Cemitério São João Batista

Rio de Janeiro (Rio de Janeiro – RJ)

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In January 1502, Portuguese navigators sighted the bay of Guanabara. They believed that it was the mouth of a great river so they gave it the name of Rio de Janeiro, origin of the name of the city. The city itself was founded in 1565 by Estácio de Sá with the name of São Sebastião do Rio de Janeiro in honor of D.Sebastião – then the King of Portugal. The foundation´s main goal was to banish the French who were already installed in the area for 10 years. Correia de Sá was the first governor of Rio de Janeiro. In 1763 the city became the capital of Brazil title which was held until 1960 when Brasília (the current capital of the country) was opened. Due to the Napoleonic Wars the Portuguese royal family moved to Rio de Janeiro in 1808 and in 1815 the Prince Regent John VI was crowned King of the United Kingdom of Brazil , Portugal and Algarves, an historical event of utmost importance for the future of the Brazilian Nation. The city-aspas-s economy was driven forward from the seventeenth century on due to the cycles of sugar cane, gold and coffee.
Today, the State of Rio de Janeiro is the second industrial center of Brazil and also it is among the first in the tourism business besides being one of the main cultural centers in the country. The city of Rio de Janeiro is situated amid a landscape blessed by nature between sea and mountains and is considered one of the most beautiful cities in the world which awarded it the title of “The Marvelous City”. The Cemetery Saint John the Baptist was founded on October 16, 1851 but worked temporarily in the lands of the Hospice D. Pedro II because of disagreements between the Holy House of Mercy and the Ministry of Foreign Affairs of the Empire with respect to the most suitable location for its installation. The cemetery was officially opened on December 4, 1852 and its oldest grave dates back to 1858 although the ossuaries keep the mortal remains of past years. The Holy House of Mercy of Rio de Janeiro manages the St. John the Baptist Cemetery and other cemeteries in the state of Rio de Janeiro, among them the San Francis Cemetery known as Caju. The Saint John the Baptist has suffered several expansions throughout the years, in 1859 soon after its establishment, in 1873, 1903 and 1939. The cemetery has been overcrowded since the last six decades but despite this complexion it has tombs and graves of great beauty and aesthetic richness. It is also an attraction for tourists visiting, focus of numerous studies and researches in the humanities and arts.

Timeline:

1502 – Portuguese navigators sight the Guanabara Bay and believe that it is the mouth of a river.
1565 – Estácio de Sá creates the municipality of Rio de Janeiro.
1582 – Founding of the Holy House of Mercy by the priest José de Anchieta.
1763 – The city becomes the seat of the general government of Brazil replacing Salvador.
1772-1830 – It works the Cemetery of the New Blacks in Valongo from Prainha to Gamboa where the newcomer African slaves were buried.
1808 – Arrival of the Portuguese royal family to Rio de Janeiro.
1810 – Installation of the British Cemetery in Gamboa boroug
1815 – The Prince Regent João VI is crowned King of the United Kingdom of Brazil.
1839 – Founding of the first public cemetery outskirts of the city– Holy Field of Mercy – where the victims of cholera were buried.
1849 – Installation of the first private cemetery outskirts of the city – Cemetery of the Venerable Third Order of the Members of Saint Francis of Paula – known as the Cemetery of Catumbi.
1851 – Founding of Saint Francis Xavier Cemetery – known as Cemetery of Caju.
1851 – Established the Central Council of Public Hygiene. Among other things it was responsible for supervising the cemeteries.
1852 – Official opening of St. John the Baptist Cemetery. (Imperial decree No. 842 – 10/16/1851).
1857 – Installation of two more private cemeteries – the Venerable Third Order of Our Lady of Mount Carmel and the Venerable Third Order of Saint. Francis of the Penitence, both in Caju borough.
1857 – Land is purchased for the expansion of St..John the Baptist Cemetery.
1886 – Installation of the Mint.
1873 – The Cemetery St.John the Baptist is expanded once more
1903 – It occurs a new expansion of the Cemetery.
1922-1926 – Alaor Prata (the mayor) enlarges the Old Tunnel linking Copacabana to Botafogo next to the St. John the Baptist Cemetery.
1939 – Last expansion of St. John the Baptist Cemetery.
1953 – The Holy House starts administering 13 cemeteries in the Municipality.

St. John the Baptist Cemetery is located at Rua General Polidoro bordering on the east with Rua Dona Mariana in the Botafogo borought at the south side of the city. There are about 40,000 tombs in this cemetery spread over an area of 38,000 square meters. Its occupation started in the backyard. The most representative tombs and sculptures are on the central axis and on two more blocks on the right and two on the left. The cemetery was built by the Holy House of Mercy two decades after this institution having constructed a much bigger necropolis – the St. Francis Xavier also known as Cemetery of Caju. In accordance with the Catholic way of overcrowding the tombs, one can visualize special locations for the tombs of the nineteenth and twentieth centuries.

There are buried famous personalities committed to the history of Brazil from 1850 to the present times. Among ordinary people there are also famous names like the singers Carmen Miranda, Cazuza, Vicente Celestino and Clara Nunes, the politicians Luis Carlos Prestes, Floriano Peixoto (President), Afonso Pena (President), Nilo Peçanha (President), Carlos Lacerda (governor); several historical figures, nobles of the Empire age and republican burghers; the “immortals” belonging to the Brazilian Academy of Letters. We highlight: Tom Jobim (Maestro), Mausoleum of the ABL, Janete Clair (novelist), Orville Derby (geologist), Claudio de Souza (actor), Rodolfo Bernadelli (sculptor), Didi (football player); Guinle Family; Costa e Silva Family, Oswaldo Aranha, Paulo Frontin, Vinicius de Moraes (composer), Machado de Assis, Guimarães Rosa, José de Alencar and Nelson Rodrigues (writers).

The portal stands out for being carved into beautiful “fluminense” (pertaining to the state of Rio de Janeiro) granite blocks topped by the Holy House of Mercy coat-of-arms. Another distinguishing element of that period is the monumental wrought iron railing produced in the “fluminenses” foundries. There is a great number of chapel-tombs that belong to the bourgeois families constructed by Portuguese, Italian and Brazilian marble carvers who were inspired by the hybrid style of the early twentieth-century. Also there are lots of works by artists who dedicated their lives to funerary sculptures, we mention the names of Rodolpho Bernadelli, Octávio Corrêa Lima, Heitor Usai, Celita Vaccani, Humberto Cozzo. We also highlight the pieces by the French sculptors Jean Magrou and Colin George, the Italian sculptors J. Guazzini, B. P. Giusti, Luca Arrighini and A. Canessa. Art historians will find a rich source for their studies on the tombs inspired by the Neoclassical, Neogothic, Art Dèco, Art Nouveau, Eclectic and Modern styles equipped with quite a varied typology of anthropomorphic, zoomorphic, phytomorphic signs and social distinction. We would not say that this cemetery is the noblest or the most artistic in the city of Rio de Janeiro, however it is the most representative of the First period of the Republic when the wealthiest families moved from the North to the South Zone.

ART DÈCO TOMB, twentieth century, bronze and granite. It presents an imposing architecture that harmonizes curved shapes with geometric and innovative lines. This is a special tribute to Dr. Ernesto executed by the sculptor Celita Vaccani showing the people´s thankfullness for his dedication to the school and the hospital as shown in the realistic narrative composed of children, the sick, men and women. It stands out for the full body sculpture of the deceased.

NEOCLASSICAL CHAPEL-TOMB, twentieth century – Carrara marble. The simple structure Chapel exhibits many floral ornaments, columns and vessels. It stands out for the bust of the military Floriano Peixoto (+ 1895) who was president of Brazil in the first Republic.

SLIGHT VICTORIAN TASTE, twentieth century, Carrara marble. The head of the tomb exhibits a woman-Angel. The position of the body, clothing and wings craftsmanship stands out and differ from the works produced in series. Work by J. Guazzini A., Firenze. Pay attention to the Count and Countess Pellow Wilson coat-of-arms and their busts that flank the tomb. She is dressed according to the style of that time: low-cut lace dress and short hair.

MONUMENTAL CHAPEL-TOMB, twentieth century, granite and bronze. It stands out for the extremes containing a classical narrative of nude and seminude figures that are dedicated to justice among other things. A tribute to Ruy Barbosa. High-relief cast in the Mint in 1925.

THE MILITARY AVIATORS PANTHEON, twentieth century, raw pink granite and bronze. A work by the sculptor Celita Vaccani (1957 to 1959). According to Art Dèco style the trapezoidal façade refers to ancient civilizations and the configuration of a flight. Observe the stylized reliefs “”Flight of Icarus”” – escorted by five birds; “”The conquest of space by man”” – a supersonic rocket moving toward the Southern Cross. All the pieces are surrounded by spirals which represent the cosmos and the universe (Höfcke, 2007).

THE ICARUS, twentieth century, block of granite and bronze. Probably the most visited cenotaph in the Saint John the Baptist Cemetery. This is a special tribute to the Father of Aviation – Santos Dumont. The allegorical figure of Icarus is about to fly from the top of the cliff. The bust was made by the French sculptor Colin George.

THE BEAUTY OF PAIN, twentieth century, bronze. The family of Julia Pasqual Lopes Machado (+1913) commissioned the statuary Jean Magrou from Paris (1914) to express all its despair at her death. It is a beautiful woman prostrated on the grave wearing garments of great artistic value according to the sinuous shapes of Art Nouveau style.

THE WRITER, twentieth century, Carrara marble and bronze. The sculptor Rodolpho Bernadelli was responsible for this project and sculptures on the tomb of the devoted writer José de Alencar (+1877). He made use of a large cross in the middle of a thick open book. The book / epitaph encloses the bust of the deceased. They are flanked by huge weepers with their bodies fully covered representing the protection of the dead.

A LIFE STORY, twentieth century, Carrara marble and granite. The chapel-tomb contains references to neoclassical architecture: triangular fronton, Roman arch and columns with ornamented capitals. The highlight is on the realistic sculptural group by Luca Arrighini (Pietrasanta, Italy). Clarisse Indio do Brasil, unique beauty, is dressed according to her social condition of bourgeois and appears surrounded by a family of beggars. It is known that she used to give alms to beggars and died murdered by one of them. Pay attention to the Clarisse´s gestures and costumes which reminds a holy figure.

SPECIAL TRIBUTE, twentieth century, bronze and granite. At the head of the tomb of Professor Dott Giulio Canella (+1941) a kneeling child places flowers in a caring and contemplative gesture. Pay attention to the child´s hair and clothes- represented according to the realist sculpture pattern. The epitaph written in Latin is accompanied by the family coat-of-arms.

HEAD OF CHRIST, 20th century, limestone. Santa Casa de Misericórdia, administrator of the cemetery, reserved an ossuary for its workers. At the top there is the Sacred Heart of Jesus and Angels that flank the Head of the Dead Christ, of great expressive value.

GUARDIAN ANGEL, twentieth century, Carrara marble. The highlight of the monument is the Angel – signed by Achille Canessa / Genova. This is a similar version of the piece by the sculptor Giulio Monteverde that is in Staglieno Cemetery in Genova. The piece has inspired so many reproductions due to the classic beauty of the girl with a perfect modeling of the arms, body and head. She has a sweet and deep expression facing the Doomsday here represented by the trumpet she is holding.

THE LAUGHTER AND THE WEEPING, twentieth century, Carrara marble. Typical “floreale” style monument: the large and sensual allegorical figures surround the Brothers Segreto medallions – owners of the São Jose Theather Company. The allegoric masks (Comedy-Tragedy), the ornaments, vases and flowerpots emphasize the feeling of sadness and pain for the loss of the loved ones. Made by B. P. Giusti – Pietrasanta, Italy.

NAVAL ADMIRAL, twentieth century, Carrara marble. In this cemetery we can find many tombs where Brazilian Navy members are buried. They are usually ornamented with their profession coat-of-arms. In this particular sample – the tomb of the Vice-Admiral Candido F. da C. Barreto (+1909) – one can see the representations of the control tower of the ship, the peel, the lunette and a rudder wheel which frames the photo of the deceased who is dressing uniform.

STYLIZED FIGURE, twentieth century, limestone and bronze. This calcareous rock monoblock was rustically worked to suggest a primitive stylized figure in natural size. The artistic element decorating the funerary monument is a medallion with the inlaid portrait of the deceased – the geologist Orville Adalbert Derby. One of the most innovative works by the sculptor Rodolpho Bernadelli.

MODERN CHAPEL-TOMB, twentieth century, granite and bronze. Its vertical architecture and the plans composition of straight lines reinforce the tribute to the dead of the Navy Division – War Operations. Observe with attention the classic nudes that flank the Chapel.

THE MARTYR SAINT ESTEVÃO, twentieth century, bronze and granite. Tomb of the sculptor Rodolpho Bernadelli. His brother Henrique chose a replica of Rodolfo´s work – St. Estevão – to honor him, which was modeled for the first time in Rome (1879). Pay attention to the expression of sensuality and ecstasy of the naked young man facing the agony of death.

NEO-BYZANTINE CHAPEL-TOMB, twentieth century-Carrara marble and granite. The richest families used to build private enclosures for their loved ones in outdoor cemeteries. Pay attention to the realistic high relief narrative that surrounds the chapel of the Andrade family (Carrara marble). They are men, women and children protecting the sick sitting on a bench. Classic angels guard the façade of the chapel. Signature: C.Prima, 1923.

FLOWER OFFER, 20th century, Carrara marble. The simple deposit contains the sculpture of a woman within a cluster of flowers. The sinuous shapes that mix flowers and women’s clothes create a simple and delicate plastic, befitting the Art Nouveau style. A beautiful tribute to Alice Bicca Barcelos (+1916).

BORGES, Maria Elizia. l”>Funerary Art in Brazil(1880-1930). 0). Italian Marble Carver Craft. Ribeirão Preto. Belo Horizonte: C/ Arte, 2002.
HÖFKE, Tathyane Ferreira. The thematic motivations by Celita Vaccani in the mausoleums of the military aviators in Saint John the Baptist Cemetery: “glory” and “duty” in the hero´s iconography. Rio de Janeiro: Post-Graduation Program in Visual Arts. Fine Arts School/ UFRJ, 2007. (Master´s Degree Dissertation).
LIMA, Tania Andrade. From the bats and skulls to the crosses and books: the representation of death in the “cariocas” cemeteries of the nineteenth century. In:
PAULISTA MUSEUM ANNALS – v.1 (1922), v.35 (1987) – São Paulo: The Museum, 1922-1987; N. Ser. 1993-
PIMENTA, Letícia. Open-air History and Art . In: See Rio. Rio de Janeiro: Ed.Abril, November 5, 2008.
VACCANI, Celita. Rodolpho Bernadelli, artistic life and features of his sculptural work. (Thesis) – National School of Fine Arts – University of Brazil, Rio de Janeiro, 1949.
VALLADARES, Clarival do Prado. Art & Society in the Brazilian Cemeteries. Rio de Janeiro, Federal Council of Culture – National Press Department. 1972. 2v.
ZARUR, Dahas. Holy House of Mercy of Rio de Janeiro – Cemeteries “concessionaire”. Rio de Janeiro: Binus, 4ª edição, 2001.

Sites:

//www.rio.rj.gov.br/arquivo/historico.htm / (Acessed in March, 2009).

Credits:

Coordination and Research: M Elizia Borges.
Website creation: Catu Design, 2008.
Website updating and Researcher: Ana Maria Linhares de Almeida – CNPq student.
Photography: Maria Elizia Borges, 2008. Tathyane Ferreira Höfcke, 2008.

Contact:

maelizia@terra.com.br
Tours to St John the Baptist – Tourist guide: Professor Milton Teixeira.
Information: (55) + 021+ 2527 9129 (source: Globo onlin