to 12:00 and from 14:00 to 17:00, Sundays: from 8:30 to 11:00. Weekday Masses: Tuesdays and Thursdays at 12:00 a Architectural design: Neoclassical, with a smattering of late Baroque.

engravings that cover the walls of the church are a late Rococo style, and were done by Master Simeão de Nazaré, a student of Master Valentim. Interesting facts: The secret of Saint Joseph is hidden behind the altar. This tradition has been passed from generation to generation by the residents of Rio de Janeiro. Patron feast day: March 19 Accessibility: Good

Features: On the high altar, there is a massive image of Saint Joseph. The heavy

Brief History The history of this church goes back to the year 1608, when there was already a stucco hermitage dedicated to Saint Joseph, close to the sea on Rua da Miseridória Street. As at the end of the XVIII century, the church was almost totally in ruins, the confraternity decided to rebuild. In 1808, the project was handed over to Feliz José Muniz, with modifications by the Portuguese architect João da Silva Muniz. Construction was completed in 1824.

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Church building The various façades are marked by pilasters of stone, which provide a stark contrast with the whitewashed outer walls. The interior is made up of the central nave. The engravings which cover the walls of the church are the work of Master Simeão de Nazaré, a student of Master Valentim. The sacristy, simple but well preserved, features jacarandá woodwork. On the high altar, there is an image of Saint Joseph. Behind the altar, there is another image of Saint Joseph on his deathbed accompanied by Jesus and Our Lady. The bells of Saint Joseph´s Church are famous for their high quality sound. The carillon was built in 1883. The entrance to the church is through the padded wooden door. In the interior of the church, there is the tabernacle and baptismal font that belonged to the Church of Saint Sebastian on Castle Hill.

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IGREJA DE NOSSA SENHORA DE BONSUCESSO Church of Our Lady of Bonsucesso Address: Largo da Misericórdia, s/nº Centro Contact number: 2220-3001 Type of Church: Confraternity Hours open to the public: Weekdays: from 8:00 to 15:30 Architectural design: Italian Jesuit Baroque. The nave is covered in late Rococo engravings. Features: In the entrance of the nave, there are three altars and a pulpit. A Stations of the Cross, made up of many panels with their own bases for processions,

reminiscent of the Church of Saint Ignatius, demolished along with Castle Hill. These important Mannerist pieces date back to the end of the XVI century. Interesting facts: Previously, this church was dedicated to Our Lady of Mercy, and the date that it was changed to Our Lady of Bonsucesso (who used to have just a side altar) is still unknown. It is presumed that construction on the new church began around 1705. Patron feast day: June 9 - Father Anchieta; September 8 – Our Lady of Bonsucesso Accessibility: Difficult

Brief History The Church of Our Lady of Bonsucesso was situated at the foot of the Ladeira da Misericórdia Street, which steeply run up Castle Hill, an important historic site from the very foundation of the City of Rio de Janeiro, where there was a church and the Jesuit College. The stretch of the street where the church is located is a remnant of Castle Hill, which was razed in 1922. The church makes up part of the architectural complex of the Holy House of Mercy. Devotion to Our Lady of Bonsucesso began with the arrival of a statue of the Virgin, brought from Portugal. Since 1639, her 55

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feast day has been celebrated on the Sunday following September 8. The first chapel, constructed with local earthen materials, dates back to the founding of the Holy House of Mercy Complex (1582). The current church was built in 1754. At the end of the XVIII century, the façade was accented with rare materials and the pediment which serves as a bell tower as well was further ornamented.

Church building The nave is covered with late Rococo engravings, painted white with golden friezes. The pulpit is XVIII century Baroque, and belonged to the former Jesuit College and has been attributed significant historical importance as it was utilized by José de Anchieta (1517-1570) and Manoel da Nóbrega (1534-1597). On the high altar, whose altarpiece was redone in 1820, there is an image of Our Lady of Bonsucesso just beneath the Resurrected Christ. There is jacarandá woodwork in the sacristy, and a multi-colored marble washbasin (XVIII century), a clock and a small altar for the veneration of Saint Elizabeth, patron of the Holy House of Mercy Complex.

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IGREJA DE SANTA LUZIA Saint Lucy´s Church

Address: Rua Santa Luzia, 490 – Castelo Contact number: 2220-4367 Type of Church: Confraternity Hours open to the public: Weekdays: from 9:00 to 19:00. Mass schedule: Monday from 9:00 until 14:30h, Tuesday: 12:00 Architectural design: The façade presents many Neoclassical features. The three altars were designed by Antônio de Pádua e Castro, the same artist who reconstructed the façade.

Features: The church has an image of Our Lady of Navigators, which was brought by Fernão de Magalhães in 1519. Interesting facts: Behind the altar, there is a Promise Room with an image of Saint Lucy in White marble. Her devotees wash the eyes and face of the statue and then drink that water, believing in its power. Patron feast day: December 13 Accessibility: Good (Enter through the parking lot)

Brief History Devotion to Saint Lucy, virgin and martyr, dates back to the IV or V centuries. She was martyred by a sword which slit her throat for having defended her virginity. Represented wearing noble clothes, she bears the palm of martyrdom in one of her hands and in the other platter with two eyes. A small hermitage dedicated to Saint Lucy was the only building on Piaçava Beach in 1592, which later was named Saint Lucy´s Beach. The first Franciscan friars established themselves on the local for fifteen years. In 1732, the confraternity decided to build a new church close by, on the same beach, with a plain façade that had only one tower and door. In 1872, the church had to be remodeled and enlarged under the direction of Antônio de Pádua e Castro. The two tall towers and the side doors were installed that that time. 59

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Saint Lucy´s Street was opened under the orders of Dom João VI so that he could travel directly in his carriage from the convent to the church in order to both fulfill his obligations and attend mass. For this reason, there is a dais in the presbytery, which was designed for the Royal Family. With the razing of Castle Hill, Saint Lucy´s Beach was filled in, and the spring of water, which was considered a miraculous cure for eye disorders, was lost. Saint Lucy´s Church, the Holy House of Mercy, and the Church of Our Lady of Good Success were the only buildings which survived the demolition of Castle Hill.

Church building The façade presents many Neoclassical features. The three altars were designed by Antônio de Pádua e Castro, the same artist who reconstructed the façade. The church has two side altars, with Our Lady of Navigators on the left, and Saint John on the right, which date back to the XIX century. In a key location in the skyline, Saint Lucy´s Church has been depicted by numerous painters and photographers. Even today, the natural landscape can be seen in a representation which can be found between the nave of the church and the sacristy.

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IGREJA E CONVENTO DE SANTO ANTÔNIO Saint Anthony´s Church and Convent Address: Largo da Carioca s/nº - Centro Contact number: 2262-0129 Website: www.franciscanos.org.br Type of Church: Convent Hours open to the public: Weekdays: from 8:00 to 18:00 Mass schedule: Monday to Friday (except Tuesday): 9:00, 10:00, 11:00, 12:30; Tuesday: from 7:00 to 12:00, 15:00, 17:00, 18:00; Saturday: 9:00 and 11:00; Sunday: 10:00 Architectural design: During the last renovation in 1920, the façade was remodeled into a Neoclassical design. Nevertheless, following Franciscan tradition, the architecture is simple with only the nave and no side chapels. Currently, the façade and the interior are both being repaired.

Features: The wooden statue of Saint Anthony dates back to the XVII century, and stands on the high altar. There are few examples of statues from this period in the city of Rio de Janeiro. Interesting facts: On the church’s façade, there is an image of Saint Anthony of Relento protecting Guanabara Bay. According to legend, the Saint´s intercession allowed the expulsion of the French forces from the city in 1710. Because of this, it received a military pension until 1911. Saint Anthony is known as the Holy Matchmaker. Women who hope to get married, but who seem unable, have recourse to the intercession of Saint Anthony. For this reason, there is a considerable number of single woman who attend the church regularly in search of a husband. Patron feast day: June 13 Accessibility: Difficult

Brief History The first Franciscan friars arrived in Rio de Janeiro in 1592, led by Friar Antônio das Chagas. In 1607, Carmel Hill was donated to the order after neither the Benedictines or the Carmelites would accept the offer. In 1608, the corner stone was laid in a procession lead by the Governor Afonso de Albuquerque. Between the years of 1608 and 1616, work began on the church and 63

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the convent, under the direction of Friar Vicente do Salvador. During the next three years, between 1617 and 1630, work on the church was considered completed. According to the architectural sensibilities of the time, the church entrance features triple arches. The interior also houses three altars, the high altar and two smaller one. Between 1697 and 1920, the church was renovated numerous times.

Church building The church´s architecture features stone pilasters with pyramidal points. There is no bell tower and so the bells were placed in the roof of the convent. The Baroque decoration is restricted to the presbytery, which is totally covered in gold engravings. Saint Anthony is located in the altarpiece for the high altar. For the smaller altars, there are the Immaculate Conception, patroness of the Franciscan Province, which used to be based in Rio de Janeiro but has since moved to São Paulo; and Saint Francis of Assisi, founder of the Order of the Friars Minor. There are paintings which allude to the life of Saint Anthony. On the right, separated by an iron grate, there is the Chapel of Our Lady of Conceição, which belongs to the Order of Penitents. On the balustrade of the choir loft, there are busts of the Franciscan saints who were martyred in Japan. In 1932, a pipe organ from Germany was installed. Behind the church, there is the sacristy, with marble floors and a ceiling pained to tell the story of Saint Anthony: two panels of Portuguese tile, and the walls; the furniture is made of jacaranda wood. There is also a marble washbasin, topped with an allegorical figure of Purity. Adjacent to the sacristy there is a mausoleum, where the sarcophagi of members of the Royal Family who died young: Dom João Carlos Bartolomeu, son of Dom Pedro I and Dona Leopoldina, Dom Antônio and Dom Afonso, sons of Dom Pedro II and Dona Teresa Cristina.

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IGREJA DA VENERÁVEL ORDEM TERCEIRA DE SÃO FRANCISCO DA PENITÊNCIA Church of the Venerable Third Order of the Penitent Saint Francis Address: Largo da Carioca, 5 – Centro Contact number: 2262-0197 Type of Church: Confraternity Hours open to the public: Weekdays: from 9:00 to 12:00 and from 13:00 to 16:00. Architectural design: Baroque Features: The church features an interior full of gold engravings. On the High Altar, the Seraphic Christ bears three sets of wings. A characteristic feature reveals the

handiwork of Manuel de Brito: there are medallions in the centers of the panels that cover the walls. The work of Francisco Xavier de Brito is evident in the decorations on the arches, as well as in the torch-bearing angels. Interesting facts: Behind the church is a new crypt chapel, which used to be the slave’s quarters. Patron feast day: October 4 Accessibility: Good

Brief History In 1619, the Third Order of Saint Francis was established in Rio de Janeiro and located in a small chapel near the convent´s church. In the XVIII century, the old chapel was replaced. Subsequent renovations have changed the original appearance, such as the placement of the tomb of Prince Dom Pedro Carlos de Bourbon e Bragança in the right wall of the chapel in 1817. On the altarpieces, there is, as already stated, the Seraphic Christ, Saint Francis, and Our Lady of Conceição. The walls display paintings of the Four Evangelists. On the ceiling, there is a painting of Our Lady of Conceição. 67

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Church building Construction began in the XVIII century and was completed in 1736. The rectangular nave is rather small. The faรงade is Borrominian Baroque. The coating of the gold engraving was done by Manuel de Brito and Francisco Xavier de Brito, between 1726 and 1743. The church has six side altars dedicated to Saint Yves, Saint Roque, and Saint Elizabeth of Portugal on the left, and Saint Rose of Viterbo, Saint Gonzalo of Amarante, and Saint Vincent Ferrer, on the right. There are two dragons that serve as chandeliers. The floor of the presbytery and the base of the altar are covered with inlayed marble.

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CATEDRAL METROPOLITANA DE Sﾃグ SEBASTIﾃグ E MUSEUARQUIDIOCESANO DE ARTE SACRA Saint Sebastianﾂｴs Metropolitan Cathedral and the Archdiocesan Museum of Sacred Art Address: Av. Chile, 245, Centro Contact number: 2240-2669 Website: www.catedral.com.br Type of Church: Cathedral Hours open to the public: Everyday: From 7:00 to 17:30. Mass schedule: Monday to Saturday at 10:00; Sunday at 11:00.

Features: Four massive stained glass windows, with blues, yellows, reds, and green. A bronze cross hangs over the altar. The Archdiocesan Museum of Sacred Art Interesting facts: A large hanging cross depicts Calvary with Mary and John the Evangelist. Patron feast day: January 20 Accessibility: Good

Style: Contemporary

Brief History The Diocese of Saint Sebastian of Rio de Janeiro was created in 1676, by a Papal Bull from Innocent XI, and was originally based in a church with the same patron that was located on Castle Hill. During three centuries, the Seat was moved around many times to temporary locations. Only in the second half of the XX century would proper Cathedral be built. After the razing of Castle Hill, in 1734 the See was transferred to the Soldiersﾂｴ Holy Cross, where it stayed until 1737. It was then transferred to the Church of Our Lady of the Rosary and Saint Sebastian of Black 71

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Men, and stayed there until the arrival of the Royal Family in 1808. On this occasion, Dom João, the Prince Regent of Portugal and Brazil, transferred the See to the Church of the Carmelite Convent where it remained until 1972. The current Cathedral was built during the Episcopate of Dom Jaime de Barros Câmara and was consecrated by Cardinal Eugênio de Araújo Sales in 1972.

Saint Sebastian, the patron of the city of Rio de Janeiro, was born in Narbonne (France) in 256 and died in 286. We went to Rome to enlist in the Imperial Army. His kindness towards Christian prisoners displeased Emperor Diocletian, who ordered he be shot to death with arrows, which has led to his iconographic depiction. Though dead, he was thrown into a river. He survived both the arrows and the water

and was rescued by Saint Irene. Regaining his strength, he went to Diocletian again, who this time ordered him to be beaten to death. His body was retrieved from the sewers by Saint Luciana who buried him in the Roman catacombs.

Church building The Cathedral rises 75 meters over Avenida Republica do Chile in the form of a cone with a flattened top. The building can accommodate almost twenty thousand people standing. The Cathedral was designed by Professor Edgard Oliveira Fonseca, who collaborated with a team of architects. Outside, the bell tower, inaugurated on July 7, 1985, is clearly visible. A giant cross in stained glass is stretched out on the roof of the church. The architect took his inspiration from Mayan pyramids, though he opted for a circular base to symbolize equidistance and closeness to Christ. The stained glass windows are trapezoids and feature blues, yellows, reds, and green, symbolizing the four main characteristics of the Church: One, Holy, Catholic, and Apostolic. This symbolizes the apostolic mission, whose members are spread throughout the four corners of the Earth, evangelizing and forming one body, whose head is Christ. The cross that floats above the altar, and the sculptures of Saint Sebastian and Saint Ana, another patroness of the Archdiocese, as well as the Door of Faith, with its 48 bronze reliefs, were done by Humberto Cozzo. The sacristy behind the presbytery has an interior covered in white marble with panels representing the missions among native peoples. Between the sacristy and the stained glass window at the back of the church, one can find the chapel with the Blessed Sacrament. On the external walls of the sacristy, there are two niches that contain Our Lady with the Child Jesus and Saint Joseph. Each niche has a small altar directly in front. The Baptismal Font, sculpted from granite, is to the left of the presbytery. Around the church are the fourteen Stations of the Cross, done in bronze relief by Mazeredo. 73

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The Archdiocesan Museum of Sacred Art The Archdiocesan Museum of Sacred Art, organized by the museologist Helena Pav達o, has a diverse collection that exceeds five thousand catalogued objects, including religious: paintings, sculptures, porcelain, silverwork, furniture, and dress. Open to the public: Wednesday from 9:00 to 12:00 and from 13:00 to 16:00. Saturdays and Sundays from 9:00 to 12:00.

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IGREJA DO SANTÍSSIMO SACRAMENTO - ANTIGA SÉ Church of the Most Holy Sacrament (Old Cathedral)

Address: Av. Passos, 50 - Centro Contact number: 2224-0205, 2221-9165 Type of Church: Parish Hours open to the public: Weekdays: from 7:30 to 12:00 and from 14:00 from 17:00, Saturdays from 7:30 to 12:00, Sunday from 8:00 to 12:00. Architectural design: Imposing and sumptuous, typical of Neoclassical architecture.

Features: On the frontispiece, there is a niche with images of Faith, Hope, and Love, the three theological virtues, carved from marble, and above these, there is the Book of the Seven Seals, which represent the Seven Sacraments. Interesting facts: Entering the nave, below the choir loft, there is a baptistery, whose baptismal font is the oldest in the city. Patron feast day: 1st Sunday after Easter Accessibility: Difficult

Brief History The Confraternity of the Most Holy Sacrament was founded between 1567 and 1569, in the former Cathedral of Saint Sebastian, located on Castle Hill. When the Church of Saint Sebastian fell into ruin, the confraternity had difficulty in finding a new space. They dedicated themselves to buying a piece of land in 1816. The project was masterminded by João da Silva Muniz and was consecrated in 1859.

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Church building On the frontispiece, there is a niche with images of Faith, Hope, and Love, the three theological virtues, carved from marble, and above these, there is the Book of the Seven Seals, which represent the Seven Sacraments. The two pointed towers, the work of the architect José Bittencourt da Silva, were completed in 1875. The wide nave is both imposing and sumptuous, both typical features of the Neoclassical style. The nave is covered in engravings by Antônio de Pádua e Castro. At the entrance to the nave, below the choir loft, there is a baptistery, whose baptismal font is the oldest in the city. The church features four side altars: Our Lady of Fatima and Our Lady of Sorrows on the left, and Saint Michael and Our Lady of the Rosary on the right. On the right of the presbytery, there is the chapel of Our Lady of Piety, with an image of the patroness, decorated with rich engravings from the hand of Manuel Narciso de Figueiredo.

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IGREJA DE SÃO FRANCISCO DE PAULA Saint Francis of Paula Church

Address: Largo de São Francisco s/nº Centro Contact number: 2509-0070 / 2509-0069 Type of Church: Parish Hours open to the public: Weekdays: from 9:00 to 12:30. Mass schedule: Weekdays: at 12:00 Architectural design: Following traditional Portuguese architecture, the church has two towers with rectangular bases, side corridors, a presbytery surrounded by a sacristy and a private chapel. The interior is covered in Neoclassical engravings.

Features: The stained glass Windows in the choir loft represent scenes from the life of Saint Francis and are from Munich. In the presbytery, the Rococo engravings were done by Master Valentim da Fonseca e Silva, as was the engraving in the private chapel of Our Lady of Victory. Interesting facts: Historic events that happened within the church: in 1815, a solemn Te Deum was sung to celebrate Brazil´s ascent to become the United Kingdom of Brazil, Portugal, and the Algarves; in 1831, a solemnity to celebrate the signing of the Brazilian Constitution. Patron feast day: April 2 Accessibility: Difficult

Brief History The Venerable Third Order of Friars Minor of Saint Francis of Paula was founded in 1756 by the bishop Dom Antônio do Desterro, and the following year received a plot of land on which to construct a church. In 1759, the foundations were laid for a church that would be inspired by the church of Saint Francis in Lisbon and would be completed in 1801.

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Church building The façade features a curvilinear pediment supported by Tuscan pilasters. The original Baroque entrance was replaced by the current Neoclassical design. The wooden doors were made by Antônio de Pádua de Castro. Surrounding the frontispiece, two towers covered in tile come to pyramidal peaks. The inside of the church is covered in Neoclassical engraving. The central nave is lined by ten Corinthian columns that support the entablature and are heavily ornamented. The church has six side altars, Saint John the Baptist, Saint Francis de Sales, and Our Lady of Conceição on the left, and Saint Joseph, Saint Michael the Archangel, and Our Lady of Sorrows on the right, all created by Antônio de Pádua e Castro. In the presbytery, the Rococo engraving was done by Master Valentim da Fonseca e Silva, as was the engraving in the private chapel of Our Lady of Victory. On the high altar, the image of the patron of the Order is seated on a throne, and the surrounding decorations are predominantly Rococo. The paintings on the walls of the chapel are the work of Manoel da Cunha, a slave who was able to perfect his techniques in Europe and buy his freedom with the money he earned. Historic events that happened within the church: in 1815, a solemn Te Deum was sung to celebrate Brazil´s ascent to become the United Kingdom of Brazil, Portugal, and the Algarves; in 1831, a solemnity to celebrate the signing of the Brazilian Constitution.

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IGREJA DE NOSSA SENHORA DO CARMO DA LAPA DO DESTERRO Church of Our Lady of Mount Carmel of Lapa do Desterro Address: Rua da Lapa, 111 – Lapa

on the high altar.

Contact number: 2242-7251

Interesting facts: There are four altars in the nave, and on one of them is found Our Lady of Lapa, an image dating from the XVIII century and which was in the interior of the Convent from 1810 to 1849. This image is the same one that accompanies the procession on July 16 in honor of the patroness.

Type of Church: Confraternity Hours open to the public: Weekdays: from 7:00 to 19:00. Sundays: from 8:00 to 12:00. Architectural design: The Baroque façade Features: The high altar and the lateral altars were sculpted between 1775 and 1780. At the same time, Master Valentim also sculpted the encasing of the tabernacle

Patron feast day: July 16 Accessibility: Good

Brief History In the XVIII century, the Lapa district was a beach known as Spanish Sands, and the district grew up around the seminary and the chapel dedicated to Our Lady of Lapa do Desterro, both built in 1751. When Dom João VI arrived, the Carmelite friars had to leave the convent of Largo do Carmo, now Praça XV, for the king to live there. They were then given the former Lapa seminary and chapel to live in. In 1810, the image of Our Lady of Mount Carmel was transferred to the chapel and has been on the high altar since then.

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Church building The mastermind of the project in 1751 was the Brigadier and military engineer JosĂŠ Fernandes Pinto Alpoim. The building, however, has subsequently been renovated numerous times, including the tiling of the towers in 1886. The Baroque faĂ§ade features a completed tower on its left and the second tower was left unfinished, waiting for bells to be installed in case it were elevated to a more important status. The high altar and the lateral altars were sculpted between 1775 and 1780. At the same time, Master Valentim also sculpted the encasing of the tabernacle on the high altar.

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CONVENTO DE SANTA TERESA Saint Teresa´s Church and Convent Address: Ladeira de Santa Teresa, 52 Contact number: 2224-1040 Type of Church: Convent Hours open to the public: Weekdays: from 8:00 to 18:00. Sundays and holidays: from 9:00 to 16:30. Mass schedule: Sundays: 8:00, during the week only at 7:00. Architectural design: High altar in rococo style Features: In the entrance hall, dating from the XVII century, there is a strip of tiles along the walls depicting the story of Adam and Eve, and in a small room

beside the wooden cylinder used by the cloistered nuns to communicate with those outside the cloister, there is a very faithful reconstruction of the cell of Mother Maria José de Jesus, who is in the process of beatification. Interesting facts: This is the first convent of the Discalced Carmelites in Brazil and it is the result of the personal efforts of a laywoman, Jacinta Pereira Aires, with the support of the bishop of Rio de Janeiro, in 1750. Patron feast day: October 15 Accessibility: Difficult

Brief History The monastic complex marks the historical profile of the Lapa district. The high, white walls stand up to defend and protect this place of contemplation and devotion, and mark the entrance to Saint Teresa´s Convent. The churchyard offers a privileged panoramic view - from there you can see the Metropolitan Cathedral, the Lapa Arches, Sugarloaf and a beautiful view of Guanabara Bay. In the XVI century, there used to be there a hermitage, founded by Antonio Gomes do Desterro and consecrated to Our Lady of Desterro. The convent was founded by Mother Jacinta de São José and was originally situated at Chácara da Bica and only later was transferred to the present site. 89

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Church building This architectural complex is sober in its decoration, which is limited to the essential stone molding which, in contrast with the white color of the walls, emphasizes the different functions of these elements. The church has only one nave and is decorated in white engraving with gold friezes that frame the high altar in rococo style. On the high altar, there are images of the Holy Family, of Our Lady of Mount Carmel and of Saint Teresa of Avila. In the entrance hall, dating from the XVII century, there is a strip of tiles along the walls depicting the story of Adam and Eve, and in a small room beside the wooden cylinder used by the cloistered nuns to communicate with those outside the cloister, there is a very faithful reconstruction of the cell of Mother Maria JosĂŠ de Jesus, who is in the process of beatification.

JOURNEYS OF FAITH

IGREJA DE NOSSA SENHORA DA GLÓRIA DO OUTEIRO Church of Our Lady of Glória do Outeiro Address: Praça Nossa Senhora da Glória, 135 - Glória Contact number: 2225-2869 / 2285-2600 Website: www.outeirodagloria.org.br Type of Church: Confraternity Hours open to the public: From 9:00 to 17:00. Mass schedule: Sundays at 9:00 and 11:00. Architectural design: The church features a polygonal layout. The portico is formed by three stone arches, with one bell tower attached to the central building. Features: The high altar displays the image of Our Lady of Glory holding the Infant

Jesus in her arms, wearing rich vestments, with a scepter and a silver crown. The side walls of the nave and of the high altar are decorated with panels made of tiles, which were done between 1735 and 1740. There is a Museum of the Confraternity in front of the church. Interesting facts: During the feast of the patroness in August, the ceremony of the Changing of Vestments occurs, when a group of ladies (Our Lady’s maids) dress the image with new vestments. Patron feast day: August 15th Accessibility: Good

Brief History In 1567, there was a battle between the French and the Tamoio Indians versus the Portuguese on the hillside of Outeiro Uruçumirim, now called Gloria, where Estácio de Sá was mortally wounded. In 1671, Antonio de Caminha, a hermit, built a small chapel dedicated to Our Lady of Glory; this chapel, on the hillside, was easily seen by navigators when entering Guanabara Bay. Between 1714 and 1739 the small chapel was replaced with a church which took a long time to complete, and coincided with the founding of the Confraternity of Our Lady of Gloria do Outeiro. Behind the church there is a Museum of Sacred Art, open to visitors. Besides the excellent location and the popular devotion connected to 93

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the church, the Church of Our Lady of Glory was very important in the history of Brazil’s monarchy, since the arrival of Dom João VI from Portugal in 1808. In this church, the Regent Prince’s first-born, Princess Dona Maria da Gloria, whose name references the church, and, later on, Pedro, Dom Pedro I’s son who would later become emperor, were baptized, as well as many members of the royal family.

Church building The church has a polygonal layout, formed by two interlaced octagonal prisms, and was built by the military engineer Lieutenant-Coronel José Cardoso Ramalho. Although architecturally magnificent, the church transmits a nearly austere simplicity. 94

The portico is formed by three stone arches, with one bell tower attached to the central building. At the bottom of the tower there is a porch, made of Lioz marble. At the main entrance, there is an image of Our Lady of Glory. At the entrance to the nave there are two holy water fonts, made from Lioz marble during the second half of the XVIII century. The side walls of the nave and of the high altar are decorated with tile-panels, made between 1735 and 1740. They are monochromatic drawings, based on the book Song of Solomon, from the Old Testament, representing Shulammite, a shepherd and an angel surrounded by garden scenery. Between 1740 and 1745, the tile-panels of the choir were completed, depicting characters from the Old Testament with landscape scenery in the background. The church has two side altars representing Saint Gonรงalo on the left and Saint Maurus on the right. The engravings on the altars correspond to a transitional period between Rococo and Neoclassical and were done at the end of the XVIII century and the beginning of the XIX century. The silver lamps on the three altars were donated by the emperor Dom Pedro II and date from the XIX century. Under the transept arch, there is the emblem of the Empire, which emphasizes the close relationship between the monarchy and the church.

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BASÍLICA DE SANTA TERESINHA DO MENINO JESUS Basilica of Saint Thérèse of the Child Jesus Address: Rua Mariz e Barros, 354 Tijuca Contact number: 2569-8904 Type of Church: Basilica Hours open to the public: Weekdays: from 8:00 to 19:00. Saturdays from 7:00 to 17:00. Sundays: from 7:00 to 19:00. Mass schedule: Weekdays: 7:00, 8:00 and 18:30; Saturdays at 7:00, 8:00 and 16:00; Sundays at 7:00, 8:30, 10:00, 11:30 and 18:30. Architectural design: The façade is Romanesque.

Features: It has panels that represent the life of St. Thérèse and passages from the Bible, as well as thirteen stained glass windows. The ceiling of the presbytery displays a painting of Saint Thérèse. Under the altar with a Relic of St. Thérèse, there is also a relic of St. Justin. Interesting facts: On a side altar, there is a relic of St. Thérèse of the Child Jesus, and on the 30th day of every month, there is a blessing given with the relic at all the Masses. Patron feast day: October 1st Accessibility: Difficult

Brief History In 1920, a group of Carmelite Fathers arrived in Rio, after a year acquired a building belonging to the Baroness of Itacuruçá in an auction. The converted the parlor into a chapel dedicated to Our Lady of Mount Carmel in 1921. In 1924, they began construction on a new church. In 1925, the year of her canonization, the church was consecrated. In 1927, the church was then elevated by Pope Pius XI to the rank of Basilica - the first in Rio to receive this honor. 97

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Church building The style is Romanesque. The façade consists of three vertical pillars, and the lateral ones are slightly shorter, though connected to the center by large volutes. The pediment features sculptures of angels. An interior door separates the atrium from the nave; two columns support the choir, with a beautiful organ. The nave has a vaulted ceiling, which is divided into three parts, of which the central section is the largest. Eight pillars divide these sections, four on each side. The third pillar to the left has an octagonal pulpit made of marble, with images in relief on each side. It has panels that represent the life of St. Thérèse, and passages from the bible, as well as thirteen stained glass windows On the left side of the nave, there is a space with a screen that features images of Our Lady of the Immaculate Conception and St. Justin, as well as a relic of St. Thérèse. Then there is a confessional and an altar with the Sacred Heart of Jesus and St. Margaret Mary Alacoque, and afterwards, a confessional with images of St. Anthony flanked by two doors, one leading to the Chapel of the Infant Jesus of Prague, with two angels and an image of St. Thérèse, where there are also stained glass windows. On the right side of the nave, there is an altar of Our Lady of Fatima, a confessional and an altar with a statue of St. John of the Cross, and then an altar to St. Joseph In the presbytery, there are two more side altars: on the left, Our Lady of Mount Carmel with St. Vincent on her left and Saint Sebastian on her right. On the other side, there is the altar of St. Teresa of Avila, with Saint Zita to her left and Saint Paul to her right. The altar features several panels. Saint Thérèse is located in a marble niche. On the side, there are two Corinthian columns supporting a pediment. The altars are made of Carrara marble; the windows are the work of the artist Cavaliere Formenti.

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IGREJA DE NOSSA SENHORA DA GLĂ&#x201C;RIA Church of Our Lady of Glory Address: Rua das Laranjeiras, s/n Laranjeiras Contact number: 2225-0735 Type of Church: Church Hours open to the public: Weekdays: 7:00 to 18:00. Saturdays: 7:00 to 17:00. Sundays: 7:30 to 20:00. Mass schedule: Weekdays: 17:00 and 18:00, Saturdays: 15:00 and 17:00, Sundays: 7:30, 9:00, 10:30, 12:00, 17:00, 18:30, and 20:00.

by stained glass windows and a baptismal font with symbols of Sacrament. Inside, there is a life-sized sculpture of the Last Supper. Interesting facts: Behind the pediment there is a terrace with marble sculptures in the four corners, which depict Faith, Hope, Charity and Religion. Patron feast day: August 15th Accessibility: Good

Architectural design: Neoclassical Features: A baptismal chapel surrounded

Brief History In 1834, Parish of Our Lady of Glory was created. Antonio Joaquim Pereira de Velasco founded the Confraternity of the Blessed Sacrament of Our Lady of Glory in 1835. The cornerstone was laid in 1842, in a ceremony presided over by Bishop Manuela de AraĂşjo and accompanied by Dom Pedro II, who received the title of Perpetual Patron of the Confraternity.

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Church building The faรงade, with columns, a pediment and a wide staircase, is one of the most typical yet rare examples of Neoclassical religious architecture, designed by the engineers Koeler Julio and Carlos F. G. Riviere, who were inspired by the church of Saint Martin in the Fields, in the city of London. Relying on the donations of the faithful, the church was finally opened in 1872. The tower, located behind the pediment, was added to the original design in the XIX century. The nave features Neoclassical decorations. The church has six side altars: to the right, Saint Michael the Archangel, Our Lord of the Agony, and the Sacred Heart of Jesus, and to the left, Saint Joseph, Our Lady of Head, and Our Lady of Sorrows. On the high altar, there is an image of Our Lady of Glory in a large encasing.

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BASÍLICA DA IMACULADA CONCEIÇÃO Basilica of the Immaculate Conception Address: Praia de Botafogo, 266 Botafogo Contact number: 2551-5048 Type of Church: Minor Basilica Horário de abertura e das Missas: Every day from 7:00 to 18:00. Architectural design: Neo - gothic Features: The church has various stained glass window; the high altar features images of Saint Catherine Labouré kneeling at the feet of Our Lady of the Miraculous Medal on the right, Saint Margaret Mary adoring the Heart of

Jesus in the center, and Saint Bernadette contemplating the Immaculate Conception on the left. The windows on the left side of the nave represent scenes from the lives of Jesus, Mary and Joseph; the windows on the right of the nave represent scenes from the life of Jesus. Interesting facts: Currently, the tomb of Odette Vidal (Odetinha), who is in the process of beatification, is located in the church. Patron feast day: December 8th Accessibility: Good

Brief History In 1886, construction began on the Chapel of the Immaculate Conception College (of the Vincentian Sisters, Daughters of Charity of St. Vincent de Paul), and was completed in 1884. In 1892, the chapel was inaugurated. In 1960, the Parish of the Immaculate Conception was created. In 2002, the church was elevated to the status of the Minor Basilica of the Immaculate Conception.

Church building The church has a Neo-Gothic style and was inaugurated in 1881, designed by Father Clavelin. Its façade, formed from a single block, is divided into three segments by pillars, and the top is ornamented with pinnacles. The entrance features lancet arched elongated into voussures, 105

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and the side windows are also framed by elongated lancet arches. The door, as well as the windows, are topped by triangular pediments. Above the door´s pediment, there is a rosette window . Over the pediment of the door is a rosette depicted the twenty-four persons consecrated to the Heart of Jesus, characteristic of this style. The pyramid topped tower rises above the church and is crowned with a cross, and in the center, it displays a niche with a sculpture of Jesus. On the door, there is woodwork of a crucifix over a flaming heart with the inscription Charitas Christ Urget Nos (Charity in Christ compels us); a little further down there are two angels on each side. At the entrance, we can find the interior door made from wood with lancet arch stained glass, with an image of the Virgin Mary in the center and with sacred symbols around the sides. The nave is divided by arches supported by marble columns, iand in between are the side altars. The walls and the presbytery are interspersed with thirty-two stained glass windows. The high altar features images of Saint Catherine Labouré kneeling at the feet of Our Lady of the Miraculous Medal on the right, Saint Margaret Mary adoring the Heart of Jesus in the center, and Saint Bernadette contemplating the Immaculate Conception on the left. The windows on the left side of the nave represent scenes from the lives of Jesus, Mary and Joseph; the windows on the right of the nave represent scenes from the life of Jesus. One of the church’s side altars feature a life-size Sacred Heart of Jesus from France. There is also a wooden confessional and a decorative marble pulpit.

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IGREJA DE SANTO INÁCIO Saint Ignatius’ Church

Address: Rua São Clemente, 226 Botafogo

Hours open to the public: Weekdays: 7:00 to 19:00. Saturdays: 7:00 to 19:00. Sundays: 7:00 to 20:00.

Features: The windows above the altars depict the saints to whom the church is dedicated. There is a stained glass window by the choir loft of Ignatius being carried by soldiers when wounded at the siege at Pamplona, 1521. This is where he encountered God, leaving the vanities of this life behind to follow Christ.

Mass schedule: Weekdays and Saturdays: 7:00 and 18:00; Sunday: 8:00, 11:00, 18:00 and 19:15.

Interesting facts: Underground crypt with the remains of Jesuits who died in Rio de Janeiro.

Architectural design: Romanesque and Mannerist

Patron feast day: July 31st

Contact number: 3184-6200 Type of Church: Parish

Accessibility: Good

Brief History The Society of Jesus was founded by St. Ignatius of Loyola with the mission of serving the church however necessary. In 1773, the Pope suppressed the activities of the Society. Schools and residences were closed. It was just restored in 1814 by Pope Pius VII. In Brazil, the Society of Jesus is spread over three provinces and two regions. In Rio de Janeiro, the order administers Saint Ignatius’ School, the Pontifical Catholic University (PUC), the Retreat House Padre Anchieta and the Residence John XXIII. With the construction of Saint Ignatius’ School on Saint Clement Street, which began in 1909, the Parish was also born. It was blessed by Cardinal Arcoverde in 1912, even before construction as finished. In 1931, the altar was consecrated. It was completed in 1935 and was renovated in 1960. 109

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Church building It has architectural features typical of both the Romanesque and Mannerist styles, the high and side altars make a cross shape. The columns of the nave create space for the side altars. The windows above the altars depict the saints to whom the church is dedicated. There is a stained glass window by the choir loft of Ignatius being carried by soldiers when wounded at the siege at Pamplona, 1521. This is where he encountered God, leaving the vanities of this life behind to follow Christ. The dome bears frescos of the Four Evangelists: Matthew, Mark, Luke, and John. The walls of the nave are decorated with liturgical references and symbols of the Society of Jesus. On the high altar: inspired by one of the main churches of Rome, there is the image of Saint Ignatius wearing traditional vestments for Mass, with eyes looking up to the Lord, an attitude of conformity to His will. Below there is a niche with a reliquary with relics of Saint Ignatius as well as other Jesuit saints. Above, there are two angels with the Society’s motto: Ad Maiorem Dei gloriam - For the greater glory of God. Altars: Sacred Heart and Our Lady of Victory, St. Margaret Mary Alacoque (1647-1690); Blessed Inácio de Azevedo and colleagues (called martyrs of Brazil), St. Francis Xavier (1506-1552); the Pietà and Descent from the Cross; at the altar of Blessed José de Anchieta (15341597), the cement relief is different from the rest of the church, laid in 1980, the year of Anchieta’s beatification. Altar of the three lilies of the Society: John Berchmans (1599-1621), Luiz Gonzaga (1568-1591) and Stanislaus Kostka (1550-1568), these saints died when they were students. Their lives are examples of moral behaviour and conduct. Altar of Saint Joseph, Saint Anthony and Saint Thérèse, saints of popular devotion.

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IGREJA MATRIZ SÃO JOÃO BATISTA DA LAGOA Church of Saint John the Baptist of Lagoa Address: Rua Voluntários, 287 - Botafogo

Interesting facts: In the beginning of the XX century, was installed the pipe organ, which is considered one with the best sounding in Rio de Janeiro.

Contact number: 2226-2926 / 2266-6897 Type of Church: Parish

Patron feast day: June 24th

Hours open to the public: Weekdays: 7:00 to 18:00. Saturdays: 8:00 to 19:00. Sundays: 8:00 to 12:00.

Accessibility: Good

Estilo: Neoclassical Features: The church has a Neo-classical style.

Brief History The parish community of Saint John the Baptist of Lagoa used to be housed in the Chapel of Our Lady of Conseption, next to the Rodrigues de Freitas Lagoon since 1732, but in 1826, the chapel collpresbyteryd and it was transferred to an even smaller chapel, the chapel of Saint Clement. In 1831, Joaquim Batista de Leão donated a piece of land on the new Saint Joachim Street, and the foundations were laid that same year. The chapel was consecrated in 1836. In 1958, with the extension of Voluntarios da Patria Street, the Vicar of that year decided to demolish the church and rebuild another one. The side altars, the Chapel of the Blessed Sacrament and the wooden altarpiece in late Rococo style, disappeared. Then, the dome cracked and the façade began to bend. There was a protest by the community, and the parish priest was replaced by Father Arlindo Thiessen, who 113

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saved the church, and in 1967 the building was restored.

Church building The church has a Neo-classical style. It is situated looking over the street, with a staircase in front of the façade. It was built from a single block, decorated with Ionic columns and a triangular pediment crowned by a cross. Bordering the frontispiece surmounted by crosses and arched windows on all four sides. The church has a central entrance and two doors on each side with windows above them. As soon as you enter, there is a wooden interior door with a stained glass depiction of the Sacred Heart of Jesus on the left and the Immaculate Heart of Mary on the right. On the left side is the Baptistery, there are representations of Jesus’ baptism, in high relief. On the right, a staircase leads to the choir loft, which houses a pipe organ. There is a single nave, with five openings on each side to the corridors, with three galleries above them. The nave’s ceiling is decorated with five stained glass windows on each side, adorned with Ionic columns. In the lateral corridors, there are niches with images of various saints. On the left, Saint Sebastian, Saint Thérèse and Saint Joseph, and to the right, Saint Anthony, preceded by two confessionals. The transept arch is decorated with floral motifs, and in the presbytery, the roof is similarly decorated, and further features a skylight. The church has two side altars, on the left, Our Lady of Sorrows and on the right, Saint Michael. On the central altarpiece, Agnus Dei is carved in relief formed by fluted Ionic columns. At the center, there is an image of Saint John the Baptist, with a crucifix on top and a golden tabernacle below; on the left, an image of the Sacred Heart of Jesus, and on the right of Our Lady of the Conception 114

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BASÍLICA DO IMACULADO CORAÇÃO DE MARIA Basilica of the Immaculate Heart of Mary Address: Rua Coração de Maria, 66 Méier Contact number: 2501-3553 Type of Church: Minor Basilica Hours open to the public: Weekdays: 7:00 to 20:00. Saturday: 7:00 to 18:00. Sunday: 8:00 to 20:00. Mass times: Weekdays: 7:00, 10:00 and 19:00. Saturdays: 7:00, 10:00 and 17:00. Sundays: 7:00, 8:30, 10:00, 18:00 and 20:00.

Features: Building in Neo-Moorish style, singling it out from the other churches of Rio de Janeiro, with its interior full of stripes interrupted by large arches. Interesting facts: Building in Neo-Moorish style, singling it out from the other churches of Rio de Janeiro, with its interior full of stripes interrupted by large arches. Patron feast day: August 8th Accessibility: Good

Architectural design: Neo-Moorish

Brief History The first Claretian missionary priests from the Iberian Peninsula arrived in Rio de Janeiro in 1907 and occupied the place now called “Morro de todos os Santos”. They were chaplains of the Sisters of Our Lady of Sorrows School and settled with the purpose of building a church. They bought land in the neighbourhood of Meier in 1908, and in 1909 the foundations were laid. The blueprint was designed by Spanish architect and urbanist Adolfo Morales de los Rios. The church is one of the only churches in Brazil built in the Neo-Moorish style. In 1912, the first part of the Church was opened and in 1914, the priests took up permanent residence. In 1917, the rest of the church was opened, but only in 1924 was construction finally completed.

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Church building The façade is rectangular with three arched doorways, and features a bell tower with a pyramidal point topped with a cross. The bell tower also houses three clocks, the space was made for bells, but they were never installed. It has two entrance doors that are made of jacaranda wood. On the inside of the church, there is a narthex below the choir, which contains a large organ and a baptismal font with images of Jesus’ baptism. The nave is shaped in the form of a Latin cross, with two side arms before the presbytery. The walls are decorated with colourful mosaics. The ceiling is striped, though these parallel designs are intersected by large arches. The church has four side altars, with each one featuring three images. To the left: Our Lady of Fatima, the Infant Jesus of Prague, and Our Lady of Mount Carmel; Saint Michael, Our Lady of Aparecida and Saint Thérèse; Our Lady of Sorrows, flanked by two angels; the Holy Family. To the right, Saint Vincent, Our Lady of Peace, and Saint Anthony; Saint Gerard, Saint George, and Saint Zita; Saint Maria Goretti, Our Lady of the Conception, and Saint Agnes; Saint Anthony Mary Claret, flanked by two angels. On the left arm of the nave’s Latin cross, there is an altar dedicated to the Sacred Heart of Jesus, with images of Saint Margaret Mary Alacoque on the left and Saint Teresa of Avila on the right. And on the opposite side, there is an altar to Saint Joseph with Saint Jude on the right and Saint Sebastian on the left. On the high altar, there is an image of the Immaculate Heart of Mary, inside of a Moorish decor canopy, suspended by four columns. Above it, there hangs a golden crown.

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SANTUÁRIO NACIONAL DE NOSSA SENHORA DA PENHA DE FRANÇA National Sanctuary of Our Lady of Peñafrancia Address: Largo da Penha,19 - Penha Contact number: 2501-3553 Website: www.santuariopenhario.org.br Type of Church: Marian Sanctuary Mass schedule: Weekdays and Saturdays: 8:00. Sundays: 8:00 and 17:00. Architectural design: An eclectic design with a Rococo interior and a Neo-Gothic frontispiece. Features: 365 stairs lead up to the church. Many faithful fulfill their promises of thanksgiving for a favor received by climbing the stairs on their knees.

built in 1635 as a hermitage and serves as the formative element of the surrounding neighborhood of Penha. A Portuguese man named Baltazar de Abreu Cardoso was visiting the area one day when he encountered a snake. He cried: “Save me, Our Lady.” At that moment, a lizard appeared and attacked the snake. Moved by this miracle, Baltazar ordered a small chapel to be built on the site, which would become the current sanctuary. Patron feast day: October Acessibilidade: A tram provides transport up the hill to the church, making it easily accessible for everyone.

Interesting facts: Penha is one of the four most important churches in Rio. It was

Brief History The devotion to Our Lady of Peñafrancia originated in Europe, dating back to the XV century. According to Father Colunga in his book Nuestra Señora de Peña de Francia, on May 19, 1434, a French pilgrim named Simon Vela discovered an image of Our Lady on a mountain called Penha of France, located in a mountain range of the same name, near Salamanca. Simon Vela first built a small hermitage, which was later turned into 121

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a large church. The devotion spread to Portugal, and was brought to Brazil by Portuguese immigrants. The earliest record in Brazil dates back to the Franciscan monk Pedro Palácios, in Espírito Santo in 1535. The sanctuary in Rio de Janeiro makes Rio the second city in Brazil to have a sanctuary dedicated to Our Lady of Peñafrancia.

Church building The front of the sanctuary is Neo-Gothic in style, with two immense marble pyramids supporting the bell towers. There is a single nave, with a single high altar decorated with symbols in stucco. A skylight illuminates the interior, along with two crystal chandeliers. On the high altar, there is the patroness of the church: Our Lady of Peñafrancia. In the sacristy, there is an altarpiece from the XVIII century which includes an image of Our Lady of the Rosary from the XVII century. A limestone basin further embellishes the sacristy. In a separate area is the baptistery, where a baptismal font in the shape of a large shell stands. At the base, there are depictions of the baptism of Christ. The church stands at an altitude of 69 meters, facing the sea. 382 steps were carved from the living rock to make the entrance to the church. Now, in these days of modern technology, there is a tram station at the base of the hill to carry the faithful directly to the famous sanctuary.

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THE ECCLESIASTICAL HERITAGE OF NITEROI The cities of Rio de Janeiro and Niteroi have intertwined histories. Both were founded during conflicts between the Portuguese and the French for control of Guanabara Bay during the second half of the XVI century. On the east side of the bay, referred to as the “red barriers of the band from beyond,” Jesuit fathers founded the settlement of São Lourenço dos Índios (Saint Laurence of the Indians), uniting natives of the Temimino tribe led by chief Arariboia. A chapel dedicated to Saint Laurence served as a focal point for the residents. This was the first formal habitation of the area now known as the City of Niteroi. The chapel can still be visited on foot, at the top of Morro de São Lourenço (Saint Laurence Hill). Reconstructed three times, it still stands as a jem of Jesuit architecture in Brazil. The settlement of the region of Praia Grande developed during the XVII and XVIII centuries as sugar cane plantations and other large farms sprouted up in the area. The area contains various chapels. Notable old parish headquarters include São Lourenço dos Índios (Saint Lawrence of the Indians), São Sebastião de Itaipu (Saint Sebastian of Itaipu), São João Batista de Icaraí (Saint John the Baptist of Icaraí) and São Gonçalo do Amarante (Saint Gonzalo of Amarante), all centers around which the growing populations revolved. Chapels like those of São Domingos (Saint Dominic), Nossa Senhora da Boa Viagem (Our Lady of the Good Journey) e de São Francisco Xavier (Saint Francis Xavier) were not just sacred, spiritual locations for the inhabitants, but served as observation

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posts for navigation and refuges against enemy attacks. They were both places of prayer and bulwarks of defense. In 1819, at the initiative of the King of Portugal, Dom João VI, several parishes were united in the area of Vila Real da Praia Grande, which were formed in 1835 into the Imperial City of Niteroi, capital of the Province of Rio de Janeiro. As Niteroi entered the XVIX century, great churches such as Igreja de Nossa Senhora da Conceição (Our Lady of Conception) and the Catedral de São João Batista (Cathedral of Saint John the Baptist) were constructed, serving as sacred monuments of great religious and artistic relevance that demonstrate the historical importance of the city. The pilgrim can explore this ecclesiastical heritage, enjoying the unusual and rich experiences on both spiritual and cultural terms. For example at São Lourenço dos Índios (Saint Lawrence of the Indians) and at São Francisco Xavier (Saint Francis Xavier) the visitor encounters indigenous tradition and colonial Jesuit history; on the Island of Boa Viagem the dazzling views meet with the touching silence of the simple chapel perched above the sea; at the Church of Nossa Senhora da Conceição (Our Lady of Conception) the long stairs and baroque ornamentation speak of one of the oldest local devotions; and the windows of the Cathedral of São João Batista (Cathedral of Saint John the Baptist) contemplate the growth of the city, now a financial district. Many surprises await the visitor on this journey, including the peculiar architecture of the Basílica de Nossa Senhora Auxiliadora (Basilica of Our Lady Help of Christians), with its Neo-Gothic and Neo-Byzantine design inspired by Bossan. East and West meet in the arches and vaults of this oft-cited church, evoking messages of tolerance, dialogue and peace among men. Let us journey with an attentive gaze, an open mind, and a serene heart. 125

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CATEDRAL METROPOLITANA SÃO JOÃO BATISTA DE NITERÓI Saint John the Baptist´s Metropolitan Cathedral Address: Praça D. Pedro II, s/n, Centro, Niterói - RJ Contact number: 2620-2529 Website: www.catedraldeniteroi.com.br Type of Church: Cathedral Hours open to the public: Weekdays: 8:00 to 18:00. Saturday: 8:00 to 14:00. Mass schedule: Monday, 18:30. Tuesday through Friday: 7:00, 12:15, and 18:30. Saturday 16:00 and 18:00. Sunday: 7:00, 10:00 and 18:30.

Architectural design: Baroque Features: Furnishings of the era, organ, sacred images. Interesting facts: On Tuesdays at 6:30, the Mass is dedicated to Saint Anthony and there is a distribution of blessed bread to the faithful after the celebration. Patron feast day: June 24th Accessibility: Difficult.

Brief History The first reference we have to the construction of a chapel to Saint John the Baptist in Niteroi comes from the XVII century. It refers to a chapel built in Icaraí, around 1644, on a hill called Morro da Pedra, near the current Rua Gavião Peixoto in the Icaraí neighborhood. After the founding of Vila Real da Praia Grande by the Portuguese Monarch, Dom João VI, in 1819, the seat of the parish of Saint John the Baptist was transferred to the chapel of Our Lady of Conception, a XVII century church on a hill in the area of Praia Grande, which was more accessible to the outlying areas of Icaraí. 127

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In the construction plans for Vila Real da Praia Grande, dating to 1820, there is a proposal to build a mother church to be located on land donated to the Brotherhood of Saint John the Baptist. The work began in 1821, with the church consecrated in 1831. When Vila Real da Praia Grande was elevated to the category of Imperial City of Niteroi and capital of the Province of Rio de Janeiro, in 1835, the building of a new church was considered. In 1842 the foundations of the new Mother Church of Saint John the Baptist were laid on Largo do Rossio, and the old church was demolished a few years later in 1849. The solemn consecration of the new church building occurred on Easter Sunday in 1854, with the enthronement of sacred images on June 24th of the same year in the presence of Emperor Dom Pedro II and the Empress Dona Teresa Cristina.

Church building Built with somber lines inspired by neoclassical design, the mother church of Saint John the Baptist was, for many decades, the most prominent building in central Niteroi, with the two quadrangle towers visible from points around the city. A great bronze bell was installed in one of the towers in the XVI century, and is called João Suíço in honor of a generous donor. When the bishopric of Rio de Janeiro was elevated to an Archbishopric, after the bull Ad universas orbis ecclesias by Pope Leo XIII in 1892, the same papal document also created the bishopric of Niteroi, with its seat in the Church of Saint John the Baptist. During the armed revolt of 1893-1894 (known as the Revolta da Armada) the city of Niteroi was frequently under bombardment; the seat of the bishopric was therefore temporarily transferred out of the city in 1895, returning to Niteroi in 1907. The Church of Saint John the Baptist became the Cathedral of Niteroi by decree on February 25, 1908.

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IGREJA DE SÃO LOURENÇO DOS ÍNDIOS Chapel of Saint Lawrence of the Indians Address: Praça General Rondon, s/n, São Lourenço, Niterói - RJ Contact number: 2722-3709 Type of Church: Chapel Hours open to the public: Visits must be arraigned with the Secretary of Culture. Mass schedule: Sunday at 9:30. Architectural design: Jesuit Features: The wooden altarpiece was

considered by architect Lúcio Costa to be the most beautiful example of Brazilian Jesuit art. Interesting facts: Cannibalistic indigenous people, who had the custom of consuming Europeans they captured, lived in the region. For this reason, they wanted to dedicate the church to Saint Lawrence. Patron feast day: August 10th Accessibility: Difficult

Brief History At the peak of the hill of São Lourenço, between the Fonseca and Santana districts of Niteroi, we find the chapel of Saint Lawrence of the Indians, one of the oldest Brazilian colonial chapels, a true landmark of the foundation of the present city of Niterói. It was originally constructed of mud bricks around 1570, in the lands of the Jesuit indigenous settlement of São Lourenço, according to correspondences from Father Gonçalo de Oliveira. Saint Lawrence was a deacon of the Church. In 257, he was ordered to hand over the riches of the Church under his care. Lawrence assembled the faithful poor and needy, and presented them as the goods of the Church. He was martyred in 258. In 1578, at the suggestion of Jesuit Father Brás Lourenço, the chapel was reconstructed and in 1586, it underwent considerable expansion, having been the location of the The Auto of Saint Lawrence, a catechetical theatrical piece developed by the Jesuits, which is considered to be one of the first plays every performed in Brazil. 131

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The chapel of Saint Lawrence was elevated to the category of parish in 1758. After the expulsion of the Society of Jesus from Portuguese domains in 1759, the same chapel passed to the ownership of the bishopric of Rio de Janeiro. With the creation of the Royal Villa of Praia Grande in 1819, the local parishes were removed from the city of Rio de Janeiro. São Lourenço, based on the famous chapel, was expanded to encompass the boundary of the new small town along with the parishes of Saint John the Baptist of Icaraí, Saint Sebastian of Itaipu and Saint Gonzalo of Amarante. Amongst the famous visitors who left us descriptions of the chapel of Saint Lawrence of the Indians from the XVIX century, we can point out German naturalist Maximillian, Prince of Wied-Neuwied, who visited the indigenous settlement in 1815, in addition to the Emperor Dom Pedro II, who went on pilgrimage to Saint Lawrence in 1841 and 1854, during official visits to Niterói. In front of the church, in General Rondon Plaza, there used to be an old churchyard, the cemetery of the ‘caboclos,’ in the exact place where there were ‘tibicuera,’ - holy ground where the indigenous peoples buried their dead in great clay urns, called ‘camocins.’ Because of this, the area is considered an important archeological site.

Church building In 1627, at the site of the old mud-brick chapel, a new church [made] of limestone was built, in the Jesuit style, with a single nave, choir loft above the entrance and triangular pediment. In the interior of the same church, a baptismal font of Lioz limestone was installed, in addition to a pulpit for preaching. The original floor was made of tiles of baked clay, and the transept arch was covered with wood. The building featured a sacristy with a Lioz limestone washbasin, in addition to the bell tower with two side bells. However, the lime light of the building fell on the Baroque altarpiece, representative of the first phase of Jesuit altarpieces (1620-1670), finely carved out of Brazilian woods (cedar and cinnamon), richly coated with gold, and with an image of the martyr Saint Lawrence. According to the architect and urbanist Lúcio Costa, this altar is one of the best relics of Jesuit art in Brazil. 132

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BASÍLICA DE NOSSA SENHORA AUXILIADORA Basilica of Our Lady Help of Christians Address: Rua Santa Rosa, 207, Santa Rosa, Niterói - RJ Contact number: 2715-3350 Website: www.bnsaniteroi.com.br Type of Church: Basilica Hours open to the public: Monday through Saturday, from 8:00 to 11:00 and from 15:00 to 20:30; Sunday, from 8:00 to 11:30 and 15:00 to 20:30. Mass schedule: Monday through Friday, 6:30, 7:30, and 19:30; Saturday, 6:30, 7:30, and 17:00; Sunday, 7:30, 10:30, 17:30, and 19:30.

Features: Sacred images, a magnificent organ, furniture of its time and Carrara marble sculptures. Interesting facts: At the Sunday morning Masses, the Liturgy is accompanied by the sound of the magnificent organ. At 7:30, the organ is electronically controlled; at 10:30, a priest gives a live performance. Patron feast day: May 24th On the 24th of every month, the two morning Masses are dedicated to the patroness. Accessibility: Good

Architectural design: Gothic, with Arabian influences.

Brief History A Catholic church dedicated to Our Lady Help of Christians, æque principalis patroness of the Archdiocese of Niterói. The origins of the church goes back to a small chapel built at the suggestion of Salesian Father Miguel Borghino in 1884, on the grounds of the Salesian Santa Rosa College, founded on July 14, 1883. The Salesian fathers belong to the Society of Saint Francis de Sales, founded in 1859 in Italy, by John Melchior Bosco (1815-1888), a great devotee of Our Lady Help of Christians, who was canonized by Pope Pius XI, on April 1, 1934. The Marian invocation of Our Lady Help of Christians was originated in the XVI century. On October 7, 1571, under the protection of the Virgin 135

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Mary, a Christian armada overcame the armada of the Ottoman Turks, in the celebrated naval battle of Lepanto, on the outskirts of Greece, defeating the Muslim power in the Mediterranean Sea. From this battle, popular devotion gave rise to the expression Our Lady helped Christians in battle, in defense of the Catholic Faith. In commemoration of the Marian Year and the 4th centennial of the discovery of Brazil, the Salesian fathers began the construction of a monument to Our Lady Help of Christians, on the peak of Watchtower Hill, behind the Salesian College. The principal of the College, Father LuĂs Zanchetta, laid the cornerstone of the monument on May 3, 1890. Authored by Salesian Father Domingos Delpiano, the project of NeoGothic and Neo-Byzantine inspiration features strong influences from the French architect Pierre Bossan. With a pedestal of four sides made from Brazilian marble, and measuring six meters high, the monument features a column of twenty-eight meters, which supports an image of the Virgin Mary in oxidized copper, measuring six meters and weighing around two tons, having been modeled after a similar image in Munich (Germany). The monument was blessed on December 8, 1900, by Bishop D. Francisco do Rego Maia. Access to the monument, privileged viewpoint, was was via an incline, but today it has ceased operations.

Church building On December 8, 1901 the cornerstone of the basilica, which would be constructed in place of the old chapel, was laid. Construction of the new church was headed by the Salesian Father Domingos Delpiano, who also lead the building of the Monument to Our Lady Help of Christians, reproducing Neo-Gothic and Neo-Byzantine aesthetical features. Inspired by the magnificent structures of the Basilica of Notre Dame of FourviĂ¨re in Lyons (France), erected between 1872 and 1876, and based on the work of architect Pierre Bossan (listed by UNESCO as [Intangible Cultural] Heritage of Humanity), Father Domingos Delpiano developed an intricate and complex design, combining different styles, resulting in an unparalleled work in the context of religious architecture in Brazil. The work was concluded on December 24, 1918. On May 30, 1920, the 136

blessing of the marble coat of arms on the façade of the church took place, with the Vatican Basilica coat of arms, which was added to the sanctuary by Cardinal Dom Sebastião Leme. The floor plan of the sanctuary is based on the Latin cross, with a principal nave and main chapel. The two designed side chapels were not completed. Endowed with eight side altars and a high altar built entirely from Carrara marble, the Basilica of Our Lady Help of Christians had its bell tower constructed in 1932, during the administration of Father Paulo Consolini. On September 12, 1950, Pope Pius XII elevated the church to the rank of basilica. In 1954, Father Virgínio Fistarol acquired the pipe organ for the Basilica of Our Lady Help of Christians. Such an instrument, the best organ in Latin America and the fifth in the world of its kind, was ordered from Fabbrica D’Organi Giovanni Tamburini, in the city of Crema (Italy), and has five keyboards and a pedalboard with 32 notes and 134 registers, in addition to 11,130 pipes. The basilica organ was dedicated on April 16, 1956, with a recital by maestro Angelo Germani, the organist at Saint Peter’s Basilica (Rome).

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IGREJA DE SÃO FRANCISCO XAVIER Chapel of Saint Francis Xavier Address: Avenida Quintino Bocaiúva, s/n, São Francisco, Niterói - RJ Contact number: 2711-1670 Website: www.paroquiasaofranciscoxavier. org Type of Church: Chapel Hours open to the public: Monday through Friday from 8:00 to 17:00; Saturday from 8:00 to 11:30.

baked clay. There are two sun clocks with the insignias from 1587 and a jacaranda chest of drawers with the date of 1696 engraved in wood. Interesting facts: The chapel is an important piece of a historical heritage of architectural and landscape beauty, marking the presence of the Jesuits around Guanabara Bay. Patron feast day: December 3rd Accessibility: Difficult.

Mass schedule: Monday at 7:30. Architectural design: Jesuit Features: The wooden pulpit and the staircase are original. The baptismal font was made by indigenous people from

Brief History Situated on the peak of a knoll, between São Francisco and Charitas beaches, the chapel of Saint Francis Xavier is one of the oldest in the Niterói municipal district. It was built at the end of the XVII century, on the Hacienda do Saco, originally property of Mateus Antunes, who had acquired the property from the heirs of Martim Paris in 1659 and sold it to the Society of Jesus. Saint Francis Xavier was born on April 7, 1506 in the Castle of Javier, on the region of Navarre, Spain. He was ordained priest and entered the Society of Jesus on June 24, 1536. Around 1542, he received the mission of evangelizing in Goa (India). He preached at Cape Comorin, 139

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converted the Paravas and baptized thousands of indigenous people in Travancore. In 1548, he traveled through the Maluku and Ceylon Islands, while continuing his mission. In 1549, he landed in Japan, confronting local resistance to the Gospel with humility and determination. In 1551, he tried to start preaching in China, however, he became gravely ill and died on December 3, 1552. Canonized in 1621 by Pope Gregory XV, Saint Francis Xavier was considered a cofounder of the Society of Jesus, alongside Saint Ignatius of Loyola and was proclaimed Apostle of the East and Patron of the Missions by Pope Pius X in 1904. The Jesuits paid tribute to Saint Francis Xavier and erected, on the Hacienda do Saco, a chapel in his honor. After the publication of a document in 1759, expelling the Society of Jesus from Portuguese domains, the Crown confiscated the Jesuits’ goods, and, in 1869, sold the chapel and its adornments to the Rio de Janeiro provincial government. After the proclamation of the Republic (November 15, 1889), a division between Church and State occurred. Thus, in 1892, the chapel of Saint Francis Xavier at that time became subordinate to the Parish of Our Lady of the Immaculate Conception of Jurujuba until 1913. In 1929, Dom José Pereira Alves, Diocesan Bishop of Niterói, entrusted the chapel of Saint Francis Xavier to the fathers of the Congregation of D. Orione, Little Work of Divine Providence, founded in 1899, in Italy, by Luigi Orione (1872-1940), canonized by Pope John Paul II in 2004.

Church building A chapel was constructed between 1662 and 1696, with limestone masonry, with a single nave and lateral pulpit. The façade is crowned by triangular pediment and a small bell-tower crowned by volutes. On the exterior walls there are two sun clocks with the insignias of the Society of Jesus. In the interior of the church there is a ceramic baptismal font influenced by indigenous aesthetics. In the Sacristy we can find a chest of drawers with the date 1696 engraved in wood. The old bronze bell features the inscription: “Founded in 1587 and refounded in 1948.”

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IGREJA NOSSA SENHORA DA CONCEIÇÃO Church of Our Lady of the Conception Address: Rua da Conceição, 216 – Centro – Niterói, RJ Contact number: 2717-0154 Type of Church: Confraternity Hours open to the public: Tuesday to Saturday from 8:00 to 12:00 and from 14:00 to 17:00; Sunday from 8:00 to 13:00 Mass schedule: Tuesday at 19:00, Saturday at 16:30 and Sunday at 11:00

Interesting facts: The feast of Our Lady of Conception is one of the largest religious festivals in Niterói, attracting thousands of people to the top of the sacred hill each year. Several robes were made for the image of Our Lady of Conception, which are used to change her adornments. Patron feast day: December 8th Accessibility: Difficult

Style: Baroque Features: Contains a sacred art museum with a relic of the Holy Cross.

Brief History Built around 1660 on a hillside located at the end of the old Rua Direita da Conceição (formerly called Caminho de São João Datista de Icaraí and today’s Rua da Conceição), this chapel was a work of devotion by Antônio Correia de Pina, a pardo man, popularly known as Pai Correia. After walking around the Praia Grande region for many years and begging from devotees of the Blessed Virgin Mary, Antônio de Pina built the first chapel on the top of the hill. With an increasing number

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of pilgrims, on August 27th, 1671 the Brotherhood of Our Lady of Conception was founded. The chapel then received a donation of 200 fathoms of land from Gastão Soares de Souza and his wife Maria Soeiro Soares de Souza, descendents of the cacique Araribóia. Our Lady of Conception is an old Marian invocation, enshrined by popular devotion to the Virgin Mary present in Europe since the VII century. It refers to the doctrine of the Immaculate Conception, which affirms that Mary was conceived without original sin; she was conceived holy, full of grace. In 1640, the King of Portugal João IV would consecrate his reign to the Immaculate Conception. Such devotion arrived in colonial Brazil in 1549 through the missionary work of the Capuchin Friars Minor in the state of Bahia. On December 8th, 1854 Pope Pius IX proclaimed the doctrine of the Immaculate Conception, reaffirmed in 1858 by the apparitions of the Virgin to the peasant Bernadette Soubirous in Lourdes, France. Wealthy estate families from the Parish of Saint John the Baptist of Icaraí and the people from Saint Dominic of Praia Grande frequented the chapel of Our Lady of Conception. On the founding of Vila Real da Praia Grande in 1819, by the order of the King of Portugal João VI, a Te Deum Laudamus, a solemn Mass in thanksgiving for the creation of the villa, was celebrated in this chapel. By the first half of the XIX century, the Church of Our Lady of the Conception had become the main Catholic church in Vila Real de Praia Grande, being located on the villa’s limits. Between 1839 and 1854 it was Niterói’s main church during the construction of the Catedral de São João Batista (Cathedral of Saint John the Baptist). In 1850, the Bishop of Rio de Janeiro elevated the Brotherhood of Our Lady of the Conception to Confraternity.

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Church building Located at the top of a magnificent set of stairs near Hospital Santa Cruz, the church’s façade is a great example of its Baroque inspiration. It features a robust tower with a pyramidal finish. A tile panel representing the Virgin Mary tops the main door. Inside the church, you can see its nave with a barrel vault and a small skylight. Around the altar you will see chairs made from carved wood. To the right of the main nave there is a side chapel. The church has an impressive art collection, the core of the Museum of Sacred Art of the Arquiconfraria de Nossa Senhora da Conceição (Arch-confraternity of Our Lady of the Conception). The steeple of the Conception is the highest in the city center.

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IGREJA NOSSA SENHORA DA BOA VIAGEM Church of Our Lady of Boa Viagem

Address: Ilha da Boa Viagem, Niter贸i, RJ Contact: www.escoteirodomar.org Type of Church: Chapel Mass schedule: Every fourth Sunday of the month at 10:00.

an image of Our Lady of Good Journey. It was rebuilt several times, resulting in the loss of some initial characteristics. It was almost completely destroyed due to a fire. Patron feast day: August 15th Accessibility: Difficult

Architectural design: Built in the XVII century. Colonial style. Structure built from granite with a simple interior.

Interesting facts: The main altar contains

Brief History Located on the Ilha da Boa Viagem (Good Journey Island), near the Gragoat谩 Fort on the coast of Niter贸i, the chapel was originally built in 1650 by the order of the Portuguese nobleman Diogo Carvalho da Fontoura. From the beginning, the chapel was a destination for pilgrimages and processions organized by fishermen and sailors who sought divine protection during their journeys across the ocean. Our Lady of Boa Viagem is an ancient invocation of the Virgin Mary from the Iberian Peninsula. As early as the XIII century, Portuguese sailors sought the protection of Our Lady of Good Journey, protector of 147

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travelers in general and of sea travelers in particular. One of the oldest chapels dedicated to such devotion was built in near Lisbon in 1618. Devout fishermen would offer their prayers for safe journeys through stormy and choppy seas or thanked the Virgin after long, dangerous journeys. Devotion to Our Lady of Boa Viagem arrived in Brazil in the XVII century with the construction of chapels in the states of Bahia and Pernambuco, besides this famous chapel on the Ilha da Boa Viagem (Good Journey Island), in Guanabara Bay, Niterói. Due to its strategic location, the chapel performed three key functions throughout its history: a sacred destination, one of the Bay’s observation points, and a fortified point against possible invaders. In 1711, during the attacks that resulted in the capture of city of Rio de Janeiro by French buccaneer René Duguay-Trouin, the chapel was set on fire, resulting in its total destruction. With the goal of rebuilding the old church, a brotherhood was founded in 1718 and it carried our the reconstruction project, which was finished in 1734, which still stands as the current structure. Many travelers visited the chapel throughout the 19th century including Emperor Pedro II in 1854. The chapel was portrayed in photographs, paintings and engravings that described the travelers’ stories. In 1860, and again in 1893, the colonial church endured two further fires - the second one being caused by bombardment by the Naval Artillery during the Revolta da Armada (1893-94). This revolt occurred when part of the Brazilian Navy rebelled against the government of Marshal Floriano Peixoto, the President of the Republic at the time. Since the late XIX century, painters fascinated with its bucolic and colorful landscapes frequented the Ilha da Boa Viagem (Good Journey Island). In 1883 Bavarian painter Johann Georg Grimm, one of the forerunners of the so-called Brazilian landscape art movement and mentor of painter Antônio Diogo da Silva Parreiras, visited Boa Viagem and documented his impressions of the island in valuable paintings. Restored in 1909 by the Sociedade Protetora dos Homens do Mar (Society for the Protection of Seamen) with the direction of architect Thomas Driendl and in 1934 by the community of the Saint Dominic´s

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Parish headed by Fr. Luís Arnaud and by Admiral Benjamin Sodré, one of the founders of Brazil’s Scout movement. The chapel was declared a National Heritage site by Brazil’s SPHAN in 1938. Our Lady of Boa Viagem has been administered by the Apostolate of Our Lady of Boa Viagem since 1946 with the help of the Scout group “Gaviões do Mar,” headquartered on the island since 1937.

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Foto: Pedro Kirilos_Riotur

CHRIST THE REDEEMER WITH ARMS WIDE-OPEN Address: Rua Cosme Velho, 513 Cosme Velho

the Redeemer is the most famous statue in the world.

Contact number: 2558-1329

Features: At the base of the statue, there is a Chapel of Our Lady of Aparecida, the patroness of Brazil.

Website: www.corcovado.com.br Type of Church: Sanctuary Hours open to the public: Every day from 8:30 until 18:30.

Interesting facts: Christ the Redeemer was chosen as one of the seven modern Wonders of the World in 2007.

Architectural design: Art Deco. Christ

Accessibility: Good

Brief History Christ the Redeemer is a religious sculpture of Jesus Christ with his arms wideopen. The statue is 30 meters high and the pedestal 8 meters high. It is situated at the Tijuca National Park on the top of the Corcovado, 710 meters above sea level. The construction of the monument began in 1926, and was designed by the engineer Heitor da Silva Costa. It was inaugurated on October 12, 1931. For the occasion, His Holiness Pope Pius XI sent his greetings to Cardinal Leme, making him the official Papal representative at the inauguration. It offers a spectacular view of the city of Rio de Janeiro from all angles. For the 75th anniversary of Christ the Redeemerâ&#x20AC;&#x2122;s on October 12, 2006, the Archbishop of Rio de Janeiro of the time, EusĂŠbio Sheid, declared it an official Catholic Sanctuary of Brazil. Christ the Redeemer is one of the most visited sites in Rio de Janeiro and is a symbol, not only of Rio, but also of all of Brazil. The Church or Chapel of Our Lady of Aparecida is located at the feet of Christ the Redeemer, in the base of the statue, and is modern minimalist in style (no adornments). In this chapel, Mass is celebrated every day at 11:00. 151

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GLOSSARY Vault (Architecture): Arched masonry in which the elements that make up the arch (stones, bricks, etc.) rest against each other, providing a covering over the enclosed area. High Altar: Altar that is located at the front of a church´s main nave. Crossed Arch: The arch that separates the nave, or the transept from the presbytery or the choir loft, traversing the axis of the building´s construction. Art Nouveau: This is an artistic style that was born in France in the 1890s. It spread throughout Europe, the United States, and other countries, including Brazil. This artistic style influenced many different artistic spheres, including design, architecture, decorative and graphic arts, and furniture design. It remained popular in the art world until the end of the 1920s. Atrium: The space between the doors to the street and the stairs or door that lead to the interior of the church. Baroque: An architectural and literary style inspired by the Counterreformation, and that developed throughout the XVI (second half), XVII (Golden Age), and XVIII (decline) centuries, with the evolution of the Hispanic Renaissance. Presbytery: Main chapel of a church. Fluminense: Someone who was born or resides in the State of Rio de Janeiro. Pediment: This is a triangular architectural feature that normally decorates the top of a building´s main façade, constructed with two essential parts: the base and the two slanted sides of the triangle. This feature originated in classical Greco-Roman architecture. 152

Frontispiece: The front of a monument. Galilé: This is the gallery between the frontispiece and the door to the nave present in some churches. Confraternity: A group of individuals formally united around a shared spirituality, usually lay people. Jacaranda: The name of some similar tree species from the pea Family, whose wood is frequently used to make furniture and engravings. Lióz: White, hard limestone. Master Inácio Ferreira Pinto (1765 – 1828): He was an engraver and architect who worked in Rio de Janeiro during the colonial period. Between 1785 and the second decade of the XIX century, he completed various gold engravings in a Baroque and Rococo style, for numerous churches in the city, such as the Monastery of Saint Benedict (presbytery, Chapel of the Blessed Sacrament), The Church of the Convent of Carmel (high altar, side altars, Chapel of Our Lady of Passos), Saint Teresa´s Convent (various altars), and many others. A contemporary of Aleijadinho and of Master Valentim, he was one of the best sculptors in the city at the end of the colonial period. Master Valentim (1745 – 1813): Sculptor, engraver, architect, and urban planner. He belonged to the Confraternity of the Mestizos of Our Lady of the Rosary and Saint Benedict. Between 1779 and 1790, he was the chief planner for the public infrastructure of the city of Rio de Janeiro, building sanitation and water supply infrastructure, as well as urban beautification projects. He decorated the Church of the Third Order of Our Lady of Carmel; he made engravings and sacred images for the Churches of Our Lady of Conceição e Boa Morte, Saint Peter of Clerics, the Soldiers´ Holy Cross, and the Third Order of Friars Minor of Saint Francis. Narthex: Space at the entrance of the nave, opposite the altar. Nave: The part of the church situated between the atrium and the altar, and between the supporting columns and the vault. 153

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Neo-Renaissance: A style that features influences from the Renaissance. Neo-Classical: This is an artistic movement that, from the end of the XVIII century, reacted against Baroque and Rococo and revived the aesthetic principals of Classical Antiquity, which peaked around 1830. This movement was not limited to the arts, but was more generally a cultural movement, reflecting the social changes that occurred during the period, particularly the rise of the bourgeois. Windscreen: A wooden structure just inside the entrance to a church that impedes the flow of air into the church and stops winds from snuffing out the candles. Pinnacle: The highest point of a building (building, tower, etc.). Pombaline: An architectural and decorative style relating to the Portuguese statesman Sebastião José de Carvalho e Melo, the Marques of Pombal (1699-1782). After the devastating earthquake in Lisbon, Pombal ordered the reconstruction of Lisbon´s downtown. Rococo: This is an artistic style that flourished in Western Europe and was preeminent during a greater part of the XVIII century, near the end of the Baroque and the beginning of the Pre-Romantic styles. This style is characterized by its extreme ornateness. Helix: A spiral decoration on the top of a column. Mannerist (style): This was an artistic movement between 1515 and 1610, between the Renaissance and the Baroque. It is characterized by its metaphorical nature and the smoothness of its painting and sculpture. Virtuoso and surprising architecture. Outside of Italy, it was not very well known, which is why it is usually considered a category and not truly a style.

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BIBLIOGRAPHY BARATA, Mário. Igreja da Ordem 3ª da Penitência do Rio de Janeiro. Rio de Janeiro Agir S/A, 1975. CARVALHO, Orlindo José. Church buildings Católicos do Rio de Janeiro. Ed. Vozes ltda. 2009. CAVALCANTI, Nireu. O Rio de Janeiro Setecentistas: a vida e a construção da cidade, da invasão francesa até a chegada da corte. Rio de Janeiro Jorge Zahars Editora Ltda., 2004. COARACY, Vivaldo. Memórias da cidade do Rio de Janeiro: quatro séculos de história. Rio de Janeiro, Documenta Histórica Editora, 2008. IGREJA DE NOSSA SENHORA DO CARMO. História e Restauração. Prefeitura da cidade do Rio de Janeiro, Fundação Roberto Marinho, 2009. IGREJA DO MOSTEIRO DE SÃO BENTO DO RIO DE JANEIRO. Texto Mateus Ramalho Rocha. RJ:Studio HMF, Lúmen Christi, 1992. MAZEREDO- Arte na Catedral. Ed. Loyola, SP, 2003. OLIVEIRA, Myriam Andrade Ribeiro. Barroco e Rococó nas Igrejas do Rio de Janeiro. Brasília, DF: Iphan/Programa Monumenta,2008, vols. 1,2 e3. ZARUR, Dahas. Igreja de Nossa Senhora do Bonsucesso, da irmandade da Misericórdia. Rio de Janeiro, 4ª Ed.1997.

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CREDITS

Local Organizing Committee of World Youth Day Rio2013 Dom Orani João Tempesta

Archbishop of Rio de Janeiro and President of the WYD Institute

Dom Paulo Cezar Costa

Vice-President of the WYD Institute

Dom Antonio Augusto Dias Duarte

Assisting Bishop of Rio de Janeiro and Vice-President of the WYD Institute

Mons. Joel Portella Amado Secretary General

Cônego Marcos William Bernardo Director of Cultural Events

Gustavo Costa Ribeiro Manager of Cultural Events

Elsa Vázquez

Secretary General of Cultural Events

Paula Andrea García García Religious Tourism Coordinator

Mirian Passos Correia Religious Tourism Volunteer

Maria Fátima Carazza de Faria Historic Church Tours Volunteer

Editors Paula Andrea García García D. Mauro Murilo Maia Fragoso, OSB Peter Cahill (USA) Danielle Danowski (USA) Katharina Monika Walkowski (Poland) Contributors D. Mauro Murilo Maia Fragoso, OSB Professor Márcia Valéria Teixeira Rosa Professor Marli Assis Martins Masters Professor Cesar Augusto Ornellas Ramos Maria Fátima Carazza de Faria Researches Professor Márcia Valéria Teixeira Rosa Professor Marli Assis Martins

Masters Professor Cesar Augusto Ornellas Ramos Fatima Carazza Revision Marcelo Padilha Mirian Passos Correia Maria Fátima Carazza de Faria Professor Márcia Valéria Teixeira Rosa Translaters Peter Cahill (USA) Maria Odette Marinho (Brazil) Thais da C. Rocha (Brazil) Nailton P. Oliveira (Brazil) Ona Kiser Emily Kasky (USA) Ernesto Reyes Hernandez (USA) Design Gustavo Huguenin (Brasil) Filipe Teixeira (Portugal) Hayla de Deus (Brasil) Photograhy Alex Santana Mazullo Angélica dos Santos Rocha Edilson Silva Pinto Fernanda Lima Lopes Isabely Fernander Martinho Jonas de Faria Pavão Ronaldo de Freitas Corrêa Frei Roger Brunório GLP

"Go and make disciples of all nations!" (Mt 28:19)