Here stands the Convento de Santo Antônio a testament to Rio’s colonial past. The Igreja Santo Antonio is more than just a church. It is a journey through time.
Let’s step back to 1592. Franciscan friars arrived in Rio de Janeiro. They first stayed near Praia de Santa Luzia. Later, in 1607, Governor Martim de Sá gifted them a hill. This hill was named Santo Antônio. Construction of the Igreja Santo Antonio and convent began in 1608.
The first mass was held in 1615. The Igreja Santo Antonio wasn’t fully complete until 1620. Frei Francisco dos Santos was the initial architect. Several Franciscan architects contributed to the design.
The Igreja Santo Antonio’s location is significant. It sits on top of Santo Antônio hill. It overlooks Largo da Carioca. This area was once a lagoon. The Franciscans drained it. This solved issues with bad smells and mosquitoes. The drain became Rua da Vala, now Rua Uruguaiana.
Look closely at the Igreja Santo Antonio’s facade. It was expanded between 1697 and 1701. Originally, it had a galilee with three arches. In the 1700s, baroque portals replaced the arches. These portals are made of lioz stone. Above the portals are three windows. A neo-colonial frontispiece topped these. A 1920s renovation introduced it. The original triangular frontispiece has since been restored.
Inside the Igreja Santo Antonio is a simple rectangular space. The main chapel features gilded carvings. These date from 1716 to 1719. They represent a late Baroque style. Twisted columns adorn the main altar. Painted panels depict the life of Santo Antônio.
To the right is the chapel of the Third Order of São Francisco. Its carvings are from a later period. Near the entrance are busts of the Eighteen Martyrs of Japan. These honor Franciscan friars martyred in Japan in the 1600s. Two terracotta images represent the birth and death of São Francisco de Assis.
The convent has changed over time. Most modifications occurred in the 1700s and 1800s. The facade facing Largo da Carioca features windows. A large cornerstones sits at the corner of the convent. Inside is a square cloister. The friars still use it.
The porter’s lodge dates from 1779 to 1781. It features a statue of Santo Antônio. Above the lodge is a stone belfry with three bells. The convent lacks a bell tower.
The sacristy is the most remarkable part of the convent. It was built around 1714. Many consider it the most beautiful in Rio de Janeiro. Carved cabinets decorate it. Portuguese tiles adorn the walls. The ceiling has Baroque moldings and paintings of Santo Antônio. The floor features Portuguese marble mosaics. A jacarandá wood chest is signed by Manuel Alves Setúbal.
Near the sacristy is a Portuguese washbasin. It is carved from Estremoz marble. This room now holds a jacarandá table. Frei Francisco de Santa Teresa de Jesus Sampaio owned it. He was a leader in Brazil’s independence. The declaration read by Dom Pedro was drafted on this table.
The Igreja Santo Antonio also has catacombs and a mausoleum. Several historical figures are buried here. These include members of the Brazilian Imperial Family.
One famous Franciscan linked to the Igreja Santo Antonio is Frei Vicente do Salvador. He co-founded the convent. He also authored one of the first books on Brazil’s history.
Another key figure was Frei Francisco de Santa Teresa Jesus Sampaio. He was a friend of Dom Pedro I. He helped convince the prince to declare Brazil’s independence. Secret meetings took place in his cell. He wrote the letter that led to the “Dia do Fico.”
Look at the statue of Santo Antônio near the entrance. In 1710, Governor Francisco de Castro Morais sought the saint’s protection during a French invasion. After the victory, Santo Antônio was named captain of infantry. He even received a salary, paid to the convent.
Dom João later promoted the saint. He became sergeant-major in 1810 and lieutenant-colonel in 1813. The king gifted him a jeweled baton. The saint’s salary stopped being paid in 1911.
The Igreja Santo Antonio stands as a symbol of faith and history. Its walls whisper tales of devotion and resilience. Its story is intertwined with the very fabric of Rio de Janeiro.