In 1720, a humble chapel stood where we now find the Paróquia de Nossa Senhora da Piedade. This unassuming structure would eventually capture the attention of royalty. In 1810, Queen Joaquina, wife of King Dom João VI of Portugal, purchased the chapel. She transformed it into her private oratory, a place for quiet reflection and prayer. The Paróquia de Nossa Senhora da Piedade became a sanctuary within the bustling city. When the royal family returned to Portugal in 1821, the chapel became part of the Brazilian Imperial estate. Years later, in 1842, the Marquis of Abrantes acquired the property. He ordered the construction of the Chapel of Our Lady of Sorrows. This new chapel, built upon the site of the original, stands before us today. The Paróquia de Nossa Senhora da Piedade finally received its blessing on October 3, 1864, after 22 years of construction. After the Marquis of Abrantes’s death, the chapel changed hands several times. In 1916, Carlos de Araújo Silva passed away, leaving the property to Sarah de Freitas Borges. However, there was a stipulation in the will. Upon Sarah’s death, the Paróquia de Nossa Senhora da Piedade would be transferred to the Imperial Brotherhood of Our Lady of Glory of Outeiro. They were obligated to maintain the religious services within the chapel. On May 28, 1926, the brotherhood assumed ownership, dedicating the chapel to Our Lady of Piety. Between 1922 and 1951, the chapel was leased to the English community, adding another layer to its rich history. Finally, in 1953, the Polish Catholic community took over. They rededicated the Paróquia de Nossa Senhora da Piedade to Our Lady of Monte Claro, also known as the Black Madonna of Częstochowa, the patron saint of Poland. Today, Sunday Mass is celebrated in Polish, honoring this community’s devotion. This vibrant history, from a modest chapel to a royal oratory and finally a Polish parish, makes the Paróquia de Nossa Senhora da Piedade a truly unique landmark in Rio de Janeiro.
Центральный дом работников искусств
Step through the grand wooden doors of the Central House of the Workers of Art, and you’ll be transported to