Arquitetura-Flexor-Igrejas Conventos Bahia 03

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Churches and Convents of Bahia

O nono ttulo da coleo Roteiros do Patrimnio do Iphan apresenta os mais importantes conjuntos de igrejas e conventos da Bahia, em trs volumes.

Neste terceiro volume os leitores so convidados a desfrutar cinco roteiros para conhecer os conjuntos conventuais mais significativos do Recncavo e do Baixo Sul da Bahia.

The ninth guide of the collection Heritage Itineraries published by Iphan presents the most important sets of churches and convents of Bahia, in three volumes.

In this third volume the readers are invited to discover five itineraries with the most significant convent ensembles of the Recncavo and the Lower South of Bahia.

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3Maria Helena Ochi Flexor

IGREJAS E CONVENTOSDA BAHIAChurches and Convents of Bahia

IPHAN

Maria Helena Ochi Flexor 3

Convento Franciscano de Santo Antnio em Cairu. Detalhe da sala do captulo.Franciscan Convent of Santo Antnio in Cairu. Detail of the chapter hall.

O nono ttulo dos Roteirosdo Patrimnio apresenta osmais importantes conjuntosde igrejas e conventos daBahia, em trs diferentesvolumes.

O primeiro trata docontexto histrico doestabelecimento das ordensreligiosas em nosso territrio,bem como da religiosidade naBahia e suas tradies. J osegundo volume prope trsroteiros de visitao aos maissignificativos conjuntos dacapital baiana, enquanto oterceiro conduz o leitor porcinco roteiros do Recncavo edo Baixo Sul da Bahia.

Vale apreciar a longa eminuciosa viagem que ahistoriadora Maria HelenaOchi Flexor aqui nos oferece.

Luiz Fernando de AlmeidaPresidente do Iphan

Maio 2011

APRESENTAO

Foreword

The ninth guide of theHeritage Itineraries seriespresents the most importantensembles of Bahias churchesand convents, in threedifferent volumes.

The first deals with thehistorical context of theestablishment of religiousorders in our territory, as wellas Bahias religiousness andtraditions. The second volumeoffers three visitation itinerariesto the most significant sets ofSalvador, while the third takesthe reader through fiveitineraries of the Recncavoand the Lower South of Bahia.

It is praiseworthy toappreciate the long andthorough travel that thehistorian Maria Helena OchiFlexor offers us here.

Luiz Fernando de AlmeidaPresident of Iphan

May 2011

por seres to inventivoe pareceres contnuotempo tempo tempo tempos um dos deuses mais lindosCaetano Veloso

for being so inventiveand for seeming so continuoustime time time timeyou are one of the most beautiful godsCaetano Veloso

CRDITOS

Credits

F619i Flexor, Maria Helena Ochi.Igrejas e conventos da Bahia / Maria Helena Ochi Flexor.

Braslia, DF: Iphan / Programa Monumenta, 2010.176 p. : il. color. ; 22 cm. __ (Roteiros do Patrimnio ; v. 9 , t. 3).

Edio bilngueISBN : 978-85-7334-175-1

1. Igrejas Bahia. 2. Arquitetura Religiosa. I. Ttulo. II. Srie.CDD 726

www.iphan.gov.br | www.cultura.gov.br

Presidenta da Repblica do BrasilDILMA ROUSSEFF

Ministra de Estado da CulturaANA DE HOLLANDA

Presidente do Instituto doPatrimnio Histrico e Artstico Nacional

LUIZ FERNANDO DE ALMEIDA

Diretoria do IphanClia Maria CorsinoDalmo Vieira Filho

Mrcia Helena Gonalves RollembergMaria Emlia Nascimento Santos

Coordenao editorialSYLVIA MARIA BRAGA

EdioCAROLINE SOUDANT

CopidesqueANA LCIA LUCENA

Reviso e preparaoDENISE COSTA FELIPE/GILKA LEMOS

Verso para o inglsPAULA ZIMBRES

Reviso do ingls e verso das legendasANA MARIA PAIVA

Design grficoCRISTIANE DIAS

FotosARQUIVO DA AUTORA; CAIO REISEWITZ;

NELSON KON; SYLVIA BRAGA

IlustraesFERNANDO MADEIRA

MapaSABRINA LOPES/FRED LOBO

President of BrasilDILMA ROUSSEFF

Minister of CultureANA DE HOLLANDA

President of the National Historic and ArtisticHeritage InstituteLUIZ FERNANDO DE ALMEIDA

Iphan DirectionClia Maria CorsinoDalmo Vieira FilhoMrcia Helena Gonalves RollembergMaria Emlia Nascimento Santos

Editorial coordinationSYLVIA MARIA BRAGA

EditorCAROLINE SOUDANT

Copy deskANA LCIA LUCENA

Revision and preparationDENISE COSTA FELIPE/GILKA LEMOS

English versionPAULA ZIMBRES

English revision and legendsANA MARIA PAIVA

Graphic designCRISTIANE DIAS

PhotosAUTHOR ARCHIVES; CAIO REISEWITZ;NELSON KON; SYLVIA BRAGA

IllustrationsFERNANDO MADEIRA

MapSABRINA LOPES/FRED LOBO

Foreword

Itineraries in the Recncavoand the Lower South of Bahia

Itinerary 4

Church of Nossa Senhora dosHumildes in Santo Amaro

Itinerary 5

Church and Convent of Nossa Senhorado Carmo in Cachoeira

Itinerary 6

Church and Convent of Santo Antnioin So Francisco do Paraguau

Itinerary 7

Church and Convent of Santo Antnioin Cairu

Itinerary 8

Church and Convent of Santo Antnioin So Francisco do Conde

Glossary

Bibliography

Map

Apresentao

Roteiros do Recncavoe do Baixo Sul da Bahia

Roteiro 4

Igreja de Nossa Senhora dosHumildes em Santo Amaro

Roteiro 5

Igreja e Convento de NossaSenhora do Carmo em Cachoeira

Roteiro 6

Igreja e Convento de Santo Antnioem So Francisco do Paraguau

Roteiro 7

Igreja e Convento de Santo Antnioem Cairu

Roteiro 8

Igreja e Convento de Santo Antnioem So Francisco do Conde

Glossrio

Bibliografia

Mapa

SUMRIO

Contents

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Igreja e Recolhimento de Nossa Senhora dos Humildes, em Santo Amaro da Purificao.Church and Retreat of Nossa Senhora dos Humildes in Santo Amaro da Purificao.

SANTO AMARO DAPURIFICAO: IGREJA ERECOLHIMENTO DE NOSSASENHORA DOS HUMILDES

Um pouco de histria

A igreja e recolhimentode Nossa Senhora dosHumildes situa-se s margensdo rio Suba, em SantoAmaro da Purificao, noRecncavo baiano.

Santo Amaro, na origem,era uma capela de engenhobeneditino, provavelmente doengenho das Brotas. A rea emque se situa ficou maisconhecida pelo nome de umaoutra capela de engenho, a deNossa Senhora da Purificao.O engenho pertencia a DomFernando de Noronha Linhares,o terceiro Conde de Linhares, esua mulher, Dona Felipa de S.Todas essas terras estavamanexadas vila de SoFrancisco do Conde, da qualSanto Amaro se emancipou em1727. Santo Amaro tinha e temcomo matriz a igreja de Nossa

SANTO AMARO DA

PURIFICAO: CHURCH

AND RETREAT OF NOSSA

SENHORA DOS HUMILDES

A bit of history

The church and retreat ofNossa Senhora dos Humildeslies on the banks of the Subariver, in Santo Amaro daPurificao, at the regioncalled Recncavo Baiano.

In its origins, Santo Amarowas a Benedictine chapelprobably belonging to theBrotas sugar mill. Still, the areawas better known by the nameof another sugar mill chapel,the Nossa Senhora daPurificao. This mill used tobelong to Dom Fernando deNoronha Linhares, the thirdCount of Linhares, and hiswife, Dona Felipa de S. All ofthese lands were annex to thevillage of So Francisco doConde, from which SantoAmaro was emancipated in1727. The mother church ofSanto Amaro was and is the

ROTEIROS DO RECNCAVO E DO BAIXO SUL DA BAHIAROTEIRO 4

Itineraries in the Recncavo and the Lower South of BahiaItinerary 4

IgrejaseConventosdaBahia

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Senhora da Purificao eSanto Amaro1.

A capela de Nossa Senhorados Humildes foi construda, apartir de 1793 por um jovemsantamarense, Incio Teixeirados Santos Arajo, que depoisse tornou padre. Em 1801, eleergueu um campanrio eaumentou a capela. Esta tevesua nave duplicada e acrescidade corredores laterais, mas ocampanrio foi mantido naposio primitiva. Quatro anosdepois, padre Incio Arajoanexou igreja uma modestahabitao, que seria azulejadae utilizada como recolhimento.A edificao est localizada direita da igreja. Aberto em1813, o recolhimentodestinava-se a abrigar senhoraspiedosas, vivas, rfs,pensionistas ou filhas desenhores de engenho. Iniciousua atividade com dozerecolhidas, seis meninas, noveservas e duas escravasalforriadas, tambm nacondio de servas.

Decorados interiormente noincio do oitocentos, a capela e

church of Nossa Senhora daPurificao e Santo Amaro1.

The chapel of NossaSenhora dos Humildes wasbuilt from 1793 by a youngman from Santo Amaro, IncioTeixeira dos Santos Arajo,who was later to become apriest. In 1801, he raised asteeple and increased thechapel. Its nave was doubledand lateral corridors wereadded, but the steeple hasremained in its originalposition. Four years later,Father Incio Arajo built asmall dwelling, annex to thechurch, to be tiled and used asa retreat. This building islocated to the right of thechurch. Open in 1813, thisretreat was intended to giveshelter to pious ladies,widowers, orphans, boardersor the daughters of sugar lords.Its activities were initiated withtwelve recluses, six girls, nineservants and two manumittedslaves, also in the position ofservants.

The chapel and retreatsinternal decoration, from the

1. Santo Amaro era ento formado porAmlia Rodrigues, Jacupe, Terra Nova eTeodoro Sampaio, que se transformaram,em 1961, em municpios.

1. Santo Amaro was then comprised of AmliaRodrigues, Jacupe, Terra Nova and TeodoroSampaio, all of which have since 1961become municipalities in their own right.

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o recolhimento viram-seafetados pelo estilo neoclssico,que caracteriza o altar-mor,dedicado Nossa Senhora dosHumildes, e os altares lateraisda nave, ocupados por SoFrancisco e So Caetano. Oretbulo do altar de So Miguel,no corredor lateral, tem asmesmas caractersticas. Todosforam compostos em madeiraentalhada e policromada. Atalha neoclssica,destacando-se a composioformada pelo arco cruzeiro ealtares laterais.

O forro da nave planoe apresenta um medalhopintado com a imagem daVirgem, enquanto o dacapela-mor em abbada comlunetas, de influncia neogtica.A capela abriga cinco painisde azulejos decorados deorigem portuguesa. Socobertos com motivossetecentistas, mas sua colocaodata de 1820, quando tambmforam trabalhados talha,colunas e forros.

Em 1819 acrescentou-seum adro na parte fronteira daigreja, o que conferiu melhoraspecto ao conjunto. Nomesmo perodo colocaram-seazulejos sob o coro.

early 1800s, was deeplyinfluenced by Neoclassicalstyle, particularly the mainaltar, devoted to Our Lady ofthe Humble, and the naveslateral altars, occupied bySaint Francis and SaintCajetan. This style also appearsin the retable of SaintMichaels altar, on the lateralcorridor. All of them weremade of carved andpolychromed wood. Thechurchs carvings are allNeoclassical, especially theensemble comprised of thecrossing and lateral altars.

The nave ceiling is flatand features a medallionpainted with an image of theVirgin, while the one on themain chapel is vaulted andfeatures Neogothical lunettes.The chapel holds fivedecorated tile panels fromPortugal. They are coveredwith motifs from the 1700s,but were installed in 1820,when the carvings, columnsand ceilings were also made.

In 1819, a churchyard wascreated in front of the church,giving the whole ensemble abetter appearance. At thesame time, tiles were placedunderneath the choir. The


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Igreja de Nossa Semhora dos Humildes. Detalhe da nave e altar-mor.Church of Nossa Senhora dos Humildes. Detail of the nave and main altar.

sacristy would also bedecorated with polychromedtiles at a later time.

On September 22nd

1817, Dom Joo VI allowedthe retreat to house a schoolfor women, in activity tothis day. In 1827, by anact of Cardinal Dom Augustolvaro da Silva, the retreatwas promoted to the statusof Diocesan Congregationof Nossa Senhorados Humildes.

Between 1845 and 1848,the new retreat was built,superposed to the old edificeshigh basement, midwaysbetween the ground and thefirst floor. This constructionfollowed no blueprint; it wasmade instead by successiveadditions, explaining the lackof correspondence betweenthe floors.

Larger-scale works werenot undertaken until 1856.This was the year when theporch was built, the naveceiling raised and the choir,expanded. The faade alsosuffered modifications: threedoorways with lioz limestoneframes were opened, and theslightly elevated churchyard

Posteriormente, a sacristiareceberia, tambm, azulejospolicromados.

Data de 22 de setembro de1817 a permisso de DomJoo VI para a instalao, norecolhimento, de umestabelecimento de ensinofeminino, que est ematividade at o presente. Em1827, por ato do cardeal DomAugusto lvaro da Silva,erigiu-se o recolhimento emCongregao Diocesana deNossa Senhora dos Humildes.

Entre 1845 e 1848,construiu-se o recolhimentonovo, sobreposto ao poroalto do antigo edifcio, emnvel intermedirio entre otrreo e o primeiro andar. Aconstruo foi feita semprojeto, por acrscimossucessivos, o que explica essesdesencontros entre os pisos.

Somente a partir de 1856houve novas obras de maiormonta. Nesse ano,construiu-se uma varanda, oforro da nave foi levantado, eo coro, alargado. A fachadatambm sofreu modificaes:abriram-se trs portadas commolduras de lioz e fechou-se oadro, ligeiramente elevado,


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was closed with two irongates. By then, the church hada recessed steeple and lateralcorridors. An importantelement in this churchssteeple is the carillon,comprised of seven bells

com dois portes de ferro. Acapela apresentava ento umatorre recuada e corredoreslaterais. Pea importante datorre da igreja o carrilho,composto por sete sinos quecompem a escala musical.

Detalhe do arco cruzeiro e da parte superior do altar-mor.Detail of the crossing arch and of the main altars upper part.

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tuned to the musical scale. Itis sounded every day duringthe Hail Mary.

In the second half of the1800s, additional works werestill being made in the retreat.Its expansion was now vertical,with the addition of an upperfloor to the West. This workwas executed in 1868. Twoyears later, the South corridorwas built.

The retreats faade faces asquare opening to the Subariver. The left side of thebuilding faces the river. Thisleft lateral faade forms agallery with arches, covered inserially-made tiles and toppedby a platband holding largejars. The chaplains two-storyhouse is across the street fromthe church.

In the early 20th century,when Canon JoaquimFrancisco de Vasconcelos waschaplain, the chapel ceilingwas raised and the altarswere gilded. The churchsfaade suffered interventions,such as the removal of tilesand the replacement of someof the frames that significantlychanged its appearance. Itwas probably around the

tocado todos os dias na horada Ave Maria.

Na segunda metade dosoitocentos ainda se realizavamobras de acrscimo norecolhimento. Este crescia,agora verticalmente, com aconstruo de um andarsuperior, no lado do poente. Aobra foi executada em 1868.Dois anos depois, fazia-se ocorredor do lado sul.

A fachada do recolhimentod para um largo que se abrepara o rio Suba. O ladoesquerdo do edifcio est voltadopara o rio. Essa fachada lateralesquerda forma uma galeria comarcos, revestida de azulejos feitosem srie e terminada emplatibanda com grandes jarros. Acasa do capelo, um sobrado,est ao lado da igreja, separadapor uma rua.

No incio do sculo XX,quando era capelo o cnegoJoaquim Francisco deVasconcelos, levantou-se o tetoda capela e os altares foramdourados. Realizaram-sealgumas obras que desvirtuarama fachada da igreja, como aretirada dos azulejos e asubstituio de algumasesquadrias. Provavelmente na


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same time that a pulpitand two lateral altarswere removed.

In October 1975, theInstitute of Artistic andCultural Heritage of BahiaFoundation (Ipac), throughan agreement with theRetreat and the Santo AmaroTown Hall, began to restorethe monument, wishing tocreate a museum with theinstitutions collection. Theseworks were funded by theFederal Presidencys PlanningDepartment and by BahiasState Government.

What to visit

Museum. The chapel andpart of the convent andannexes were turned intoexhibit halls. A new concretebuilding was raised at the backof the old retreat to house thereligious women.

The museums collection iscomprised of images andsilverware, as well as furniture,jewelry, crystal pieces,paintings, porcelain andvestments. Particularlynoteworthy are the image of theDivine Shepherdess, tworepresentations of the Boy Jesus

mesma poca eliminaram-se umplpito e dois altares laterais.

Em outubro de 1975, aFundao Instituto doPatrimnio Artstico e Cultural daBahia (Ipac), em convnio como Recolhimento e a PrefeituraMunicipal de Santo Amaro,iniciou as obras de restauraodo monumento com o objetivode nele instalar um museu,utilizando o acervo dainstituio. Para a realizao dasobras contou-se com recursos daSecretaria de Planejamento daPresidncia da Repblica e doGoverno do Estado da Bahia.

O que visitar

Museu. A capela e parte doconvento e dos anexos foramtransformadas em lugares deexposio. Para abrigar asreligiosas, ergueu-se uma novaestrutura de concreto no fundodo antigo recolhimento.

O acervo do museu formado por imagens epratarias, somando-semobilirio, joias, peas decristal, pinturas, porcelanas eindumentria. Chamam aateno a imagem da DivinaPastora, duas representaesdo Menino Jesus do Monte e


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on the Hill and the tilepanels dating fromthe 19th century.Also, therepresentationsof Our LadyQueen ofAngels andGod the Father,all inpolychromedwood.

The museumwas closed for

three years, whilethe building was

being reformedand the pieces inits collectionrestored by Ipac.It reopened on

December 7th 2007, showingpieces from its permanentcollection.

The nuns of theCongregation of Our Lady ofthe Humble, under theemblem of the HolySacrament, have long beenproducing crafts of a verysingular quality, mostlyornamenting shrines or imagesof the Boy Jesus on the Hillwith gold leaves or goldenpaper, beetles wings,semiprecious stones and

os painis de azulejosque datam dosculo XIX. So denotar, ainda, asrepresentaesde NossaSenhoraRainha dosAnjos e deDeus Pai,todos emmadeirapolicromada.

O museu foifechado por trsanos, para reformado prdio erestaurao depeas de seuacervo, a cargo doIpac. Reabriu asportas no dia 7 de dezembrode 2007, com peas daexposio permanente.

As freiras da Congregaode Nossa Senhora dosHumildes, cujo emblemaregulamentar o SantssimoSacramento, produzem hlongo tempo um artesanatosingular, ornamentandoprincipalmente maquinetas ouimagens do Menino Jesus doMonte com folhas de ouro oupapel dourado, asas debesouro, pedras semipreciosas,

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Pintura em medalho central doforro da nave da igreja.

Painting of central medallion onthe naves ceiling of the church.

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handmade laceand embroideries.

The Boy Jesususually appearsstanding, with hisarms open andslightly leaningtowards the front,on top of a hillor grotto. Thehills arecomplementedwith trees andgolden leaves,with embedded

semiprecious stonesand small birds or

other animals made of coloredglass. Mirrors represent lakesor streams. These piecespresent features typical ofpopular representations,including Nativity elementssuch as sheep and pendantamulets, many of which haveoriginated in the MiddleAges and, brought toBrazil by immigrants, wereused throughout the lastfive centuries.

Countless materials areused. Many of them camefrom Europe, brought byFather Miguel, the brother ofFather Incio Teixeira Santosde Arajo, who founded the

rendas e bordadosfeitos manualmente.

Em geral, oMenino Jesus apareceem p, com os braosabertos, ligeiramentedirigidos para frente,sobre um monte ougruta. Asrepresentaes domonte socomplementadas comrvores e folhasdouradas, comincrustaes de pedrassemipreciosas epequenos pssaros ououtros animais de vidrocolorido. Espelhos representama presena de lagos ou riachos.As peas tm caractersticas deelaborao popular,principalmente pela presenade componentes de prespio,no faltando os carneiros, e depingentes amuletos, muitos dosquais tiveram origem na IdadeMdia e continuaram em usono Brasil, trazidos pelosimigrantes, ao longo doscinco sculos.

So incontveis osmateriais utilizados. Muitosdeles vinham da Europa,trazidos pelo padre Miguel,irmo do padre Incio Teixeira

Menino Jesus do Monte.Boy Jesus on the Hill.

Detalhe do forro do altar-mor.Detail of the main altars ceiling.

Viso da nave a partir do altar-mor para as portas de sada da igreja.Vision of the nave from the main altar to the churchs exit doors.


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Congregation of the Humble,as can be seen by theimports records of BahiaStates Public Archives.From precious to fake stones,a great diversity of materialswas used in the manufactureof pieces such asembroidered fabrics andjewels, some richer andsome poorer. More luxuriousexemplars can be seen atthe Museum of Sacred Artand the Womens Institute,in Salvador.

The association betweenthe devotion to the BoyJesus on the Hill and manualcrafts, performed dailyboth by nuns and by laysisters, probably dates fromthe 19th century. Little bylittle, this activity becamewell-known, helping tomaintain the retreat, alongwith cracknel sales.

The retreat is not listed asheritage individually, butrather as part of SantoAmaros Historicaldowntown, under Ipac n.32117-0.3-I001. The museumalone was listed as heritageby Ipac in 1981 and byIphan in 1994.

Santos de Arajo, fundador daCongregao dos Humildes, oque se pode verificar nosregistros de importaes doArquivo Pblico do Estado daBahia. De pedras preciosas imitaes, uma grandediversidade de materiais foiutilizada na confeco depeas como tecidos bordadose joias, algumas mais ricas eoutras mais pobres.Exemplares mais luxuosospodem ser vistos no Museu deArte Sacra e no InstitutoFeminino, em Salvador.

Deve datar do sculo XIX aassociao entre a devoo aoMenino Jesus do Monte e ostrabalhos manuais, executadoscomo atividade contnua tantopelas freiras quanto pelasrecolhidas. Aos poucos aatividade tornou-se conhecida,ajudando a manter orecolhimento, assim como avenda de sequilhos.

O recolhimento no tombado individualmente,integrando o Centro Histricode Santo Amaro, inventariadosob o n. 32117-0.3-I001, peloIpac. Somente o museu foitombado pelo Ipac, em 1981,e pelo Iphan, em 1994.

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Igreja do Convento de Nossa Senhora do Carmo em Cachoeira.Convent Church of Nossa Senhora do Carmo in Cachoeira.

ROTEIRO 5

Itinerary 5


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CACHOEIRA: CHURCH

AND CONVENT OF NOSSA

SENHORA DO CARMO

A bit of history

The town of Cachoeira islocated in the Recncavo, atthe banks of the navigableportion of the Paraguau river.It can be reached by sea, butthe usual access is throughroad BR-324, turning towardsSanto Amaro at this roads km58. Once you pass SantoAmaro, you are on your wayto Cachoeira.

A Royal Letter ofSeptember 27th 1693 raisedthis settlement to the statusof a village, and itsinstallation was signed byMagistrate Estvo Ferraz deCampos on January 24th

1698, under the name ofNossa Senhora do Rosriodo Porto da Cachoeira.

Among other factors,Cachoeiras development wasfavored by its privileged site, atthe estuary of the largest riverthat runs into the Bay of All

CACHOEIRA: IGREJA ECONVENTO DE NOSSASENHORA DO CARMO

Um pouco de histria

A cidade de Cachoeiraest situada no Recncavo, margem do trecho navegveldo rio Paraguau. Pode-sechegar a ela por mar, mas oacesso mais usual pelarodovia BR-324, tomando-se ocaminho para Santo Amaro nokm 58 daquela rodovia. Aoultrapassar Santo Amaro, j seest na direo de Cachoeira.

A Carta rgia de 27 desetembro de 1693 elevou opovoado vila, sendo suainstalao assinada pelodesembargador Estevo Ferrazde Camposm em 24 de janeirode 1698, com o nome deNossa Senhora do Rosrio doPorto da Cachoeira.

Cachoeira desenvolveu-se,entre outras razes, pelo stioprivilegiado, junto foz domaior rio que desgua na Baade Todos os Santos, na suaparte navegvel, o que fez

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Saints, upon its navigable part,which made it, until themid-19th century, an importantoutpost for exchanges ofmerchandise between theseaside and the Bahianbacklands.

In 1837, Provincial Law n.44 raised the village ofCachoeira to the status of atown, titled Heroic, becauseof its role as governmentheadquarters during thestruggle for Independence, in1822-1823.

That same year, in Salvador,Francisco Sabino lvares daRocha Vieira proclaimed theRepublic of Bahia, in atriumph of the revolt known asSabinada. Cachoeira thenbecame the provincialgovernments headquartersonce again.

Both because of its pastand because of its importantheritage, Cachoeira wasnamed National MonumentTown by Decree n. 68.045 ofJanuary 13th 1971, during theadministration of PresidentEmilio Garrastazu Mdici.

Cachoeira and other townsin the Recncavo started todiminish in importance with

dela, at meados do sculoXIX, um importante ponto dechegada, de sada e de trocasde mercadorias entre o mar eo interior da Bahia.

Em 1837, a Lei Provincialn. 44 elevou a vila deCachoeira categoria decidade, com o ttulo deHerica, por ter se tornadosede do governo por ocasiodas lutas da Independncia,em 1822-1823.

Nesse mesmo ano, emSalvador, Francisco Sabinolvares da Rocha Vieiraproclamou a RepblicaBahiense, numa aovitoriosa da revolta que ficouconhecida como Sabinada.Cachoeira voltou ento asediar o governo da provncia.

Pelo seu passado histricoe pela presena de importantepatrimnio, Cachoeira foidistinguida com o ttulo deCidade Monumento Nacionalpelo Decreto n. 68.045, de 13de janeiro de 1971, durante ogoverno do presidente EmlioGarrastazu Mdici.

Cachoeira e outras cidadesdo Recncavo comearam aperder importncia com odesenvolvimento das rodovias


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the development of roads andthe use of trucks as a means oftransportation. Since the1940s, the role that had beenplayed by the Recncavos seaand river ports for almost fourcenturies passed to Feira deSantana, a town in thesemiarid. After that,communication between theRecncavo and Salvador wasmade by land.

Cachoeiras mother church,built in 1674, has Our Lady ofthe Rosary as patron saint.Nevertheless, still in the late17th century, another Marian

e a utilizao do caminhocomo meio de transporte. Opapel que os portosfluviomarinhos do Recncavotinham exercido por quasequatro sculos, a partir dosanos 1940, passou a serdesempenhado por Feira deSantana, uma cidade dosemirido. O Recncavopassou a se comunicar comSalvador por terra.

A matriz de Cachoeira,construda em 1674, tem comopadroeira Nossa Senhora doRosrio. Mas ainda no final dosculo XVII, estabeleceu-se

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Vista parcial de Cachoeira e So Felix, divididas pelo rio Paraguau.Partial view of Cachoeira and So Felix, divided by Paraguau River.

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devotion was establishedamong the population: the cultof the Virgin of Carmel. Arepresentation of the Carmeliteorder was sent to thesettlement by initiative of FriarManoel da Assuno, namedProvincial Vicar of Bahia andPernambuco. The new orderwas taken in by the Adornofamily. Captain Joo RodriguesAdorno and his wife, rsulade Azevedo, donated thelands for the construction of ahospice or retreat for Carmelitemissionaries that had beenpreaching in the backlands.Works, initiated by FriarManuel da Piedade on March14th 1688, were finishedaround 16922.

It didnt take long for thedwellers to notice theinconvenience of the sitewhere the Carmelite hospicehad been built. In order tosolve these difficulties, thisprimitive building wasdemolished and a newconvent and church was builtin a lower terrain, with aneasier access, particularly from

entre os habitantes do povoadomais uma devoo mariana: oculto Virgem do Carmo. Umarepresentao da ordemcarmelitana foi enviada aopovoado por iniciativa de freiManoel da Assuno, nomeadovigrio provincial para a Bahiae Pernambuco. Coube famliaAdorno a acolhida novaordem. O capito JooRodrigues Adorno e sua mulher,rsula de Azevedo, doaram asterras para a construo de umhospcio ou recolhimento paraos missionrios carmelitas queandavam pregando no serto.As obras, iniciadas por freiManuel da Piedade em 14 demaro de 1688, foramconcludas por volta de 16922.

No demorou muito parase verificar a inconveninciado local onde fora edificado ohospcio dos carmelitas. Parasanar as dificuldades,decidiu-se demolir esseedifcio primitivo e construirum novo convento e umanova igreja em um terreno umpouco abaixo, de acesso maisfcil, especialmente em

2. Somente em 22 de abril de 1720, atravsda Bula Sacrosanctum, do papa ClementeXI, a ordem carmelitana do Brasilseparou-se da Provncia de Portugal, o queresultou na autonomia das vigararias daBahia e do Rio de Janeiro.

2. It was only on April 22nd 1720, throughthe Sacrosanctum Edict by Pope Clement XI,that the Carmelite Order of Brazil wasemancipated from the Province of Portugal,resulting in the autonomy of the Vicarages ofBahia and Rio de Janeiro.


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the port. The date of thisconstruction is unknown, butit may coincide with that ofthe convent of Ordem Terceirado Carmo, raised between1715 and 1722, when FriarManuel de So Jos was Prior.

Through their works, thereligious men were able tosensitize the population ofCachoeira and gather alms forthe construction of this newhouse. They would also sellchapels and graves for thatend. This new convent had allthe necessary quarters,including nine cells, two halls,a refectory/kitchen andcatacombs. A lack ofdocumentation, pointed bythose who have been studyingand writing about the Carmoensemble in Cachoeira, makesit impossible to identify theauthor of the blueprint and theone responsible for thebeginning of works.

Lying on a small flight ofstone steps, the ground floorfeatures a portico with roundarcades. It used to have fivedoors, but two of them weresealed. On the second floor,equivalent to the choir, thereare six guillotine windows fromthe 1800s, in rhythmical and

relao ao porto. A data daconstruo no conhecida,mas talvez coincida com a doconvento da Ordem Terceirado Carmo, elevado entre 1715e 1722, quando era prior freiManuel de So Jos.

Pela atuao que vinhamtendo, os religiososconseguiram sensibilizar oscachoeiranos e arrecadarcontribuies para levaravante a nova casa.Recorreram, tambm, aoexpediente de vender capelase sepulturas. Esse novoconvento contou com asdependncias necessrias,entre as quais nove celas, doissales, refeitrio/cozinha ecatacumbas. A ausncia dedocumentos, apontada porquem tem estudado e escritosobre o conjunto do Carmo deCachoeira, impossibilitaidentificar o autor do risco e oresponsvel pelo incio das obras.

Assentado sobre umpequeno lance de degraus depedra, o pavimento trreo provido de prtico comarcadas em arco pleno. Possuainicialmente cinco portas, duasdas quais foram vedadas. Nosegundo plano, correspondenteao andar superior, do coro, h

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symmetrical correspondencewith the arcades on theground floor. The churchsfaade features stuccocornices in the form ofrocailles upon the windows,vase toppings andRococo-style curveddecorations. To the right,behind the faade, aprotruding bulb-shaped steeplewas raised, with a typicallyBaroque dome.

seis janelas de guilhotina, estasj dos oitocentos, conservandoo ritmo e a simetria com asarcadas do pavimento trreo. Afachada da igreja tem cornijasnas janelas, de composiorocaille em estuque, arrematesde vasos e decoraes emcurvas de estilo rococ. direita, por trs da fachada,ergueu-se uma torre em bulbode ressalto sobre uma cpulatipicamente barroca.

Igreja e Convento de Nossa Senhora do Carmo, em Cachoeira.Convent Church of Nossa Senhora do Carmo in Cachoeira.


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The wide inner spaces arecomprised of a single navewith lateral corridors andsuperposed tribunes.Illumination comes from thechoir windows. The mainchapel is deep, a feature thatdeparts from the traditionalstandard of convent churches,but was multiplied in manytemples with the incorporationof a presbytery. By 1866, themagnificence of sculptedornaments in the main chapelwas already noted, but so wasthe ruin caused by the neglectto which the convent wasbeing exposed at the time.Inclement termites haddestroyed the retable, andonly a few cherub heads andfour early-Baroque Solomoniccolumns from the main altarreached the 20th century.

The nave ceiling, like theone in the main chapel, waspainted with illusionisttechniques, inherited fromItalian culture. It seems toopen to the sky, an effectobtained through the use ofperspective. The paintingsillusionism created ascendantcircles of architecturalelements such as balconiesand arcades, parapet-walls,

O traado interno espaoso, composto de navenica com corredores laterais etribunas superpostas. Ailuminao vem das janelas docoro. A capela-mor apresentaprofundidade, caracterstica quefoge ao padro tradicional dasigrejas conventuais, mas que semultiplicou em vrios temploscom a incorporao dopresbitrio. J se percebia, em1866, a riqueza dos ornatosesculpidos na capela-mor, mastambm se alertava para oarruinamento, provocado peloabandono pelo qual passava oconvento naquele momento. Ainclemncia dos cupins destruiuo retbulo, tendo chegado aosculo XX apenas algumascabeas de querubins e quatrocolunas salomnicas doaltar-mor, do primeiro barroco.

O forro da nave, como oda capela-mor, foi pintadocom tcnica ilusionista,herdada da cultura italiana.Parece abrir-se para o cu,efeito obtido por meio daperspectiva. O ilusionismo dapintura elevava em crculoelementos arquitetnicos,como balces e arcadas,muros-parapeitos, grupos desantos e querubins, fechando

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Igreja de Nossa Senhora do Carmo. Nave e capela-mor.Church of Nossa Senhora do Carmo. Nave and main chapel.


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groups of saints and cherubim,enclosing the central panel,naturally dedicated to OurLady of Carmel. Some scholarsdate the main chapel ceilingto the years between 1770and 1775. The nave ceiling in

quadraturewould datefrom 1780.

The churchsinternaldecoration wascomplementedwith two tilepanels from the18th century. Theywere paintedblue, with figuressurrounded byRococo shells.The central

painting, usuallyMannerist, portraysBiblical allegories.

The sacristy waswide and heavily decoratedwith Rococo details. Itswooden ceiling used to featurea painting made by ananonymous author between1870 and 1880, like the naveand main chapel.

The convents cloisterfollowed a simpler model

o painel central, naturalmentededicado a Nossa Senhora doCarmo. H quem date aconfeco do forro dacapela-mor entre 1770 e1775. O forro da nave emquadratura dataria de 1780.

A decoraointerna daigreja eracomplementadapor dois painisde azulejos dosculo XVIII.Eram painis depintura azul,com figurascercadas porconcheadostendendo aorococ. Apintura central,normalmentemaneirista,representaalegorias bblicas.

A sacristia era ampla, comdecorao carregada dedetalhes de influncia rococ.Tinha forro em madeirapintada por autor annimo,entre 1870 e 1880, como anave e a capela-mor.

O claustro do conventoseguiu o modelo mais simples,

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Painting of the nave ceiling of thechurch.

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adopted in Portugueseconvents, affiliated to theMedieval Romancearrangement. It is formed by agallery covered with woodenbeams, surrounding the innerpatios four sides. Fivehalf-point arches on each siderest on thick masonry pillarsand cornice, supporting theupper cloisters. The latterfeatures five windows on eachside, corresponding to the fivearcades on the ground floor.

Inside, the convent alsofollowed the standard ofsimplicity. Two great hallshoused the brotherhoods ofthe Lord of Martyrdom andLord of Patience, who sharedthis space with the nineaforementioned cells wherethe religious men slept. Thisnumber of cells was probablysufficient at the time of itsconstruction. Still, with theexpansion of missionaryactivities in Cachoeira, the lackof lodgings for religious menbecame apparent.

Information on theconstruction and/ormodification of convent spacesduring the 18th and 19th

centuries is scarce. MostCarmelite documents have

adotado em conventosportugueses, presos ao esquemamedieval romnico. formadopor uma galeria coberta porvigas de madeira, que contornaos quatro lados do ptio interno.Sobre grossos pilares dealvenaria e cornija, descansamcinco arcadas de meio ponto,de cada lado, suportando oclaustro superior. Este possuicinco janelas de cada lado,correspondentes s cincoarcadas do pavimento trreo.

Internamente, o conventotambm seguiu o padro desimplicidade. Dois grandessales acolhiam as irmandadesdo Senhor dos Martrios e doSenhor da Pacincia, dividindoespao com as nove celas japontadas que abrigavam osreligiosos. possvel que, napoca da sua construo, essenmero de celas fossesuficiente. Porm, medidaque se ampliou a aomissionria em Cachoeira, oproblema de alojamento paraos religiosos se fez sentir.

So escassas as informaessobre construes e/oualteraes feitas no conventonos sculos XVIII ou XIX. Amaior parte dos documentoscarmelitanos desapareceu,


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disappeared: only books ofexpenses remain, from whichwe can derive information onpayments for small servicesand reforms in images or thebuilding itself. In all religiousbuildings, including those inSalvador, the most frequentinterventions were and stillare always associated tofixing the roofs.

After the Currency Housewas installed in the convent,the 1831 reforms began. Theconvent was occupied duringthe struggle for Independenceand the Federalist struggles,and its routine would change

restando apenas livros dedespesas, dos quais se resgataminformaes de pagamentos depequenos servios e reformasem imagens ou no edifcio. Emtodos os edifcios religiosos,inclusive nos de Salvador, otrabalho mais frequente deinterveno estava e estsempre relacionado ao consertodos telhados.

Depois da instalao daCasa da Moeda no convento,iniciaram-se as reformas de1831. Alm de ser ocupadodurante as lutas deIndependncia e das lutasfederalistas, a rotina do

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Convento de Nossa Senhora do Carmo. Detalhe do claustro.Convent of Nossa Senhora do Carmo. Detail of the cloister.

convento seria novamentealterada em 1855, quando aepidemia do colera morbusalastrou-se de Salvador para oRecncavo. A edificao foitransformada em hospital dospestosos e os religiosos emenfermeiros. Descansarampouco, pois em 1865aquartelaram-se no conventoos batalhes de VoluntriosReais da Ptria que partiampara engrossar as milcias naguerra contra o Paraguai. Aparticipao no eventohistrico pode enaltecer aordem carmelitana deCachoeira, mas resultouem prejuzos materiais ecausou estragos fsicos centenria construo.

A diversificao de usos doespao conventual prosseguiu.Nele se instalou,provisoriamente, uma classede latim. Em 1857, enquantose faziam obras no PaoMunicipal, a parte trreapassou tambm a sediarfuno pblica, abrigando aCmara Municipal, o Tribunaldo Jri, a Audincia deCorreio e o Quartel daPolcia. Em viagem Bahia,Dom Pedro II no deixou devisitar o convento do Carmo.

once again in 1855, when thecolera morbus epidemicspread from Salvador to theRecncavo. The building wasturned into a hospital forpestosos those afflictedwith the plague , and thereligious men became nurses.They had not much time torest, as in 1865 the FatherlandRoyal Volunteers battalionsturned the convent into theirheadquarters on their way tothe war against Paraguay. Itsparticipation in this historicalevent may ennoble theCarmelite order of Cachoeira,but it resulted in materialdamages and physical ruin tothe centuries-old construction.

The convent continued tobe used for a great diversityof purposes. Latin classestook place there for a while.In 1857, while the PaoMunicipal was beingreformed, the ground flooralso housed a number ofpublic functions, includingthe Municipal Chamber, theJurys Courthouse, theCorrectional Audience andthe Police Headquarters. Ona trip to Bahia, Dom Pedro IImade a point of visiting theconvent of Carmo.


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Sinais de desgastes eramevidentes nas narrativasoitocentistas. O frontispcioameaava ruir e o estado detodo o prdio era de causartristeza, pelo abandono a queestava entregue. A igreja noapresentava melhor situao. Oconvento estava praticamentedeserto de religiosos, aindacomo reflexo das prescrieslegais, como a proibio doingresso de novios nascomunidades religiosas,determinada por Avisoexpedido em 19 de maio de1855 pelo Ministro da Justia,Jos Toms Nabuco de Arajo.A partir de ento as portas doscarmelitas comearam a sefechar e suas casas quasedesapareceram em todo Brasil.

Com o advento daRepblica, a Igreja separou-sedo Estado e tais proibiesperderam a validade. Dessemodo, as ordens religiosaspoderiam ser restauradas. Paraisso, recorreram a suasmatrizes, que enviaramreligiosos estrangeiros para oBrasil. No caso dos carmelitas,vieram frades espanhis e,posteriormente, holandeses.Ao convento de Cachoeirachegaram, em 1899, o

Signs of wear and tearwere evident in narrativesfrom the 1800s. Thefrontispiece was threateningto collapse and the wholebuilding was in a deplorablestate due to neglect. Thechurch was in no better state.The convent was practicallydeserted of religious men,still as a reflex of legalprescriptions, such as theWarning of May 19th 1855from Minister of Justice JosToms Nabuco de Arajo,forbidding religiouscommunities to acceptnovices. From then on,Carmelite doors began toclose and their housesalmost disappearedthroughout Brazil.

With the advent of theRepublic, the Church wasseparated from the State andthese prohibitions lost theirvalidity. Religious orders couldthen be restored. For that end,they appealed to their mainhouses, who sent foreignreligious men to Brazil. In thecase of the Carmelites, friarscame from Spain and, later on,from the Netherlands. In 1899,Reverend Father MarianoGordon and Friar Joaquim

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Romero Olmosarrived to theconvent ofCachoeira.

The religiousmen in Carmocontinued theirwork with greateffort, when yetanother

misfortune fellupon theconvent, in 1914,

jeopardizing all that had beenrestored. As usual, theParaguau waters floodedCachoeira, but this time theflood was particularly violent,reaching the church and theconvent. Even in thisemergency, the religiousbuilding housed hundreds ofpeople. This flood3 left itsmarks in the whole building,and it once again showedsigns of deterioration.

Four years later, two otherfriars came to Cachoeira:Friar Joaquim, known only byhis first name, and FriarPedro Toms Margallo. The

reverendo padreMariano Gordone frei JoaquimRomero Olmos.

Os religiososdo Carmolevavam ostrabalhos avantecom muitoesforo, quandonovo transtornoaconteceu, em 1914,comprometendo oque haviam restaurado. Asguas do Paraguau, como erahabitual, invadiram Cachoeira,mas dessa vez a enchente foiparticularmente violenta,atingindo a igreja e o convento.Mesmo em situaoemergencial, o edifcio religiosoabrigou centenas de pessoas.Essa enchente3 deixou suasmarcas em toda a edificao,que voltou a apresentar sinaisde arruinamento.

Quatro anos depois, maisdois frades chegaram aCachoeira: frei Joaquim,conhecido apenas peloprenome, e frei Pedro Toms

Enchente do rio Paraguau atingindoo Conjunto do Carmo, na primeira

metade do sculo XX.

The flooding of the Paraguau Riverreaching the Carmel ensemble, in the

first half of the 20th century.

3. At a construo da barragem de Pedrado Cavalo, nos anos 1980, as enchenteseram recorrentes em Cachoeira e sempreprovocavam danos graves, como as de1792, 1839, 1840, 1861, 1875, 1882 e1893, alm daquelas do sculo XX, comoas de 1958, 1960 e 1963, por exemplo.

3. Until the construction of the Pedra doCavalo dam, in the 1980s, floods wererecurrent in Cachoeira, always causing greatdamage, such as in 1792, 1839, 1840,1861, 1875, 1882 and 1893, as well as inthe 20th century, such as 1958, 1960 and1963, for instance.


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latter was in charge ofrestoring the building.Interventions, although ofteninappropriate, avoided thedisappearance of thisimportant architecturalensemble. Friar Margallostarted by cleaning the innercloister. He had toreconstruct the whole rightwing of the ground floor,once occupied by theCurrency House, which hadbeen taken over by dirt andweeds, and several parts ofwhich had collapsed.

Extending his works to thechurch, he found that thecarvings that covered the18th-century retables were ina state of total ruin. Hedecided to restore it byreplacing that artisticornament with faux marble.Although some claim thatFriar Margallo repainted theceilings, documents attestotherwise. A document foundin the Carmelite Archives ofBelo Horizonte tells us thatthe main chapel ceiling wascarefully preserved: it wasnot restored because thesimply intention of doing sowould be such a crimeagainst colonial art.

Margallo. Este assumiu aincumbncia de restaurar aedificao. As intervenes,embora muitas vezes indevidas,evitaram o desaparecimento doimportante conjuntoarquitetnico. Frei Margallocomeou pela limpeza internado claustro. Precisou reconstruirtoda a ala direita do pavimentotrreo, ocupada outrora pelaCasa da Moeda, que estavatomada pela sujeira e pelo mato,com vrias partes desmoronadas.

Estendendo os trabalhospara o edifcio da igreja,encontrou a talha que revestiaos retbulos do sculo XVIIIem total runa. Decidiurestaur-la, substituindoaquele ornamento artstico porescaiola e marmorite. Emborahaja notcias de que ostrabalhos desenvolvidos porfrei Margallo tenham atingidoas pinturas dos forros, pormeio de repintura,documentos atestam ocontrrio. Em documentoexistente no Arquivo Carmelitade Belo Horizonte tem-senotcia que o forro dacapela-mor carinhosamenteconservado se no restaurouporque pretend-lo seria crimecontra a arte colonial.

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As intervenes de freiMargallo incluram ainda acolocao de um pisocermico sobre as lajotas debarro originais, ocultando,desse modo, as lpidessepulcrais que estavam nanave e nas capelas da igreja.Esse religioso governou oconvento de 1914 a 1936.

A partir de 1938, com acriao do Instituto doPatrimnio Histrico eArtstico Nacional, no eramais permitido intervir noedifcio sem ordem prvia. Oconvento chegou aos anos1950 com graves problemasde cobertura e praticamentedesabitado. QuandoCachoeira foi declaradaMonumento Nacional, em1971, o presidente daCmara, Geraldo SimesSantos, solicitou ao ministroJarbas Passarinho acelebrao de um convniocom o estado, ou com omunicpio, para a restauraodo convento do Carmo. Asolicitao no foi atendida.A ordem carmelita, emCachoeira, no maisconseguiu equilibrar-se, eacabou fechando as portas doseu convento.

Friar Margallosinterventions included theplacement of ceramicfloorings on top of theoriginal clay tiles, thus hidingthe sepulcher stones thatused to be in the nave and inthe chapels. This religiousman ruled the convent from1914 to 1936.

From 1938, with thecreation of the NationalHistorical and ArtisticHeritage Institute (Iphan), itwas no longer permitted tointervene in the buildingwithout previousauthorization. The conventreached the 1950s withserious covering problemsand practically uninhabited.When Cachoeira wasdeclared a NationalMonument, in 1971, theChamber President, GeraldoSimes Santos, requestedMinister Jarbas Passarinho toseal an agreement with thestate or the municipality tofund the restoration of theCarmo convent. Thisrequest was not answered.The Carmelite order inCachoeira was no longerable to sustain itself, and itsconvent was closed.


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Desativado o convento eretirados os frades carmelitas,a igreja da Ordem Primeiraentrou em decadncia.Finalmente, na dcada de1980, o novo uso de pousadadesvinculou o convento dasua igreja, e ambos da OrdemTerceira do Carmo.

Aps a implantao dapousada, as intervenes noconjunto praticamenteterminaram, uma vez que osespaos estavam sob umaadministrao particular, ques eventualmente solicitavapermisso ao Iphan parapequenos reparos. A igreja daOrdem Primeira noapresentava danos fsicosimportantes, masencontrava-se igualmentecomprometida: dessacralizada,com o seu contedo internoperdido, foi agenciadasegundo uma propostaartstica que subverteu aslinhas sbrias e imponentes doespao edificado.

A partir do momento em quea pousada foi inaugurada efuncionando sob aadministrao da Emtur,cessaram as referncias a obrasno convento ou na igreja, feitaspelo Iphan/FNPM.

Once the convent hadbeen deactivated and theCarmelite friars had moved,the church of the First Orderwent into a process ofdecadence. Finally, in the1980s, the buildings newuse as an inn dissociated theconvent from its church,and both from the Third Orderof Carmel.

After the establishment ofthe inn, interventions in theensemble practically ceased,since spaces were now underprivate management, and thenew administration onlyoccasionally asked Iphan forpermission to make smallrepairs. The church of the FirstOrder presented no majorphysical damages, but wascompromised as well: it hadbeen desacralized, its interiorcontents were lost, it had beenlent to an artistic propositionthat subverted the buildingssober and imposing image.

From the moment of theinns inauguration, under theadministration of Emtur, therewere no further mentions ofworks in the convent orchurch by Iphan/FNMP.Recently, the MonumentaProgram, under the care of

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Recentemente, o ProgramaMonumenta, sob os cuidados doIphan, decidiu alterar o uso daigreja do Carmo. A partir de2003, esse programa comeou aatuar sobre o ncleo do Carmo,dentro da nova filosofia desustentabilidade, que insere nosimveis funes adequadas ecapazes de promover amanuteno do edifcio, pormeio de modificaes estruturaismnimas. A restauraocompletou-se em 2006.

O que visitar

Igreja. Recentementerestaurados pelo ProgramaMonumenta, todos os espaosda igreja merecem servisitados, embora no guardemmuitas peas. No se conheceo fim dado maioria delas.

O forro da igreja, maltratadopelo tempo e pela incria doshomens, apresentava, de acordocom uma descrio antiga, umapintura ilusionista do sculoXVIII, confeccionada em tcnicaa leo sobre madeira. Foiatribudo, por alguns autores, escola de Jos Joaquim daRocha ou Antnio SimesRibeiro e era, originalmente,uma estrutura gamelada, fixada

Iphan, decided to alter the useof the church of Carmo. From2003, this program started towork on the Carmo nucleusaccording to a new philosophyof sustainability. In thisphilosophy, buildings acquirefunctions that are adequate totheir possibilities and thatallow the building to bemaintained with minimalstructural modifications.This restoration was completedin 2006.

What to visit

Church. Recently restoredby the Monumenta Program,all of the churchs spacesdeserve a visit, although thereare not many pieces left. Wedo not know what happenedto most of them.

According to an olddescription, the churchsceiling, damaged by time andneglect, used to feature anillusionist 18th-centurypainting, with an oil-on-woodtechnique. Some authorsattributed it to the schoolof Jos Joaquim da Rocha orAntnio Simes Ribeiro, andit was originally abowl-shaped structure,


Cachoeira

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com cravos de ferro emcambotas semicirculares.

Em 1977, a situao doforro era de runa.Planejavam-se obras deemergncia na igreja, havendoinclusive movimentao dogoverno do estado. Mas asituao do forro era bastantecrtica e ele no resistiu, ruindo.

Desenvolvia-se, nessapoca, o projeto de adaptaodo convento para pousada,uma proposta que foiimplantada dentro doPrograma de Reconstruo deCidades Histricas (PCH) doNordeste, com financiamentoda Secretaria de Planejamentoda Presidncia da Repblica(Seplan-PR) e do ConselhoNacional de Turismo (CNTur).

Em meio ao burburinho,entre o desabamento e oincio das intervenes doPCH na igreja, o forrodesapareceu. Em um relatriode vistoria de 1985, umtcnico do Iphan/FNPMdenunciou que algumastbuas do forro estavamservindo como piso dosandaimes utilizados na obra.

Os detalhes no so claros,mas conta um arquiteto do

attached with iron nails tosemicircular centrings.

In 1977, the ceiling was inruins. Emergency works hadbeen planned, even includingthe participation of the stategovernment. But the ceilingwas in such a critical state thatit collapsed before thebeginning of works.

By then, the project for theconvents conversion into aninn was being developed. Thisproposal had been a part ofthe Northeastern Program forthe Reconstruction ofHistorical Towns (PCH), andwas financed by the FederalPresidencys PlanningDepartment (Seplan-PR)and the National TourismCouncil (CNTur).

In the middle of thisconvulsion, between theceilings collapse and thebeginning of PCHinterventions in the church, theceiling boards disappeared. Ina report from a 1985 survey,an Iphan/FNPM techniciandenounced that some of theboards were being used astreads in the scaffolds.

The details are unclear, butan architect from Iphan tells us

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that, during works, he wasapproached by Antero Gomesde Freitas, or Seu Dor, awell-known character inCachoeira, who made a livingtransporting things in an oldwagon. Seu Dor had beenhired to throw away some oldboards from the convent.Since these boards showedsigns of painting and hewanted no responsibilityin this, he found it best toconsult a friend from theIphan/FNMPs Cachoeiraheadquarters.

These were church ceilingboards that had been rescuedand kept beneath the floors ofthe Iphan/FNPM headquarters,at Cachoeiras Aclamaosquare. They stayed there for20 years, and were practicallyforgotten. During therestoration promoted by theMonumenta Program, theywere brought back to thechurch, where a hugepuzzle was assembled. Allof the pieces were thought tobe from the nave ceiling, but,as it turned out, there werealso discordant pieces,complicating the assemblyprocess. This, however,afforded a new discovery:

Iphan que, durante a obra, foiprocurado por Antero Gomesde Freitas, ou Seu Dor, umpersonagem ento bastanteconhecido em Cachoeira, queganhava a vida fazendotransportes numa velha carroa.Seu Dor fora contratado parajogar fora umas tbuas velhas,sadas do convento. Como astbuas tinham sinais de pinturase ele no queria assumir aresponsabilidade, achoumelhor consultar um amigodo Iphan/FNPM que tem sedena cidade.

Essas tbuas eram do forroda igreja e foram resgatadase acondicionadas noentreassoalho do edifcio sededo Iphan/FNPM, na praa daAclamao de Cachoeira. Lficaram guardadas, e quaseesquecidas, por 20 anos.Durante o restauro promovidopelo Programa Monumenta,foram levadas novamente paraa igreja, onde se montou umimenso quebra cabeas.Imaginava-se que todos osfragmentos pertencessem aoforro da nave, mas aospoucos foram surgindopeas discordantes, quecomplicaram a montagem,mas permitiram uma nova


43several of these boards hadcome from the ceiling of thechoir and the lateral chapel onthe right.

The existing boards werenot enough to cover the wholesurface, but the movableproperty team managed tointegrate the original pieces tonew wooden boards, paintedin the original base color. Theresult was quite satisfactory.And, thanks to Seu Dor, thechurch now features itsoriginal ceilings, rescued fromthe trash or fire.

descoberta: havia entre aspeas vrias tbuas que faziamparte do forro do coro e dacapela lateral direita.

As tbuas existentes nocompletavam toda asuperfcie, mas a equipe debens mveis conseguiu umaboa integrao entre as peasoriginais e peas de madeiranova, na cor base da pintura.O resultado foi bastantepositivo. E, graas a Seu Dor,hoje a igreja ostenta, de novo,os seus forros, salvos do lixoou do fogo.

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Detalhe de restaurao do forro sob o coro e de sua pintura.Detail of restoration under the choir and of its painting.

In addition to the ceilings,the Solomonic columns thatremained from the templesfirst decoration are also worthyto be seen, as well as the fewimages and, above all, theresults of the last restoration.In principle, the church of the

Alm dos forros, valem servistas as colunas torsas querestaram da primeiradecorao do templo, aspoucas imagens e, sobretudo,o resultado dos trabalhos doltimo restauro. A igreja daOrdem Primeira, em princpio,

Pintura do forro da nave, restaurada e reintegrada depois de 20 anos.Painting of the nave ceiling restored and reintegrated after 20 years.

First Order is destined tobecome a Museum of SacredArt, to house works from theThird Order of Carmel. A visitto Cachoeira and its Carmeliteensemble will certainly berewarding, since, in the ThirdOrder building, next to the

est destinada a ser Museu deArte Sacra, para guardar obrasda Ordem Terceira do Carmo.No perder o passeio quemvisitar Cachoeira e o conjuntocarmelita, pois no edifcio daOrdem Terceira, que fica aolado da igreja do Carmo e da

Vista da nave, tribunas, coro e pintura do forro, a partir do altar-mor.View of the nave, tribunes, choir and ceiling painting, from the main altar.


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church of Carmo and the inn,a good part of its heritage wascarefully preserved.

Listed as Heritage Site byIphan on August 22nd 1938,under n. 103 of the Book ofHistory, sh. 19, and n. 209 ofthe Book of Fine Arts, it is alsolisted by Ipac n. BR32103-1.0-F002. In 1971,Cachoeira was declared aNational Monument, and thesettlement, under n. 49, islisted in the Book ofArchaeological, Ethnographicaland Landscape Heritage,sanctioned by the President ofthe Republic, Emlio G.Mdici, through Decree-law n.68.045, of January 13th 1972.

pousada, conservou-se commuito cuidado grande parte doseu patrimnio.

Tombado pela Iphan em 22de agosto de 1938 sob o n.103 do Livro de Histria, fl.19, e sob o n. 209, no Livro deBelas Artes, tambm temindicao do Ipac n. BR32103-1.0-F002. Em 1971Cachoeira foi declaradaMonumento Nacional, e oassentamento, sob o n. 49,consta do Livro de TomboArqueolgico, Etnogrfico ePaisagstico, sancionado pelopresidente da Repblica,Emlio G. Mdici, atravs doDecreto-lei n. 68.045, de 13de janeiro de 1972.

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Vista noturna do conjunto, incluindo a Ordem Terceira do Carmo.Night view of the ensemble, including the Third Order of Carmel.

Igreja do Convento de Santo Antnio, no povoado de So Francisco do Paraguau.Convent Church of Santo Antnio, in the village of So Francisco do Paraguau.

ROTEIRO 6

Itinerary 6


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SO FRANCISCO DO

PARAGUAU: CHURCH AND

CONVENT OF SANTO

ANTNIO

A bit of history

The village of SoFrancisco do Paraguau islocated in the district ofIguape, municipality ofCachoeira. It was formed inthe late 16th and early 17th

centuries, as a result of theregions development, basedon sugarcane farming. Next tothis village, by the lagoon, liesthe architectural ensemble,church and convent of SantoAntnio do Paraguau, on aflat terrain, slightly above thelevel of the river, at the banksof the Paraguau.

By 1930, half of the fewdwellings existing in this villagewas still covered in thatch.From then on, thatch wasreplaced by tiles. It was only in1973-1974 that electricity andpiped water arrived to thevillage, and, soon after that,part of the streets were paved.The population is still very

SO FRANCISCO DOPARAGUAU: IGREJA ECONVENTO DE SANTOANTNIO

Um pouco de histria

O povoado de SoFrancisco do Paraguau situa-seno distrito de Iguape, municpiode Cachoeira. Formou-se emfins do sculo XVI e princpiodo XVII, em decorrncia dodesenvolvimento da regio, quese baseava na cultura dacana-de-acar. Junto a essepovoado, no lagamar, situa-se oconjunto arquitetnico, igreja econvento de Santo Antnio doParaguau, num terreno plano,ligeiramente elevado emrelao ao nvel do rio, beirado Paraguau.

Em 1930, a metade daspoucas moradias existentesnesse povoado era aindacoberta de palha. A partir deento, a palha passou a sersubstituda por telhas. Somenteem 1973-1974 os habitantespuderam dispor de luz eltrica egua encanada e, logo depois,as ruas foram parcialmente

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small, and generally lacksresources. Its main sources ofincome are manioc, piaavaand dend palm crops. Thevillage once had shipyardswhere small boats were made,and it was a fishing nucleus.

It can be reached by seaand river, but the mostcommon access is by road,through Santo Amaro andCachoeira. There used to be aregular boat service to thislocation. Nowadays, however,the sea/river route is used onlyfor programmed tripsorganized by tourist agencies.

The convent of SantoAntnio do Paraguau wasthe second Franciscanensemble built in PortugueseAmerica after the custody ofBrazil was separated from theProvince of Santo Antnio dePortugal, in 16474. PopeInnocence X confirmed thisseparation in a brief edictissued that same year.

In 1649, in a Chaptermeeting, Custodian Friar JooBatista ordered Friar Antniode Santa Clara, Friar Pacfico

caladas. Ainda hoje apopulao reduzida. Poucoassistida no geral, sobrevive dalavoura de mandioca, piaava edend. O povoado j teveestaleiros para feitura depequenas embarcaes e foincleo de pescadores.

H acesso por mar e rio,mas o mais comum orodovirio, passando-se porSanto Amaro e Cachoeira. Jhouve servio regular deembarcaes para o local.Hoje, entretanto, apenas empasseios programados poragentes tursticos utiliza-se avia fluviomarinha.

O convento de SantoAntnio do Paraguau foi osegundo conjunto franciscanoconstrudo na Amricaportuguesa aps a custdia doBrasil separar-se da provnciade Santo Antnio de Portugal,em 16474. O papa Inocncio Xconfirmou a separao porbreve pontifcio do mesmo ano.

Em 1649, em reunio doCaptulo, o custdio, frei JooBatista, determinou que freiAntnio de Santa Clara, frei

4. Dez anos depois, em 24 de agosto de1657, foi criada a provncia de SantoAntnio do Brasil. A casa capitular da Bahiaficava em Salvador e, em algumas ocasiesexcepcionais, em So Francisco do Conde.

4. Ten years later, on August 24th 1657, theProvince of Santo Antnio do Brasil wascreated. Bahias Chapter was held inSalvador and, in a few special occasions, inSo Francisco do Conde.


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de Jesus and Lay BrotherFriar Jorge to begin theconstruction of a hospicewith a chapel on the landsdonated by Father PedroGarcia de Arajo, on theplace called Pontal, by thebanks of the Paraguau river,to the north of the settlement.Garcia de Arajo himselfdonated another plot of landto the Franciscans, wherethe definitive convent was tobe built. The one at Pontalwas not canonicallyacknowledgement until 1658,when the Franciscan housemoved to its definitive place,closer to Cachoeira.

The cornerstone of thenew church and convent was

Pacfico de Jesus e o irmoleigo frei Jorge dessem incio construo de um hospciocom capela nos terrenosdoados pelo padre PedroGarcia de Arajo, no lugarchamado Pontal, s margensdo rio Paraguau, pouco aonorte do povoado. O mesmoGarcia de Arajo doou aosfranciscanos um outroterreno, onde se faria oconvento definitivo. O dePontal permaneceu semreconhecimento cannicoat 1658, quando a casafranciscana mudou-se para olugar definitivo, mais prximode Cachoeira.

A pedra fundamental danova igreja e do convento foi

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Viso do conjunto franciscano a partir do mar/rio, em So Francisco do Paraguau.Vision of the Franciscan ensemble from sea/river, in So Francisco do Paraguau.

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launched on February 4th

1658, while Friar ngelo doNascimento was Guardian.Documents state that FriarDaniel de So Francisco wasappointed to lay theblueprint and perform thissolemnity, rising the housecanonically as a convent.The blueprint was createdby Friar Francisco dos Santos.The ensembles constructionbegan with the convent,raised even before thecornerstone was launched.The cloisters were finishedby 1651, after about twoyears of works. The dateis engraved upon one ofthe arches.

lanada em 4 de fevereiro de1658, sendo guardio freingelo do Nascimento. Hnotcias de que para dispor aplanta e fazer esta solenidadefoi designado frei Daniel deSo Francisco, sendo a casaereta canonicamente comoconvento. O risco ou projetose deve a frei Francisco dosSantos. A construo doconjunto iniciou-se peloconvento, erguido antesmesmo do lanamento dapedra fundamental. O claustroestava concludo em 1651,aps aproximadamente doisanos de obras. A dataencontra-se gravada em umdos arcos de acesso.

Detalhe do portal de entrada no muro lateral do conjunto franciscano.Detail of the portal on the side wall of the Franciscan ensemble.


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The church faade, withoutthe portico, must have beenbuilt between 1658 and 1660.Both the faade and theexternal arches are structuredin bricks covered withstonemasonry. The portico wasbuilt afterwards, with onlythree arches, according to theFranciscan or Capuchinmode of construction.

The date when works werefinished on the church isengraved upon its main door:1660. On the doorway to thenorth of the portico is the date1686, probably marking theend of the conventsconstruction5. In this occasion,two arches were added to theportico or narthex, leading onone side to a gallery witharcades, similar to that on theupper floor, and on the otherto the cloisters and theconvents entrance.

The Province Statutes,approved in 1709, required allbuildings to be made of stoneand lime, because experiencehad shown that foundations

A fachada da igreja, sem oprtico, deve ter sidoconstruda entre 1658 e 1660.Tanto na fachada quanto nosarcos externos, a estrutura foifeita com tijolos cobertos compedra de cantaria. Construiu-sedepois o prtico, com apenastrs arcos, obedecendo omodo franciscano oucapucho de construo.

O fim das obras da igrejaest marcado na sua portaprincipal: 1660. Na portada daportaria norte do prtico est adata 1686, provavelmenteassinalando o fim daconstruo do convento5.Nessa ocasio foramacrescentados dois arcos noprtico ou galil, de um ladodando passagem a uma galeriacom arcadas, semelhante aopiso superior, e de outrolevando ao claustro e portaria do convento.

Os Estatutos da Provncia,aprovados em 1709, exigiamque os edifcios fossem feitos depedra e cal, porque aexperincia tinha mostrado que

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5. Nesse mesmo ano comeou a funcionaruma enfermaria, que depois se transformouem hospital. Em 1729 os servioshospitalares foram transferidos paraCachoeira, para o hospital So Joo de Deus,que precedeu a Santa Casa de Misericrdia.

5. That same year, an infirmary wascreated, which would later become ahospital. In 1729 hospital services weretransferred to Cachoeira, to the So Joode Deus hospital, preceding the HolyHouse of Mercy.

as fundaes feitas em materialmenos durvel noencontravam o mesmoentusiasmo dos moradorespara colaborar com a suaconservao. Esses mesmosestatutos estabeleciam que aplanta devia ser elaborada porpessoas entendidas,observando o modofranciscano de construo.Isso explica o modelo que foiaplicado, mutatis mutanti, damesma forma em todos osconventos da ordem. Tambmdevia ser ao modo capucho isto , pobre, construdo comesmolas , mas de pedra e cal.

O conjunto do Paraguaufoi construdo com afinalidade de servir deseminrio, j admitindo osprimeiros novios um anoaps a nomeao do primeiroguardio. O seminrio passoua abrigar o noviciado doscandidatos vida franciscanade Pernambuco, enquanto oconvento de Igarau preparavaos candidatos da Bahia.

Ao passar de custdia paraprovncia franciscana, os novosestatutos rezavam que toda aprovncia de Santo Antnio doBrasil poderia receber 236frades, cabendo uma cota de

made of less durable materialswere not as enthusiasticallypreserved by the population.The same statutes establishedthat the blueprint should becreated by experts, observingthe Franciscan mode ofconstruction. This explainsthe model that was applied,mutatis mutanti, in thesame way in every conventbelonging to this order.They should also follow theCapuchin mode that is,poor, built from alms butstill be made of stoneand lime.

The Paraguau ensemblewas built as a seminary, andthe first novices wereadmitted a year after the firstGuardian was named. Theseminary started to host thenovitiate of candidates toFranciscan life inPernambuco, while theconvent of Igarau did thesame for candidates in Bahia.

With its passage from acustody to a Franciscanprovince, the new statutesdetermined that the wholeProvince of Santo Antnio doBrasil could receive 236 friars,out of which only 20 could goto the convent of Paraguau.



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apenas 20 ao convento doParaguau. Em 1739 aprovncia chegou a ter 420frades, sendo 321 sacerdotes e99 irmos. No ano seguinte,por ordem rgia, os conventosforam proibidos de recebernovios, at que o nmero sereduzisse a 400. Por uma minterpretao desses estatutos,que no contavam osmissionrios das aldeias naprimeira fase de sua instalao,o nmero de religiosos chegoua 470 na provncia, em 1764,em pleno perodo pombalino.

Os religiosos, no s osfranciscanos, sofreram um forteabalo com a reformapombalina, que procuroulaicizar a igreja e retirou,temporariamente, os religiososregulares dos trabalhos decatequese. Em 1764, noreinado de Dom Jos I, foiproibida a admisso de noviospelo perodo de 14 anos. Pormerc rgia, no entanto, muitasvezes se abria exceo a essaproibio. Como consequnciada poltica pombalina e danova mentalidade, que levariaao liberalismo e proibioprolongada de admisso denovios, o nmero de religiososdiminuiu consideravelmente.

By 1739, the province had420 friars, including 321priests and 99 brothers. Thefollowing year, by a Royalorder, convents wereforbidden to receive novicesuntil this number was reducedto 400. A poor interpretationof these statutes, which didnot count missionaries invillages that had just beeninstalled, allowed the numberof religious men to rise to 470in the province by 1764,during the Pombaline period.

Not only Franciscans, butall religious orders suffered astrong blow with thePombaline reform. Wishing tosecularize the church, thispolicy removed temporarilyregular religious men fromcatechistic works. In 1764,during the reign of Dom Jos I,the admission of novices wasforbidden for a period of 14years. Through royal mercy,however, there were frequentexceptions to the rule. As aconsequence of Pombalinepolitics and of a new state ofmind, leading to Liberalismand to a prolonged ban on theadmission of novices, thenumber of religious mendecreased considerably.


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On one hand, the ban onthe admission of novicesimpaired many of theimprovement projects forconvents in Bahia and all ofBrazil. On the other hand, inthe three decades followingthe Lisbon earthquake, in1755, even the most humblesettlement, neighborhood,village or town in Brazil wasforced to contribute withheavy payments towards thereconstruction of that city,home to the Portuguese Court.Thus, if their monumentalbuildings had not beenfinished by the first half of the1700s, none of the Franciscanheritage that we have nowwould exist.

In 1797, there were eightpriests, five choirboys andtwo lay brothers inParaguau. The number ofreligious men varied anddecreased through time. Withthe restoration of Franciscanconvents promoted by theGerman, the number ofreligious men grew, but evenso, by 1801, the populationof religious men in theprovince had fallen to 158.

The convent of Paraguauceased to be a novitiate in

Por um lado, a proibio deingresso de novios prejudicoumuitos dos projetos de melhoriados conventos na Bahia e emtodo o Brasil. Por outro lado,nas trs dcadas que seseguiram ao terremoto deLisboa, em 1755, at a maishumilde povoao, freguesia,vila ou cidade do Brasil esteveobrigada a contribuir compesadas quantias para areconstruo daquela cidade,que abrigava a Corteportuguesa. Assim, se notivessem chegado a construirseus prdios monumentais naprimeira metade do setecentos,com certeza no se teria opatrimnio franciscano quehoje se pode apreciar.

Em 1797 havia emParaguau oito sacerdotes,cinco coristas e dois donatos.O nmero de religiosos foivariando e diminuindo aolongo do tempo. Com arestaurao dos conventosfranciscanos promovida pelosalemes, o nmero dereligiosos aumentou, mas,mesmo assim, em 1801, apopulao de religiosos daprovncia decaiu para 158.

Desde 1824 o convento deParaguau deixara de ser


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1824, but it was still in thehands of the Franciscans.After the Independence, theChapter of 1825 was movedto Salvador and Recife alongwith the novitiate house.That same year, the Emperorallowed the Province ofSanto Antnio to receive50 novices.

Franciscans tried toreturn to their formernovitiates, but by the middleof the century they were stillin the capital cities.Furthermore, in 1844, theProvincial Assembly of Bahiareduced this number to 30novices, and no choirboys.In 1855, an Imperial

noviciado, mas aindapermanecia na posse dosfranciscanos. O Captulo de1825, posterior Independncia, transferiu-se,com a casa de noviciado, paraSalvador e Recife. Nesse mesmoano, o imperador deu licena provncia de Santo Antnio parareceber 50 novios.

Os franciscanos tentaramvoltar para os antigosnoviciados, mas em meadosdo sculo ainda estavam nascapitais. Alm disso, em 1844,a Assemblia Provincial daBahia passou a permitirapenas 30 novios, no seaceitando nem mesmo corista.Em 1855, o Aviso Imperial

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Adro da igreja e arcos do prtico com portes de madeira.Churchyard and porticos arches with wooden gates.

proibiu a admisso de noviosat que se fizesse uma reformaconveniente. Dois anosdepois, Paraguau abrigavaapenas cinco religiosos. Todoesse processo desencadeou oprincpio da decadncia dosconventos franciscanos.Alguns deles, por ordem deRoma, comearam a serabandonados a partir de 1886,sendo os franciscanosrestantes obrigados a prestarobedincia aos bispos.Restavam ento apenas dezfrades em toda a Provncia.

Em 1892 chegaram ao Brasilfrei Amando Bahlmann e outrosfrades alemes, vindos daSaxnia, com a misso de darincio restaurao da provnciaantonina, compromissojuridicamente assumido em1893. Em 1896 promoveram areocupao temporria doconvento do Paraguau. Nessemesmo ano, grassou emSalvador a febre amarela, eexigiu-se a transferncia dosfrades doentes da capital para osconventos do Paraguau e doConde. Frei Damio Kleindescreveu a pssima situaoem que se encontrava oconvento quando os alemeschegaram a Paraguau.

Warning forbade theadmission of novices until aconvenient reform wasmade. Two years later,Paraguau housed only fivereligious men. The wholeprocess was the beginning ofthe decadence of Franciscanconvents. Some of them, byorder of Rome, wereabandoned from 1886, andthe Franciscans thatremained were forced tosubmit to the bishops. Bythen, there were only tenfriars in the whole province.

In 1892, Friar AmandoBahlmann and other Germanfriars from Saxony arrived inBrazil with the mission to startthe restoration of the AntonineProvince, a commitmentestablished by law in 1893. In1896, they promoted atemporary reoccupation of theParaguau convent. That sameyear, Salvador was struck witha yellow fever epidemic, and itwas demanded that sick friarsshould be transferred from thecapital to the convents ofParaguau and Conde. FriarDamio Klein described theterrible situation in which theconvent was found when theGerman arrived at Paraguau.



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Logo os frades alemesabandonaram o convento, nodeixando de fazer observaessobre o mal estado dosedifcios. Em 1914, o provincialpediu a Roma autorizao paraentregar o convento aoarcebispo de Salvador, DomJernimo Tom da Silva,alegando, inclusive, que aedificao estava bastantedestruda. No mesmo ano, opapa Bento XV concedeu alicena para que o convento, osterrenos adjacentes e a igrejafossem entregues aoarcebispado em 10 de fevereirodo ano seguinte.

Por meio de portaria, oarcebispo determinou que umacomisso se encarregasse dasobras de recuperao da igrejae que se tomassem providnciaspara conserv-la, assim como asacristia e as varandas, para usodo culto dos habitantes dopovoado. Foi tambmautorizada a demolio doresto do convento, com oobjetivo de vender o materialque no fosse aproveitvel eaplicar o dinheiro arrecadadona recuperao da igreja.Permitia-se, ainda, vender osterrenos distantes da mesmaigreja. O terreno ou cerca,

The German friars soonabandoned the convent,remarking on its poor state ofconservation. In 1914, theProvincial asked Rome forauthorization to pass theconvent to the hands of theBishop of Salvador, DomJernimo Tom da Silva,claiming, among otherthings, that the building wasin ruins. That same year,Pope Benedict XV allowedthe convent, the adjacentlands and the church to behanded to the Archbishopricon February 10th of thefollowing year.

Through a decree, theArchbishop decided that acommission should be incharge of the churchsrecovery, and that measuresshould be taken to preserve it,as well as the sacristy andporches, to be used by thepopulation during cult. Therest of the convent was to bedemolished, in order to sell thematerials that could not beutilized and use the money tofund the churchs recovery. Asfor the lands that were fartherfrom the church, they were tobe sold. The plot or cerca, as itused to be called, was walled


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through and quite large,with its vegetable patchand orchard.

What to visit

There is not much to see,as time and neglect havedestroyed the monument.It wasnt totally ruined thanksto the actions of Dr. IvoSantana and his family, andto the interventions, indifferent occasions, of the thencalled Iphan/ProMemria andIphan. It is still worth a visit,however, to feel the impactcaused by the ruins and to seethe church that has beenpartly reconstituted.

Although Friar DamioKleins description alreadyaccused that it was in ruins bythe late 19th century, aphotograph from around1909, reproduced by ManoelQuerino shows that the churchstill had its decorative elements,such as the main altar, the griddividing the main chapel fromthe nave, the collateral altars,the pulpit, the fantasticcrossing, tribunes, tiles. But by1922 German chronicler FriarKlein left records of thisbuildings degradation6.

como se dizia na poca, erabastante grande, com sua hortae pomar, e todo murado.

O que visitar

No h muito o que ver,pois o tempo e o descaso seencarregaram de destruir omonumento. S no foitotalmente arruinado graass aes do dr. Ivo Santana esua famlia, e s intervenes,em ocasies diferentes, doento Iphan/ProMemria eIphan. Vale, no entanto, avisita, para se sentir o impactoque o conjunto de runascausa e ver a igreja que foi,em parte, reconstituda.

Apesar da descrio de freiDamio Klein j acusar runasem fins do sculo XIX, emuma fotografia de cerca de1909, reproduzida por ManoelQuerino, v-se que a igrejaainda tinha seus componentesdecorativos, como o altar-mor,a grade separando acapela-mor da nave, os altarescolaterais, o plpito, ofantstico arco cruzeiro,tribunas, azulejos. Mas ocronista alemo, frei Klein,deixou registradas, em 1922,as depredaes desse edifcio6.


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All that remains from thechurch are the walls, and theyare being gradually damagedthemselves. All the otherobjects have been removedand sold. The jacaranda gridsthat used to divide the mainchapel and the body of thechurch had been furtivelyremoved, at least in part, asthey could be seen in privatehouses at So Flix andMaragogipe. These grids ended

Sobraram da igreja s asparedes que, paulatinamente,esto sendo danificadas. Todosos objetos restantes foramretirados e vendidos. As gradesdivisrias entre a capela-mor eo corpo da igreja, trabalhadasem jacarand, tinham sidofurtivamente retiradas, aomenos em parte, pois podiamser vistas em casas particularesde So Flix e Maragogipe.Essas grades acabaram no Ch

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Igreja do Convento Santo Antnio. Detalhe da nave e capela-mor.Convent Church of Santo Antnio. Detail of the nave and main chapel.

6. Segundo algumas fontes, o lavabo,azulejos, retbulos e mveis foramtransferidos para a residncia de JosMariano no Rio de Janeiro, o SolarMonjope, j demolido, o que pareceinverossmil. No falam na famlia Campos.Waldemar Campos, entre outras coisas,comprou degraus de mrmore, uma pia ecmodas de jacarand.

6. According to certain sources, thelavabo, tiles, retables and furniture weremoved to the residence of Jos Marianoin Rio de Janeiro, known as SolarMonjope, now demolished. This seemsunlikely. There is no mention of theCampos family. Waldemar Campos,among other things, bought marble steps,a sink and jacaranda chests.

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up in the old building of theSecretary of Education of theState of Bahia, in Salvador, andnow belong to the collectionof the Bahia Museum of Art, inthe same building.

What remains of thechurch is the single navestructure, with the roofstimberwork, once painted,shaped as a bowl, and alsothe deep main chapel and thetribunes. From the ceiling inbarrel vaults, only vestiges ofthe timberwork havesurvived. The tribunes werealways connected in theupper floor byverandah-shaped corridors.The roofing is recent.

There are fragments of theold tile panels in the sacristy,main chapel, portico,cloisters, refectory and nave.Most of them wereBaroque-Rococo. Everythingelse has disappeared; someimages were stolen in 1955.

By the vestiges left in themain chapel and presbytery,the floor was made of marble.It was removed and replacedby bricks. Still, there are saidto be graves with marbleframes and wooden lids

antigo edifcio da Secretaria daEducao do Estado da Bahia,em Salvador, integrando hojeo acervo do Museu de Arte daBahia, que passou a funcionarno mesmo edifcio.

O que restou da igreja foi aestrutura, em nave nica, comarmao do teto, outrora todopintado, em forma de gamela,mais a capela-mor aprofundadae as tribunas, alm do forro,em abbada de beros, da quals existem vestgios daarmao. As tribunas, desdesempre, eram ligadas no pisosuperior por corredores, emforma de varandas. Os telhadosso recentes.

Dos antigos painis deazulejos restaram algunsresqucios na sacristia,capela-mor, prtico, claustro,refeitrio e nave. A maioria erabarroco-rococ. De resto, tudodesapareceu, sendo quealgumas imagens foramroubadas em 1955.

Pelos vestgios deixados nacapela-mor e presbitrio, o pisoera de mrmore. Foi retirado esubstitudo por forro atijolado.Entretanto, h informaes deexistirem tmulos commolduras de mrmore e tampas

throughout the church. We donot know exactly where theirremains are, but severalFranciscan religious and laymen were buried there, as wellas illustrious persons such asManoel de Arajo Arago,Maria Adorno Brites da RochaPita and Rodrigo AntnioFalco Brando. During anintervention