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108-422: Over time, the project underwent several periods when the construction was stopped or slowed due to financial constraints or political conflicts. When the royal family had to flee to Brazil (in 1807), following the invasion of Portugal by French troops, the work proceeded very slowly with Fabri taking charge of the project, later followed by António Francisco Rosa . Lack of financial resources would also result in

216-668: A botanical garden , an art academy , and an opera house . All these measures advanced Brazil's independence from Portugal. Less beneficial were the crown's policies continuing the Atlantic slave trade , attacks on indigenous peoples, and land grants to court favorites. He blocked the entry of ideas of political independence expressed in the U.S. and the former Spanish American colonies, now independent republics. Britain's influence in Brazil increased, with favorable terms of trade, but also extraterritoriality for British merchants. Owing to

324-488: A period of political upheaval in Portugal, wherein the loss of Brazil started a series of revolts. The retention of immigrants demonstrated the newfound economic opportunities of the newly independent Brazil, while waves of anti-Portuguese sentiment among the masses of Rio de Janeiro revealed the nation's lingering resentment towards its former rulers. Manuel Caetano de Sousa Manuel Caetano de Sousa (1738–1802)

432-720: A decree which opened Brazil's ports, allowing commerce between Brazil and "friendly nations". This was particularly beneficial for Great Britain and can be seen as one of many ways Prince John found to reward Britain for its assistance. This new law, however, broke the colonial pact that had forced Brazil to maintain direct commercial relations with Portugal only. This transformed the Brazilian economy, and subsequently, its demographics and society. Secret negotiations at London in 1807 by Portuguese ambassador Domingos António de Sousa Coutinho guaranteed British military protection in exchange for British access to Brazil's ports and to Madeira as

540-803: A naval base. Sousa Coutinho's secret negotiations paved the way for John's law to come to fruition in 1808. On 1 April 1808, in attempts to modernize the economy and diversify the production of the colony, John allowed for the establishment of manufacturing industries through the signing of the Alvará de Liberdade para as Indústrias . This meant that Brazil would no longer only be an agricultural producer. In this decree, John said that in an attempt to promote national wealth and recognize that manufacturing, industrial labor, and multiplication of labor promote means of subsistence for subjects, Brazil should heavily invest in those sectors effective immediately. He abolished any prohibition to industrial development; which expanded

648-578: A new eastern façade, with a triangular apex and allegorical sculptures, alluding to the expulsion of the French during the Peninsular War, but the project was dropped. Between 1819 and 1920, sculptures of Justice and Prudence were completed by de Aguiar; the ceilings of the Archer's Hall and Cane Concierge's Hall by Taborda (1766–1836) were completed, its doors first started by Piolti (1770–1823);

756-410: A new project for the south and eastern façades was authorized, which included a system of ramps and staircases created by Rosa. Metalsmiths João Pereira and Manuel António, and carpenter José Joaquim de Sousa completed the project. On 27 July 1820, a meeting was held by the royal palace inspector, da Costa e Silva, Volkmar Machado, de Magalhães, Rosa and da Silva Gayão to decide upon the first design for

864-586: A new rug, produced by the English firm Thomas Bontor & Company, which also produced new rugs for the Sala Chinesa ( Chinese Hall ); also, the older Sala de Bilhar ( Billiard Room ) was divided into two rooms: the Sala Chinesa ( Chinese Room ) and the Sala Império ( Imperial Hall ). These changes were primarily due to the increase use of the palace. In 1828 Miguel of Portugal was acclaimed by

972-457: A painting in miniature of Luís and Maria Pia by Michele Gordigiani ; in 1879, a new parquet floor in the Sala do Archeiros ( Archer's Hall ) and the Sala do Porteiro da Cana by Mardel Magalhães was begun; a painting of a canvas representing Umberto I of Italy by A. Jangiovanni was also installed in the same year; in 1881, the sculpture O Saltimbanco by Simões de Almeida was executed; in 1886,

1080-529: A self-portrait by Rembrandt . It was partially transformed into a museum in 1968, and served as the headquarters of the Ministry of Culture ( Portuguese : Ministério da Cultura ), IPPAR and IPM. In 1989, the president of the IPPC, invited civil engineer Garcia Lamas and architect Gonçalo Byrne to elaborate a project to finish the palace. The designers created two maquettes and various plans, which envisioned

1188-447: A similar number of windows on the upper floor have veranda-like railings, surmounted by smaller square windows. The three-storey towers are also divided by Tuscan and Tuscan-Ionic columns: the first floor, have three windows and sills with angular cornices on the outside and rounded cornices on the interior; the intermediary floor has a comparable number of windows, while the third floor windows are surmounted by smaller windows (much like on

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1296-543: A strategic retreat of Queen Maria I of Portugal , prince regent John , the Braganza royal family , its court, and senior officials, totaling nearly 10,000 people, on 27 November 1807. The embarkment took place on 27 November, but due to weather conditions, the ships were only able to depart on 29 November. The Braganza royal family departed for Brazil just days before Napoleonic forces invaded Portugal on 1 December 1807 . The Portuguese crown remained in Brazil from 1808 until

1404-525: A unified way to control the state and effectively manage territory, the government put in efforts to connect city centers through road development. The monarchy also encouraged internal trade. The isolation of cities had once been used by the Portuguese Empire to keep Brazilians subordinate and unable to organize against the crown. Now, having to manage the territory directly, that was no longer useful. All of these infrastructural developments came at

1512-554: A vaulted edge supported by Tuscan columns, has twenty-two marble statues, some signed and dated. The vestibule is the main access to the palace, the Library and Exhibition Gallery, which by is made through the vestibule, through a monumental staircase and rounded arches. The ample courtyard is paved in Portuguese calçada, and is surrounded by two four-storey tall wings (north and south): the main floor, with central arch and doorway

1620-663: Is estimated that the enslaved population in Rio, at its height, was more than half of the total population. After the successful slave revolution that took place in Haiti a few years before, the court started to worry about the small elites regarding potential rebellion and revolution. This led to the creation of the Military Division of the Guarda Real de Polícia , or Royal Police Guard, in charge of urban policing that before

1728-428: Is flanked by rectangular windows surmounted by smaller square windows; and the superior floors, are composed of veranda-windows with simple frames and cornices and balusters/guardrails. The interior is laid out with interconnecting halls, with a central corridor of staircases and elevators. On the main floor entrance hall, with a succession of the museum in lateral directions, there is a staircase beside two niches with

1836-431: Is most likely because that was the year John was crowned king, with 17 noble titles being granted on the day of his coronation. As it can be expected, these titles did not benefit Brazilians much and did not create tight bonds between Brazilians and the new nobility. It was a reality unknown to many, even the wealthiest Brazilians. An argument can be made of this: nobility titles were made exclusively for Europeans to preserve

1944-558: The Alhandra , with limestone provided from Pêro Pinheiro , Belas , Vila Chã and Monsanto . The intervention of many architects resulted in a royal decree (9 December 1801) that stated that alterations to the project could only be made in agreement with Manuel Caetano de Sousa, Joaquim de Oliveira, José da Costa e Silva and/or Francisco Xavier Fabri (as long as it economized on the project costs). But, Manuel Caetano de Sousa designed an overcomplicated and intricate Baroque building (which

2052-478: The Ambassador's Hall were executed by António Joaquim de Faria and the contractors Francisco de Paula, Severiano Henrique Pereira and Leandro Gomes. On 15 February, in the Sala dos Archeiros ( Archer's Hall ), the painters Vicente Paulo Rocha and João de Deus Moreira, painted the base boards, following the designs of Manuel Piolti (since José Francisco Ferreira quit the project). By May, Volkmar Machado proposed

2160-647: The Bemposta Chapel . In his capacity as Royal architect he worked on various of the many royal palaces, most notably being responsible for the great library at Palace of Mafra and the east wing of the Palace of Queluz , which is today that part of the palace reserved for a visiting head of state . He also designed the tower of the Royal Chapel. In 1795, to honour of the birth of Dom António, 4th Prince of Beira , de Sousa designed an amphitheatre for use as

2268-650: The Cancioneiro da Ajuda . The Ajuda National Palace is located on a hilltop of the central part of the parish of Ajuda overlooking the historic centre of Lisbon and Tagus River , south of the Monsanto Forest Park . Its main access way is in the Largo da Ajuda on the eastern side of the property, but it is also transited by the Calçada do Mirante à Ajuda (north) and Rua dos Marcos (west). Although

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2376-558: The Direcção Geral da Fazenda Pública ( General Directorate of the Treasury ), the palace was opened to the public on 20 August 1968. A new green-space was created to enhance the front (eastern) façade of the building in 1961, but in 1974 a fire destroyed a significant part of the north wing. Between 23 and 24 September the fire consumed King Luís' painting gallery and part of the north wing, which included 500 paintings, including

2484-553: The Escadaria Nobre . The enclosed staircase, is decorated with flourish carvings on the ceiling from the lower floor, which zigzags to the upper landing decorated with rounded stained glass with the royal coat of arms and painted ceiling. On the second floor of the palace lies: Transfer of the Portuguese court to Brazil The Portuguese royal court transferred from Lisbon to the Portuguese colony of Brazil in

2592-610: The Liberal Revolution of 1820 led to the return of John VI of Portugal on 26 April 1821. For thirteen years, Rio de Janeiro functioned as the capital of the United Kingdom of Portugal, Brazil and the Algarves in what some historians call a metropolitan reversal (i.e., a colony exercising governance over the entirety of an empire). The period in which the court was located in Rio brought significant changes to

2700-483: The Lisbon Regicide , during the tumultuous years before the revolution. With the 5 October 1910 Revolution all work on the palace ceased and was closed, beginning a new phase of neglect that would later result in the flooding of the library by rainwater in 1925. In 1934, Duarte Pacheco commissioned Raul Lino to develop a plan to complete the building, which was deferred owing to the costs associated with

2808-568: The Palace of Queluz at the time of Joseph's death, the Royal Barraca was vacated. In November 1794, during the reign of Maria I and the Prince Regent , the royal tent was destroyed by fire, although the fire-fighters were able to save the library and church. A more permanent dwelling was conceived by the architect José da Costa e Silva . Starting on 17 July 1795 the rubble and terrain was cleared, which continued on 27 July under

2916-752: The Portuguese Cortes in the Cortes Hall (today the Dining Room ). Miguel also inhabited the palace for six months as the royal residence, the Necessidades Palace , underwent remodelling. The move of the Royal Court to Queluz Palace in 1829, and the death of the architect Rosa, resulted in a slowing of the project, and the affected the north wing which fell into ruin. With the start of Liberal and Absolutist factionalism,

3024-548: The Portuguese Empire and their expanding economic relationship with the colony, titles of nobility were also given to British individuals. Furthermore, the titles of nobility served as a means to consolidate the rule of the Portuguese court and confirm the power status of the monarchy in the colony. When John elevated the status of Brazil from colony to a co-kingdom as the United Kingdom of Portugal, Brazil and

3132-628: The Ribeira Palace in Lisbon, the King ordered the construction of a more permanent wooden building in the heights of Alto da Ajuda; the architects Petrónio Mazzoni and Veríssimo Jorge began building an elaborate structure from wood collected from the Vale de Figueira pinery. The Real Barraca ( Royal Tent ), or Paço de Madeira ( Wooden Palace ) was completed on 20 September 1761 (and the first baptism

3240-463: The Sala Verde ( Green Room ). Other additions to the palace followed in subsequent years: in 1863, a bust of Maria Pia was executed by Santo Varni ; an inlaid table was completed by Focentino Eugenio Azgnani (a wedding gift to Maria Pia, from the city of Faenza ); in 1865, the execution of the sculpture by Odoardo Fantacchiotti (1809–1877); Maria Pia solicited Possidónio da Silva to substitute

3348-515: The Algarves to participate in the Congress of Vienna away from Europe, there was a sharp increase in the number of titles granted. Not only did this change affect nobility titles, it also increased the power of the Portuguese in Brazilian affairs. Rio became an important center for world trade and grew immensely, having its demographics changed incessantly. The monarchy, as expected, favored the Portuguese to be in command of political offices, and with

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3456-480: The British flotilla. Commodore Graham Moore continued escorting the Portuguese royal family to Brazil with the British ships Marlborough , London , Bedford , and Monarch . Brazil was very sparsely populated, with a little over 3 million inhabitants. Around one-third of the colony's population consisted of enslaved peoples, most having been captured and shipped from Africa. The indigenous population at

3564-535: The Ministry of Culture ), the Ajuda Library and a gallery for temporary exhibits. The building evolved to a two-three storey structure, on an inclined plot of land, with a façade of ashlar limestone. The main symmetrical façade is oriented towards the east, with a central body and tympanum , extending to two lateral towers. This façade is two floors high, the inferior level marked by three arches, surmounted by (and separated by) Tuscan-Ionian columns supporting

3672-546: The Rio de Janeiro Municipal Senate ( Senado da Câmara ), refused to return to Portugal during the Dia do Fico (9 January 1822). Brazil declared its independence on 7 September 1822, forming the Empire of Brazil and ending 322 years of colonial dominance of Portugal over Brazil. Pedro was crowned the first emperor in Rio de Janeiro on 12 October 1822, taking the name Dom Pedro I. The Portuguese court's tenure in Rio de Janeiro created

3780-462: The a sculpture of Victor Emmanuel II , by Joaquim Santos ; in 1887, paintings over the doors of the Queen's vanity by Ernesto Condeixa ; in 1890, the portrait of Infante Carlos for the ante-chamber of the Sala do Despacho was completed by José Malhoa ; in 1891, a new marble floor for the Sala dos Embaixadores ( Ambassador's Hall ) commission by António Moreira Rato & sons was installed; After

3888-448: The absence of the King and the economic independence of Brazil, Portugal entered a severe political crisis that obliged John VI and the royal family to return to Portugal on 25 April 1821; otherwise he risked loss of his Portuguese throne. The heir of John VI, Pedro I , remained in Brazil. The Portuguese Cortes demanded that Brazil return to its former status as a colony and the return of the heir to Portugal. Prince Pedro, influenced by

3996-528: The aftermath of Napoleon's defeat and the meeting of the Congress of Vienna , convened to restore European political arrangements, the Portuguese monarch declared Brazil a co-equal to Portugal to increase Portugal's bargaining power. In 1816, with the death of Queen Maria, Prince John became king of the United Kingdom of Portugal, Brazil and the Algarves. After several delays, the ceremony of his acclamation took place in Rio de Janeiro in 1818. Beyond having to go through infrastructural expansion to accommodate for

4104-484: The architectural spectrum, but in which Neoclassicism predominated. When the palace finally became a permanent residence of the royal family during the reign of Luís I and his wife, Maria Pia of Savoy , their architect, Possidónio da Silva, introduced many aesthetic changes and turned one of the lateral façades into the main one. Most of the palace interiors were designed during King Luís I's reign by his wife, Queen Maria Pia and Possidónio da Silva. Maria Pia lived in

4212-490: The arrival of 15,000 people, Rio continued to be modified and upgraded in the early stages of the transferring of the court. The city lacked basic sanitation and structured sewer systems. There were very few roads. The goal was to “construct an ideal city; a city in which both mundane and monumental architecture, together with its residents’ social and cultural practices projected an unequivocally powerful and virtuous image of royal authority and government.” The city had to reflect

4320-421: The arrival of the royal family consisted of informal guards, watchmen, and sentinels. This further isolated and oppressed enslaved peoples and was the beginning of a phenomenon that proceeded in the 19th and 20th centuries of the criminalization of poverty. It reemphasized racial discrimination on an official level and associated disorder with lack of money and social ascension. This is also when King John VI decreed

4428-402: The city and its residents, and can be interpreted through several perspectives. It had profound impacts on Brazilian society, economics, infrastructure, and politics. The transfer of the prince regent and the royal court "represented the first step toward Brazilian independence , since the prince regent immediately opened the ports of Brazil to foreign shipping and turned the colonial capital into

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4536-521: The completion of the uncompleted wings and the extension of the gardens to the Jardim das Damas ( Lady's Garden ). The plan would also include the construction of two residential zones nearby that would cover 75% of the work. On 26 May 1992 the palace was assigned to the Portuguese Institute of Architectural Heritage , under Decree-Law 120/92. The palace's bibliothèque is the namesake for

4644-544: The conditions which led to Brazil's independence. With the court's arrival, Rio de Janeiro saw an immediate increase in its population. This, coupled with increases in trade and subsequent immigration, transformed the city into a major economic center in the New World. In 1815, this resulted in Brazil being declared a co-kingdom with Portugal, raising it from its former colonial status. This was an embodiment of Brazil's growing independence from Portugal, which intensified after

4752-513: The contrast in power and superiority of Europeans in Brazil. By granting titles to Portuguese individuals and those with close ties with Portugal, the court guaranteed the financial support to sustain themselves halfway across the Atlantic. Importantly, this meant an increase in the demand for slave labor. With the end of the colonial pact, the coffee industry boomed and the sugar industry continued to flourish. Now, being able to manufacture goods,

4860-497: The cost of slaves’ hard work and lives. It is estimated that between 1808 and 1822, “Rio’s slave population increased by 200 percent. As a consequence, remaking Rio de Janeiro into the court meant reconciling the larger quest to metropolitanise the city with slavery and with the African and African-Brazilian residents who made up the majority of its population.” Among the important measures taken by John VI (in attempts to Europeanize

4968-534: The country entered into a period of fragile stability, and the project, already moving slowly, stopped in 1833 with the entry of liberal forces in Lisbon. With the restored Liberal regime, Peter IV took over as Regent until his daughter 's age of majority, swearing allegiance to the Constitutional Charter in the throne room on 30 August 1834. Peter attempted to complete the palace, under the revised plan of Joaquim Possidónio Narciso da Silva, but

5076-463: The country) were creating incentives for commerce and industry, allowing newspapers and books to be printed, even though the Imprensa Régia , Brazil's first printing press was highly regulated by the government, establishing two medical schools, establishing military academies , and creating the first Bank of Brazil ( Banco do Brasil ). In Rio de Janeiro, he also established a powder factory,

5184-447: The creation of new government positions, departments, and military branches, almost every official was Portuguese. Out of all 145 nobility titles granted during this time period, only six were granted to Brazilians. Consistently, Brazilians were given the lowest royal title, that of baron. To somewhat make up for the fact that the Portuguese not only got more titles but also got more prestigious titles that made them more influential with

5292-418: The critiques and desires of the Brazilian population, only a select few could attend audiences with King John. He implemented the ceremony of beija-mão , a daily ritual where subjects got the chance to go to the royal residence, kiss the king's hand, and express their grievances. This practice to supposedly stay in touch with common people allowed for the social elites to voice their agendas, including white men,

5400-624: The day of the 1755 Lisbon earthquake , the royal family was in Belém, and escaped the destruction of Lisbon by the earthquake and tsunami. Perturbed by the events, King Joseph refused to live under a residence of masonry, and took refuge in a wooden cabin next to the Palace of the Counts of Óbidos (packed with tapestries from the Quinta de Baixo ). As the royal family continued to fear for the viability of

5508-657: The death of her husband, Queen Maria Pia continued to live in the palace with her son, the Infante Afonso . Although King Carlos of Portugal began to reside in the Palace of Necessidades, the palace (although residence of the Queen Mother) was reserved for official ceremonies, including banquets and receptions, such as those in honour of Edward VII of the United Kingdom of Great Britain and Ireland , Alfonso XIII of Spain, Wilhelm II , German Emperor and President Emile Loubet of France. Carlos made few changes to

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5616-594: The direction of António Vicente. The first cornerstone was laid on 9 November under the direction of Manuel Caetano de Sousa (with a secondary project under the supervision of German Xavier de Magalhães). It was conceived as a Baroque -late Rococo building, but the construction was interrupted shortly after. As of 19 May 1796 the project was supplied by the masons Francisco António and Joaquim Baptista, who brought in stone from Monsanto (Idanha-a-Nova) , sand from Alfeite , calcium oxide cooked in Alcântara , tile from

5724-624: The eastern and southern wings are occupied by museum exhibitions of the Palace of Ajuda; the northern wing belongs to the installations of the Instituto de Museus e Conservação ( Institute of Museums and Conservation ), the Instituto de Gestão do Património Arquitectónico e Arqueológico ( Institute for Architectural Management and Archaeological Heritage ), part of the Secretaria-Geral do Ministério da Cultura ( General Secretariat of

5832-478: The eastern façade the main entrance and erecting a tower at the southern end. Its plan now reduced in half, it included one block, the construction of which was immediately interrupted by the Liberal victory in 1833. In 1827, Piolti died, leaving behind the decorative painter António Inácio Vieira in charge of the interior design. Work on site began, and quickly ended in 1828, by the English mason John Johnston. He

5940-478: The eastern façade, or a new composition by Volkmar Machado. During these meetings the project for the vestibule was approved; the decoration of the Sala da Tocha ( Torch Room ), its access ramps and staircase; and the painting designs for the rooms by Piolti, which were executed by Anacleto José Narciso, Eugénio Joaquim Álvares, Eusébio de Oliveira, João de Deus, José António Narciso, José Tomás and Vicente Paulo. By 1821, when John VI of Portugal returned from Brazil,

6048-457: The economic and cultural strides made since the royal court's first arrival, resulted in a thriving time for the young nation. Throughout the royal court's stay in Rio de Janeiro and during the early part of its independence, Brazil saw a huge influx of immigrants and imported slaves. The immigrants were largely young Portuguese, the majority of whom elected to stay in Brazil permanently, rather than return to Portugal. This migration also mirrored

6156-403: The establishment of a mounted guard. In addition, the penal system was used to take control of lower classes by using minor infractions considered public disorder; for example, "disrespecting curfew, playing games of luck, drinking alcohol and begging" could be punishable with prison. Furthermore, while attempts to "civilize" the city were made, it also meant that the biggest difference between

6264-451: The existing space to a permanent royal family residence: the windows in the antechamber of the Sala do Despacho were completed by Paul Sormani; new lace draperies from Switzerland were hung in the windows; the Quarto de D. Luís ( D. Luís Room ) was partitioned, with a lowered ceiling, and used as an office space with washroom; the Sala de Trabalho do Rei ( King's Study ) was decorated with

6372-412: The figures of Justiça and Prudência , which access the Sala dos Archeiros ( Archers Hall ) completed by Joaquim Machado de Castro and his disciples. On this floor, in a linear path, the visitor follows through the following chambers and halls: During State functions or celebrations, invited guests would enter via the vestibule and ascend the main staircase to the second floor of the Palace by way of

6480-538: The flourishing of the empire and institutions like public libraries, botanic gardens, opera houses, palaces and government buildings were created. Rio was to be modern and secure. Architecture physically changed to reflect modern times. Furthermore, before the arrival of the royal family and court, Brazil consisted of very disconnected conglomerates of people. Vast amounts of empty land and dense tropical forest separated cities like Rio de Janeiro, São Paulo, Salvador, Pernambuco, Rio Grande, and Porto Alegre. Needing to create

6588-511: The hall on the occasion of the marriage of Luís and Maria Pia of Savoy . An interior vestibule was transformed into a Winter Garden ( Portuguese : Jardim de Inverno ). Possidónio da Silva also covered the ceiling murals with a painted ceiling covered in genies, sphinx and chimeras , on which were later applied agate and chalcedony stones (gifts from the Viceroy of Egypt) in addition to Portuguese marble. The Sala do Fumo ( Smoking Room )

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6696-563: The interior layout. In 1814, Cyrillo painted the Sala do Dossel . In April 1815, the quarry of Lameiras was appointed to extract rock for the columns of the main floor. Manuel Caetano da Silva Gaião joined the project in 1815 to assist the team. In 1817, Francisco Fabri died, and was replaced by his assistant, António Francisco Rosa, who was forced by the Royal Treasury to curb the scope of the project. Several individual projects were completed in 1818: Domingos Sequeira returned to direct

6804-539: The metal shields on the doors were provided by the Army arsenal; the ceiling of the Hall of Spanish Tapestries by Volkmar Machado, with perspectives by Piolti, figures by Joaquim Gregório da Silva Rato and ornamentation by André Monteiro da Cruz; skirting by bronzer and gilder Pierre-Philippe Thomire (1751–1843); the ceiling of the antechamber of the Sala do Despacho ( Order Room ) was completed by da Cruz and Taborda. In 1820,

6912-491: The migration of 800,000 individuals that ensued. In addition, it is estimated that 2 million enslaved Africans were brought to Brazil to work in mines and power the sugar industry. Brazilians were illiterate, poor, and lacking several basic needs, including medical care and public health services. Only 2.5% of free men were literate. On 22 January 1808, Prince John and his court arrived in Salvador, Brazil . There, John signed

7020-451: The motivations for ennobling so many people, and these titles had consequences to the political scene of Brazil, including the systematic isolation of Brazilians from politics. Between 1811 and 1821, a vast majority of noble titles were granted to those who had travelled with the court in 1807 or had fought the French in Portugal and somehow had made their way to Brazil. As an additional way to thank Great Britain for their efforts to protect

7128-415: The naval and iron industries started to develop. The arrival of enslaved individuals increased dramatically during the period that the court was in Brazil and then during the decade following their absence, with the arrival of approximately 328,000 enslaved individuals to Brazil. This drastically changed the demographics of Brazil and of Rio, where most of these enslaved individuals would arrive and remain. It

7236-431: The need for labor in the colony, along with attracting foreign investment. Between 1808 and 1821, John of Braganza, serving as prince regent until 1816 and then as king from 1816 onwards, granted 145 nobility titles. During the time that the court was located in Brazil, the Portuguese royal family collectively granted more titles of nobility than it had in its past 300 years of existence in Portugal. Much can be said about

7344-484: The new King and his wife, moved into the palace transforming it into the formal royal residence. In order to become liveable, the King directed Possidónio da Silva and Costa Sequeira to renovate and remodel the building, primarily based on the tastes of the Queen. The old Sala do Dossel , the audience hall, was renamed the Sala das Tapeçarias Espanholas , because of the Spanish three crystal chandeliers were installed in

7452-735: The nobility, Brazilians were also granted land and seats in the Conselho da Fazenda . These were surreptitious ways to keep Brazilians content with the monarchy and appease the population without jeopardizing Portuguese high society, both in Brazil and in Portugal. The first title of nobility granted to a Brazilian was in 1812 to the Baroness of São Salvador de Campos dos Goytacazes. Out of the 26 titles of nobility granted in 1818, only three Brazilian men were graced: José Egídio Álvares de Almeida, Pedro Dias Paes Leme, and Paulo Fernandes Carneiro Viana. The reason so many noble titles were granted in 1818

7560-497: The nobility, and the clergy . On 16 December 1815, John created the United Kingdom of Portugal, Brazil and the Algarves ( Reino Unido de Portugal, Brasil e Algarves ), elevating Brazil to the same rank as Portugal and increasing the administrative independence of Brazil. Brazilian representatives were elected to the Portuguese Constitutional Courts ( Cortes Constitucionais Portuguesas ). In 1815, in

7668-414: The old court and the one in Brazil was that half of it now consisted of enslaved peoples. Slavery was not legal in Portugal but allowed in the New World, and continued for several decades even after Brazil achieved independence from Portugal. Imperial relocation also meant the stratification of hierarchy. Those who were already rich, usually because of their connections to nobility, got richer (usually for

7776-555: The painted cornice with a real one. In the office adjacent to the Winter Garden , the walls were lined in pink velvet to house a collection from Saxony and the ceiling stucco was painted with representations of birds and views of Italy and Lisbon, by Giuseppe Cinatti and Achille Rambois, while the furniture was selected by Krieger, Suc. Racault of Paris. The Sala Verde ( Green Room ) received new ceiling stucco with bas-relief ornamentation and gold-leaf. Renovations also proceeded in

7884-497: The painting in the ceiling of the Sala de Música ( Music Room ), the allegorical scene painted by José da Cunha Taborda and Arcangelo Fuschini , was substituted by one commissioned by Felisberto António Botelho; the Sala Azul ( Blue Room ) was lined in silk; in 1866, a marble statue, Tangedoura do Pandeiro was completed by Giovanni Dupré (1817–1882); in 1867, the parquet floor in the Sala do Despacho and Sala dos Contadores

7992-407: The painting of the palace; the model for the south tower, authored by José Joaquim de Sousa was completed; on 26 September the vaulted ceiling was erected in the vestibule; and on 12 November, the decorative works in the Sala dos Embaixadores ( Ambassador's Hall ) were cleaned by contractors Severiano Henrique Pereira and Francisco de Paula. King John VI , still in Brazil, began to show interest in

8100-463: The palace chapel, Queen's washroom and dining room by Leandro Braga, who was also assisted by Atelier responsible for the King's painting studio and personal library. It was during this remodelling that the painting Chegada de D. João VI , in the ballroom by the artist Fuschini disappeared. In the meantime, on 28 September 1863, the Infante Carlos (later King Carlos of Portugal ) was born in

8208-537: The palace from the day she became queen of Portugal , in 1862, until the republican revolution in 1910, when the royal family was forced into exile. In 1726, King John V of Portugal acquired three estates in the parish of Belém: one became the Belém Palace ; on the second parcel an oratory, which was eventually expanded, becoming the Necessidades Palace ; and the third reserved for a summer residence that never materialized during his reign. On 1 November 1755,

8316-782: The palace had not yet been completed, and only permitted some state and ceremonial protocols (such as John's investiture in the Order of the Garter in 1823). Consequently, John VI decided to live in the Bemposta Palace . With a new simplification of the plans, architect António Francisco Rosa continued the structural works. During this phase, painters Taborda, Sebastião José Alves, José Joaquim de Sousa, Bernardino de Sena Lemos da Rocha, Arcangelo Fuschini, Máximo Paulino dos Reis, Joaquim Gregório da Silva Rato, Piolti, João Pereira, José Pedro de Carvalho, and mason António Joaquim de Faria worked at

8424-468: The palace occupies a block on the heights of Ajuda, its delineated space extends to several gardens and lands around the main building. This includes: the Jardim das Damas ( Lady's Garden ) fronting the northern façade of the Palace; the Sala da Física ( Physics Hall ), in the north-eastern corner fronting the palace; the clock-tower, also known as the Torre do Galo ( Rooster's Tower ), isolated in front of

8532-632: The palace, although he was responsible for ordering two large pots in Berlin from the Parisian factory of the Duke d'Angoulême, for the Sala do Trono ( Throne Room ). Similarly, on the occasion of the King Edward VII's visit, he also ordered new chairs for Sala da Ceia ( Dining Room ). Manuel II remained in residence at the Palace of Necessidades following the death of the King and Crown Prince in

8640-484: The palace. In 1823, the staircase was decorated by painter Norberto José Ribeiro, and in 1825 Joaquim Rafael became head painter. The palace began to be used as a royal residence in 1826, when the Infanta Isabel Maria , Regent on behalf of the young Queen Maria II , moved in. It was proposed to the architects that the project's scale be reduced, encompassing only one-third of the original design, making

8748-410: The palace; and the larger Jardim Botânico ( Botanical Garden ), southwest and across the street from the palace. One of the earliest neoclassical buildings in Lisbon, the palace is an irregular rectangular building, divided into four wings (with the western wing being incomplete) around a large quadrangle, paved with Portuguese calçada in geometric designs. Each wing is occupied by distinct entities:

8856-405: The panels). The southern lateral façade has three storeys, with 19 windows in succession, comparable to the main entrance, although there are a series of niches at the base. The uncompleted western façade show signs of vestiges of various dependencies with a wall of open window sills/arches with Tuscan pillars and access to the central courtyard by three rounded arches. Embedded in the vast foyer with

8964-560: The parquet floor in the Sala Azul ( Blue Room ) by Joseph Godefroy; in 1874, paintings of the Princes Carlos and Afonso in the Sala Rosa ( Pink Room ) were completed by Joseph Layraud. By the end of the 19th century, new exterior restorations had begun, under the direction of Domingos Parente da Silva, while new additions continued within the interior: in 1875, a sculpture of Maria Pia was completed by Cesare Sighinolfi; in 1876,

9072-501: The population: nobility, wealthy families, Brazilians, indigenous peoples, and enslaved Africans. The stability and prosperity of the Brazilian state, resulting from the royal court's presence, allowed for it to declare independence from Portugal without the violence and destabilization characteristic of similar movements in neighboring countries. This was in part because its burgeoning independent identity had had an effect on Pedro, King John's oldest son and first emperor of Brazil. Pedro

9180-467: The project, and presented the designs to his local architects Auguste-Henri-Victor Grandjean de Montigny and João da Silva Moniz. When António Francisco Rosa took over the work in 1818, the project progressed at a slightly accelerated pace, on the assumption that the royal family would return. But, the Cortes were insecure about the expenses in completed Ajuda. On 11 January 1819, ten new flourishments in

9288-695: The project, since José da Costa e Silva had also joined the royal family in Brazil. Fabri's model was based on the Palace of Caserta in Naples, designed by Luigi Vanvitelli . He envisioned an ample palace design, directed South, towards the Tagus River , with four main towers at its angles: the works restarted in 1813. In 1814 and 1815 work progressed in the rooms and staircases that were completed, with Taborda, Fuschini, Calisto, Cirilo Volkmar Machado (and his assistant Oliveira Góis), and Máximo Paulino dos Reis as painters, while decorator Manuel Piolti took over

9396-718: The project. But the Republican government did inventory many of the furniture and artwork, and along with many of artefacts from other palaces, stored them in the Ajuda Palace. In 1938 the palace was opened as a museum, and in 1954 the Casa Forte ( Vault ) was opened in order to exhibit the Portuguese Crown Jewels and silverware of the Royal Household. Another attempt to renovate the palace

9504-635: The property, accompanied by Joaquim Gregório da Silva Rato, Manuel Prieto, José da Cunha Taborda , Fuschini and Calisto, while Italian decorators Manuel da Costa and Giuseppe Viale were hired to decorate the mansion. Similarly, sculptors Joaquim Machado de Castro (who created three sculptures), Carlo Amatucci (some), João José de Aguiar, and his assistant Gregório Viegas (executed ten statues), Joaquim José de Barros Laborão and Manuel Joaquim Laborão (completed six statues), while Faustino José Rodrigues and his son, Francisco Assis Rodrigues, were contracted to complete three sculptures. In 1803, Carlos Amatucci completed

9612-449: The royal family's return to Europe in 1821. The relocation of the Portuguese nobility and administrative core to Brazil in 1808 had tremendous ramifications and resulted in a multi-faceted approach to change. Brazilian politics were initiated and affected, society and demographics were altered, the economy developed, and the city of Rio de Janeiro physically changed. The impact was felt in different ways and degrees by different sections of

9720-542: The royal party navigated under the protection of the British Royal Navy , and eight ships of the line, five frigates, and four smaller vessels of the Portuguese Navy , under the command of Rear-Admiral Sir Sidney Smith . On 5 December, almost halfway between Lisbon and Madeira , Sidney Smith, along with Britain's envoy to Lisbon, Percy Smythe, 6th Viscount Strangford , returned to Europe with part of

9828-429: The same reasons they had been rich in the first place) and the poorer got even poorer, now having to compete for resources, services, and physical space . With the Portuguese government now in Brazil, Portuguese immigration retention increased and this led to further disapproval of Cariocas (the term given to those native to the city of Rio de Janeiro . While the court and nobility wanted to portray itself as open to hearing

9936-403: The scaling down of the project. The construction of the Ajuda Palace, which began in 1796 and lasted until the late 19th century, was a project plagued by various political, economic and artistic/architectural problems. It was invaded by Napoleon's troops in 1807, and discontinued by Liberal forces who imposed a constitutional monarchy that reduced the power of the royal family. Artistically, it

10044-442: The sculpture of Liberdade . By 1807, the painters, sculptors and decorators had been contracted, but the arrival of Jean-Andoche Junot 's forces immediately stopped the build as the royal family fled to Brazil ( Rio de Janeiro ). Yet, Junot insisted that the building should continue. But in 1809, the French invasion of the Portuguese territory finally caused the suspension of the project. By 1812, Francisco Fabri returned to chef

10152-562: The seat of government." In 1807, at the outset of the Peninsular War , Napoleonic forces invaded Portugal due to the Portuguese alliance with Great Britain . The prince regent of Portugal at the time, John of Braganza, had formally governed the country on behalf of his mother, Queen Maria I of Portugal , since 1799. Anticipating the French invasion, John ordered the transfer of the Portuguese royal court to Brazil before he could be deposed. Setting sail for Brazil on 29 November 1807,

10260-511: The secondary floor/veranda. On the second floor of the main body, the space is protected by balusters protecting the three Roman arch-windows, surmounted by a frieze of garlands, and divided by six Tuscan-Ionic columns. Between the central body and towers are eight panels consisting of two-floors and a mezzanine, each panel divided by two orders of columns: on the first floor Tuscan and on the second floor Tuscan-Ionic columns. The first floor windows are moulded and trimmed sills with cornices, while

10368-416: The time was of around 800,000 people, having been dramatically reduced and isolated during the first 300 years of exploration and colonization. Population density was concentrated along the Atlantic coastline. Rio de Janeiro, around the start of the 19th century, was experiencing a sizeable population boom. Over the 18th century, the population had increased tenfold due to the discovery of gold and diamonds and

10476-526: The tragic deaths of members of the royal family in 1861 from typhoid fever , there were many who counselled King Luís to abandon the Palace of Necessidades. After being acclaimed king (22 December 1861), Luís moved temporarily with to the Palace of Paço de Arcos, while remodelling occurred at Ajuda to adapt the building to become the new royal residence. At the same time, a match was made between Luís and Maria Pia of Savoy , daughter of King Victor Emmanuel II of Italy, who were married in 1861; on 16 April 1862,

10584-417: Was a Portuguese architect. He studied architecture under his father Tomás Caetano . He worked in the late Baroque and rococo style of architecture. On the death of Mateus Vicente de Oliveira he became architect to the royal family and was appointed architect in charge of public works and raised to the rank of an artillery colonel . His works included the church of the "Incarnation, of S. Domingos" and

10692-644: Was a convergence of the Baroque styles from the Palace of Mafra , very connected to regal authority, with the birth of the Neoclassic style from Italy. Further interruptions occurred, due to a lack of funds, political sanctions or disconnection between the workers and the authorities responsible for the project. The project was modified several times, but was generally authored by Manuel Caetano de Sousa (the last Baroque architect) and, later, Costa e Silva and Fabri, both of them Bolognese architects whose tastes crossed

10800-546: Was already constructed, but introduced necessary alterations to change the royal palace into a more dignified, serious and majestic building. Consequently, the plan was simplified and reduced to a core structured around two courtyards, with the same level of ornamentation, but now much more refined. On 2 July 1802, the monarch solicited the Marquis of Alorna to study the future paintings that would occupy its walls. Domingos Sequeira and Vieira Portuense were contracted to paint

10908-579: Was completed by Godefroy, a joiner in the Belgian Royal House; the execution of the sculpture Mulher com bilha à cabeça by Célestin Anatole Calmels ; the execution of a bust of King Luís I, also by Anatole Calmels; in 1869, the execution of the sculpture Leda by Cesare Sighinolfi ; a painting of the King was also completed by the painter António Rodrigues da Silva; in 1870, Maria Pia mascarada by Joseph Layraud ; in 1873, work on

11016-552: Was constructed in carved wood. The Sala Azul ( Blue Room ) was decorated tapestries found in the space (which were produced by the Real Fábrica de Santa Bárbara de Madrid with designs by Francisco de Goya ). These tapestries were a gift from Spain in 1785, in honour of the royal wedding of the Prince John VI and Carlota Joaquina . Similarly, the as a reception room, and the workers tore up gold wallpaper and replaced

11124-434: Was held in its chapel), but, owing to risk of collapse, the theatre (which was considered a risk by architect Giovanni Carlo Galli-Bibiena ) was reconstructed from 1767 to 1786 by Giacomo Azzolini. The court remained at this site for nearly three decades, in a luxurious atmosphere of the golden age of enlightened despotism, until the King's death in 1777. Since his successor, Queen Maria I of Portugal lived with Peter III in

11232-571: Was later criticized by da Costa e Silva and Fabri in 1801). But, with mounting confusion and difficulties between the architects and contractors, on 21 January 1802, da Costa e Silva and Fabri were invited by the Crown to present a new project, in conjunction with António Francisco Rosa and Manuel Joaquim de Sousa, while excluding Manuel Caetano de Sousa. In 1802 Manuel Caetano de Sousa died, and by 26 June, da Costa e Silva and Fabri were appointed official architects. Da Costa e Silva and Fabri respected what

11340-505: Was nine years old when the family fled Portugal, meaning he was raised in Rio de Janeiro. Coming of age in Brazil rather than Portugal led to Pedro identifying as a Brazilian, a sentiment which influenced his defiance of the Cortes in 1821. Due to his position as heir of the Portuguese crown, Pedro was able to prevent any serious efforts on the part of the Portuguese to retake Brazil. The relatively smooth transition into independence, along with

11448-496: Was proposed in 1944, in a new project by Raul Lino, but never materialized, and in 1956, Arantes e Oliveira commissioned Raul Lino, once again to elaborate a new project. The Serviços dos Monumentos Nacionais ( National Monument Services ) branch examined the building to determine its condition (in 1956), which also predicted a large investment to completely restore the palace. After a period of restricted access (between 1940 and 1968), when only people who had an authorization card from

11556-431: Was responsible for the English staircase , but was mysteriously removed from the project to be replaced by Nicolau Pires. In 1830, António Joaquim de Faria, responsible for many of the stonework within the palace, also died. Similarly, three years later, Sebastião José Alves died, being succeeded by Joaquim José Ventura Alves. During the second half of the 19th century, new works in the palace were specifically done to adapt

11664-400: Was unsuccessful. Yet, some projects continued inside the building: in 1836, the antechamber of the Sala do Despacho with scenes of Diana by André Monteiro da Cruz was completed; in 1837, several paintings were repaired by Joaquim Rafael; in 1844, busts of the monarchs in wax were ordered, by Joaquim Rafael; and the sculpture of Inocência by Benedetto Delisi was executed in 1860. Following

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