The Pietà in the Cathedral of Brasília

The inscription states:

A PIETÀ DA CATEDRAL DE BRASÍLIA

Foi abençoada pelo Papa João Paulo II em junho de 1989. É a réplica da PIETÀ de Michelangelo exposta na Basílica de São Pedro em Roma. É a primeira cópia em 500 anos de existência micromilimetricamente igual a original. Chegou à Brasília em 21de dezembro de 1989. Foi produzida pelo museu do Vaticano autorizado pelo Papa. É feita de mármore em pó e resina. Pesa 600 quilos e tem 1,74m de altura. Levou 3 anos para ser concluída. É uma das maravilhas produzida pelo homem.
Venha rezar o terço diante da Pietà todo dia 21 do mês às 11 hs
Doada por Carmen e Paulo Xavier.

Translated in English:

THE PIETÀ OF THE CATHEDRAL OF BRASILIA

It was blessed by Pope John Paul II in June 1989. It is a replica of the Pietà of Michelangelo displayed in St. Peter's Basilica in Rome. It is the first copy in 500 years of existence that is to the micro millimeter equal as the original. Arrived in Brasilia on 21st of December 1989. It was produced by the Vatican museum authorized by the Pope. It is made of marble powder and resin. Weighs 600 kilos and is 1.74 m tall. It took three years to complete. It is one of the wonders produced by man.
Come pray the Rosary before the Pietà every 21st of the month at 11 am
Donated by Carmen and Paulo Xavier.

Pietà (Michelangelo)

The Pietà (1498–1499) is a work of Renaissance sculpture by Michelangelo Buonarroti, housed in St. Peter's Basilica, Vatican City. It is the first of a number of works of the same theme by the artist. The statue was commissioned for the French Cardinal Jean de Bilhères, who was a representative in Rome. The sculpture, in Carrara marble, was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century. It is the only piece Michelangelo ever signed.

This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin, popular by that time in France but not yet in Italy. Michelangelo's interpretation of the Pietà is unprecedented in Italian sculpture. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism.

Description

The structure is pyramidal, and the vertex coincides with Mary's head. The statue widens progressively down the drapery of Mary's dress, to the base, the rock of Golgotha. The figures are quite out of proportion, owing to the difficulty of depicting a fully-grown man cradled full-length in a woman's lap. Much of Mary's body is concealed by her monumental drapery, and the relationship of the figures appears quite natural. Michelangelo's interpretation of the Pietà was far different from those previously created by other artists, as he sculpted a young and beautiful Mary rather than an older woman around 50 years of age.

The marks of the Crucifixion are limited to very small nail marks and an indication of the wound in Jesus' side.

Christ's face does not reveal signs of The Passion. Michelangelo did not want his version of the Pietà to represent death, but rather to show the "religious vision of abandonment and a serene face of the Son", thus the representation of the communion between man and God by the sanctification through Christ.

Youthful Mary

The Madonna is represented as being very young for the mother of a 33-year-old son, which is not uncommon in depictions of her at the time of the Passion of Christ. Various explanations have been suggested for this. One is that her youth symbolizes her incorruptible purity, as Michelangelo himself said to his biographer and fellow sculptor Ascanio Condivi.

History after completion

Sculpting of the work took less than two years. Following completion, the Pietà's first home was the Chapel of Santa Petronilla, a Roman mausoleum near the south transept of St. Peter's, which the Cardinal chose as his funerary chapel. The chapel was later demolished by Bramante during his rebuilding of the basilica. According to Giorgio Vasari, shortly after the installation of his Pietà, Michelangelo overheard (or asked visitors about the sculptor) someone remarked that it was the work of another sculptor, Cristoforo Solari, whereupon Michelangelo signed the sculpture. Michelangelo carved MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T] (Michelangelo Buonarroti, Florentine, was making this) on the sash running across Mary's chest. The signature echoes one used by the ancient Greek artists, Apelles and Polykleitos. It was the only work he ever signed. Vasari also reports the anecdote that Michelangelo later regretted his outburst of pride and swore never to sign another work of his hands.

In 1964, the Pietà was lent by the Vatican to the 1964–65 New York World's Fair to be installed in the Vatican pavilion. Francis Cardinal Spellman, who had requested the statue from Pope John XXIII, appointed Edward M. Kinney, Director of Purchasing and Shipping of Catholic Relief Services - USCC, to head up the Vatican Transport Teams. People stood in line for hours to catch a glimpse from a conveyor belt moving past the sculpture. It was returned to the Vatican after the fair.

Damage

In subsequent years the Pietà sustained much damage. Four fingers on Mary's left hand, broken during a move, were restored in 1736 by Giuseppe Lirioni, and scholars are divided as to whether the restorer took liberties to make the gesture more 'rhetorical'. The most substantial damage occurred on May 21, 1972 (Pentecost Sunday) when a mentally disturbed geologist, the Hungarian-born Australian Laszlo Toth walked into the chapel and attacked the sculpture with a geologist's hammer while shouting "I am Jesus Christ; I have risen from the dead!" With fifteen blows he removed Mary's arm at the elbow, knocked off a chunk of her nose, and chipped one of her eyelids. Onlookers took many of the pieces of marble that flew off. Later, some pieces were returned, but many were not, including Mary's nose, which had to be reconstructed from a block cut out of her back.

After the attack, the work was painstakingly restored and returned to its place in St. Peter's, just to the right of the entrance, between the Holy door and the altar of Saint Sebastian, and is now protected by a bulletproof acrylic glass panel.

See: wikipedia

Cathedral of Brasília

The Catedral Metropolitana Nossa Senhora Aparecida (Metropolitan Cathedral of Our Lady of Aparecida) is the Roman Catholic cathedral serving Brasília, Brazil, and serves as the seat of the Archdiocese of Brasília. It was designed by Oscar Niemeyer, and was completed and dedicated on May 31, 1970. The cathedral is a hyperboloid structure constructed from 16 concrete columns, weighing 90 tons each.

A 20-meter tall bell tower containing four large bells, donated by Spanish residents of Brazil and cast in Miranda de Ebro, stands outside the cathedral.

Visitors enter into the cathedral through a dark tunnel and emerge into a bright space with a glass roof. The outer roof of the cathedral is composed of sixteen pieces of fiberglass, each 10 meters wide at the base and 30 meters long inserted between the concrete pillars. Under this is suspended a 2,000-square-meter stained glass work originally created in 1990 by Marianne Peretti, in shades of blue, green, white, and brown.

Inside the cathedral over the nave are sculptures of three angels, suspended by steel cables. The shortest is 2.22 meters long and weighs 100 kilograms, the middle one 3.4 meters long and weighs 200 kilograms, and the largest is 4.25 meters long and weighs 300 kilograms. The sculptures are by Alfredo Ceschiatti, with the collaboration of Dante Croce in 1970.

The altar was donated by Pope Paul VI. The image of the patron saint Our Lady of Aparecida is a replica of the original which is in Aparecida - São Paulo. The Way of the Cross is a work of Di Cavalcanti.

The Cathedral of Brasilia, officially the Metropolitan Cathedral of Our Lady of Aparecida (Catedral Metropolitana Nossa Senhora Aparecida), dedicated to the Blessed Virgin Mary under her title of Our Lady of Aparecida, proclaimed by the Church as Queen and Patroness of Brazil, was designed by the architect Oscar Niemeyer.

This concrete-framed hyperboloid structure, appears with its glass roof to be reaching up, open, to heaven. Most of the cathedral is below ground, with only the 70-meter diameter 42-meter roof of the cathedral, the ovoid roof of the baptistry, and the bell tower visible above ground. The shape of the roof is based in a hyperboloid of revolution with asymmetric sections. The hyperboloid structure consists of 16 identical concrete columns assembled on site. These columns, having hyperbolic section and weighing 90 tonnes, represent two hands moving upwards to heaven.

The cornerstone was laid on September 12, 1958, and the structure was finished on April 21, 1960, with only the roof structure visible above ground. The cathedral was consecrated on October 12, 1968 (still with no roof), and was officially opened by Cardinal D. Eugenio Salles on May 31, 1970. The ovoid baptistry was dedicated on October 5, 1977, and the cathedral was declared a national historic and artistic monument on July 15, 1990.

The cathedral receives 1,000,000 visitors each year.

See: wikipedia

Nossa Senhora da Conceição Aparecida statue in the Cathedral of Brasília

Our Lady of Aparecida

Our Lady of Aparecida (Portuguese: Nossa Senhora da Conceição Aparecida) is a celebrated 18th-century clay statue of the Blessed Virgin Mary in the traditional form associated with the Immaculate Conception. The image is widely venerated by Brazilian Catholics, who consider her as the principal patroness of Brazil. Historical accounts state that the statue was originally found by three fishermen who miraculously caught many fish after invoking the Blessed Virgin Mary.

The statue is currently housed in the Basilica of the National Shrine of Our Lady of Aparecida in Aparecida, São Paulo, Brazil.

Colonial documents and papal bulls have referred to the image as Nossa Senhora da Conçeicão Aparecida. The Roman Rite feast day of Our Lady of Aparecida is on 12 October, which since 1980 is also a public holiday in Brazil. The building in which it is venerated was granted the title of minor basilica by Pope John Paul II in 1980, and is the largest Marian shrine in the world, being able to hold up to 45,000 worshippers.

The influence of Our Lady of Aparecida on Brazilian Catholic society is incalculable. In 1992 a study showed that 296 parishes were dedicated to her while five cathedrals had the same title. In addition, many towns are named after the Virgin and so are many Brazilian women and girls. The modern art styled cathedral of Brasilia designed by Oscar Niemeyer is dedicated to Our Lady Aparecida, as Brasilia is the national capital and she is invoked as Brazil's special protector.

History

According to the account of the discovery of the statue in October 1717, Dom Pedro de Almeida, Count of Assumar and Governor of the Province of São Paulo and Minas Gerais, was passing through the area of Guaratinguetá, a small city in the Paraíba river valley, during a trip to Vila Rica, an important gold mining site.

As the people of Guaratinguetá decided to hold a feast in his honour, three fishermen, Domingos Garcia, João Alves, and Filipe Pedroso went down to the Paraíba waters to fish. The fishermen prayed to Our Lady of the Immaculate Conception that God would grant a good catch. The fishermen, having a run of bad luck, cast their nets in the River Paraiba and dragged up a headless statue of the Virgin Mary. They also salvaged the head and, according to the legend, then netted plenty of fish. After cleaning the statue, they found that it was a black version of Our Lady of the Immaculate Conception. Legend has it that when the fishermen recovered the body, then the head, the slender figure of the Aparecida Virgin became so heavy that they couldn't budge it.

The fishermen named the statue Nossa Senhora da Aparecida Conceição (English: Our Lady of the Appeared Conception). Neighbors began to venerate the statue, which came to be known as Our Lady of Aparecida, and devotion grew. The first chapel was built in 1745.

Devotion to the statue grew rapidly, particularly among Afro-Brazilians, not only for its black Madonna status, but also because it was reported to have performed a miracle for an enslaved young man. Over the years following its discovery, veneration of the Virgin invoked as Aparecida increased as many miracles were attributed to her. For the following fifteen years, the statue remained within Filipe Pedroso's family, and neighbors came to venerate it. Stories of Our Lady of Aparecida's miracles were spread throughout Brazil, and the Pedroso family built her a chapel which soon became too small for so many worshippers. In 1737 the priest of Guaratinguetá built her a chapel on the Morro dos Coqueiros (Hill of Coconut Palms), where public visits began in July 1745.

The number of worshippers increased dramatically, and in 1834 work on a larger church was begun; this became known as the "Old Basilica" when work on the even larger "New Basilica" was started in 1955; it received pontifical approbation in 1980.

See: wikipedia

Cathedral of Brasília

The Catedral Metropolitana Nossa Senhora Aparecida (Metropolitan Cathedral of Our Lady of Aparecida) is the Roman Catholic cathedral serving Brasília, Brazil, and serves as the seat of the Archdiocese of Brasília. It was designed by Oscar Niemeyer, and was completed and dedicated on May 31, 1970. The cathedral is a hyperboloid structure constructed from 16 concrete columns, weighing 90 tons each.

A 20-meter tall bell tower containing four large bells, donated by Spanish residents of Brazil and cast in Miranda de Ebro, stands outside the cathedral.

Visitors enter into the cathedral through a dark tunnel and emerge into a bright space with a glass roof. The outer roof of the cathedral is composed of sixteen pieces of fiberglass, each 10 meters wide at the base and 30 meters long inserted between the concrete pillars. Under this is suspended a 2,000-square-meter stained glass work originally created in 1990 by Marianne Peretti, in shades of blue, green, white, and brown.

Inside the cathedral over the nave are sculptures of three angels, suspended by steel cables. The shortest is 2.22 meters long and weighs 100 kilograms, the middle one 3.4 meters long and weighs 200 kilograms, and the largest is 4.25 meters long and weighs 300 kilograms. The sculptures are by Alfredo Ceschiatti, with the collaboration of Dante Croce in 1970.

The altar was donated by Pope Paul VI. The image of the patron saint Our Lady of Aparecida is a replica of the original which is in Aparecida - São Paulo. The Way of the Cross is a work of Di Cavalcanti.

The Cathedral of Brasilia, officially the Metropolitan Cathedral of Our Lady of Aparecida (Catedral Metropolitana Nossa Senhora Aparecida), dedicated to the Blessed Virgin Mary under her title of Our Lady of Aparecida, proclaimed by the Church as Queen and Patroness of Brazil, was designed by the architect Oscar Niemeyer.

This concrete-framed hyperboloid structure, appears with its glass roof to be reaching up, open, to heaven. Most of the cathedral is below ground, with only the 70-meter diameter 42-meter roof of the cathedral, the ovoid roof of the baptistry, and the bell tower visible above ground. The shape of the roof is based in a hyperboloid of revolution with asymmetric sections. The hyperboloid structure consists of 16 identical concrete columns assembled on site. These columns, having hyperbolic section and weighing 90 tonnes, represent two hands moving upwards to heaven.

The cornerstone was laid on September 12, 1958, and the structure was finished on April 21, 1960, with only the roof structure visible above ground. The cathedral was consecrated on October 12, 1968 (still with no roof), and was officially opened by Cardinal D. Eugenio Salles on May 31, 1970. The ovoid baptistry was dedicated on October 5, 1977, and the cathedral was declared a national historic and artistic monument on July 15, 1990.

The cathedral receives 1,000,000 visitors each year.

See: wikipedia

Casa Central del Banco de la Nación Argentina

Headquarters of the Bank of the Argentine Nation

The Headquarters of the Bank of the Argentine Nation, more often referred locally as Banco Nación Casa Central, is a monumental bank building next to the Plaza de Mayo, founding site of Buenos Aires and host of major events in the history of the country.

Designed by renowned Argentine architect Alejandro Bustillo in a Neoclassical style with French influences, the 100,000 m2 building occupies an entire city block and was inaugurated in 1944.

With a dome 50 m in diameter, the building is a National Historic Landmark.

History

The headquarters are located in the San Nicolás neighborhood of Buenos Aires on the site of the Teatro Colón's first building, bought by the national government in 1888 and later designated as main offices of the recently founded national bank. The edifice was remodeled in 1910 by architect Adolfo Büttner to better suit its new role.

In 1938 Alejandro Bustillo presented a new design for a much larger, 100,000 m2 structure, which was built in two stages between 1940 and 1955.

See: wikipedia

Banco de la Nación Argentina

Bank of the Argentine Nation is the national bank of Argentina, and the largest in the country's banking sector.

History

The Bank of the Argentine Nation was founded on 18 October 1891 by President Carlos Pellegrini, with the purpose of stabilizing the nation's finances following the Panic of 1890; its first director was Vicente Lorenzo Casares. In its early decades it became a leading financing source for agricultural smallholders, and later for commercial and industrial businesses, as well as handling an array of public sector transactions.

The bank's reputation suffered after it was revealed that bribes had been received by the board of directors in 1994 when contacting IBM for the supply of computers, software, and communication equipment, becoming a prominent political scandal at the time.

See: wikipedia

Buenos Aires

Buenos Aires is the capital and largest city of Argentina, and the second-largest metropolitan area in South America, after Greater São Paulo. It is located on the western shore of the estuary of the Río de la Plata, on the continent's southeastern coast. The Greater Buenos Aires conurbation, which also includes several Buenos Aires Province districts, constitutes the third-largest conurbation in Latin America, with a population of around fifteen and a half million.

The city of Buenos Aires is neither part of Buenos Aires Province nor the Province's capital; rather, it is an autonomous district. In 1880, after decades of political infighting, Buenos Aires was federalised and removed from Buenos Aires Province. The city limits were enlarged to include the towns of Belgrano and Flores; both are now neighborhoods of the city. The 1994 constitutional amendment granted the city autonomy, hence its formal name: Ciudad Autónoma de Buenos Aires (Autonomous City of Buenos Aires). Its citizens first elected a Chief of Government (i.e. Mayor) in 1996; before, the Mayor was directly appointed by the President of the Republic.

Buenos Aires is, along with Mexico City and São Paulo, one of the three Latin American cities considered an 'alpha city' by the study GaWC5. Buenos Aires, Argentina has the third best quality of life of Latin American cities. Buenos Aires' quality of life is ranked 81st in the world, with its per capita income among the three highest in the region. It is the most visited city in South America (ahead of Rio de Janeiro) and the second most visited city across Spanish Latin America (behind Mexico City). It is also one of the most important, largest and most populous of South American capitals, often referred to as the Paris of South America.

Buenos Aires is a top tourist destination, and is known for its European-style architecture and rich cultural life, with the highest concentration of theatres in the world. Buenos Aires held the 1st Pan American Games in 1951 and the city also had two venues in the 1978 FIFA World Cup. Buenos Aires will host the 2018 Summer Youth Olympics.

People from Buenos Aires are referred to as porteños (people of the port). The city is the birthplace of pope Francis (former Archbishop of Buenos Aires), and Queen Máxima of the Netherlands.

See: wikipedia

Chapel of 'VIRGEN DE LOS TREINTA Y TRES' (17th century), patron saint of Uruguay, in Basílica del Santísimo Sacramento, Colonia del Sacramento, Uruguay

Virgin of the Thirty-Three

Our Lady of the Thirty-Three is a title of the Virgin Mary in Uruguay.

History

This image dates from the 18th century. It was venerated by the Thirty-Three Orientals in 1825. In 1857, one of them, General Manuel Oribe, presented a golden crown as a gift to the Virgin.

In 1962, the image was solemnly crowned by bishop Humberto Tonna. Soon afterwards, Pope John XXIII declared her patron saint of Uruguay.

On 8 September 1930, Pope Pius XI formally declared Our Lady of Lujan as the Patroness of Uruguay. The Papal document was signed by Cardinal Eugenio Pacelli, the future Pope Pius XII.

The image was consecrated by Pope John Paul II in his visit to Uruguay in 1988.

Devotion

The Cathedral of Florida is the shrine where this image is venerated. Ever since the country's independence, there have been pilgrimages to it, for instance, in times of pests. The first National Pilgrimage was in 1908. A very important pilgrimage was carried out by bishop Miguel Paternain in 1945, covering almost one half of the whole country.

A yearly pilgrimage is held every second Sunday of November.

Places of worship

The Virgin of the Thirty-Three has many churches dedicated to her and there are also several chapels devoted to Her in all the country.

See: wikipedia

Basílica del Santísimo Sacramento

The Basilica of the Holy Sacrament is a Roman Catholic parish church in Colonia del Sacramento, Uruguay.

History

The parish was established on 2 February 1680, being one of the oldest in the country. The very first temple was a humble mud ranch. It is as old as the city itself (a former Portuguese settlement); but, together with the changing fortunes of this small city, this church suffered many bombings and destructions. The present temple dates back to 1810, when it was built according to plans by Tomás Toribio; soon afterwards a lightstorm destroyed the building, which was restored between 1836 and 1841. Finally, in 1976 a conceptual refurbishment took place, and so is the temple we see today. Important architects working in its restoration were José Terra Carve, Antonio Cravotto, and Miguel Ángel Odriozola.

In 1995, the Historic Quarter of the City of Colonia del Sacramento was declared a World Heritage Site by UNESCO - with it, the Basilica.

The Church is mentioned by Charles Darwin in his travel journal aboard the HMS Beagle between 1831 and 1836: "The Church is a curious ruin. It was used as tinderbox, and was struck by lightning during one of the thousands of thunderstorms of the Rio de la Plata. The explosion blew two thirds of the building to the ground, the other part remains standing as a rare and destroyed monument of the power of electricity and powder together."

See: wikipedia

Colonia del Sacramento

Colonia del Sacramento (formerly the Portuguese Colónia do Sacramento) is a city in southwestern Uruguay, by the Río de la Plata, facing Buenos Aires, Argentina. It is one of the oldest towns in Uruguay and capital of the Colonia Department. It has a population of around 27,000.

It is renowned for its historic quarter, a World Heritage Site. Modern Colonia del Sacramento produces textiles and has a free trade zone, in addition to a polytechnic centre and various government buildings.

History

Founded in 1680 by Portugal as Colónia do Sacramento, the colony was later disputed by the Spanish who settled on the opposite bank of the river at Buenos Aires. The colony was conquered by José de Garro in 1680, but returned to Portugal the next year. It was conquered again by the Spanish in March 1705 after a siege of five months, but given back in the Treaty of Utrecht. Another attack during the Spanish-Portuguese War, 1735-1737, failed.

It kept changing hands from crown to crown due to treaties such as the Treaty of Madrid in 1750 and the Treaty of San Ildefonso in 1777, until it remained with the Spanish. It then transferred to Portuguese control again, being later incorporated into Brazil after 1816, when the entire Banda Oriental (Uruguay) was seized by the government of the United Kingdom of Portugal, Brazil and the Algarves and renamed the Cisplatina province.

On 10 January 1809, before the independence of Uruguay, it was designated as a "Villa" (town) and has since been elevated to the status of "Ciudad" (city).

Since independence Colonia del Sacramento has expanded to the north and east, but the original Barrio Histórico (historic quarter) retains its irregular, terrain-fitting street plan built by the Portuguese, contrasting with the wider, orthogonal calles in the newer Spanish area.

See: wikipedia

Statue of 'VIRGEN de la MAJESTAD y NIÑO REY' (18th century) in Basílica del Santísimo Sacramento, Colonia del Sacramento, Uruguay

Basílica del Santísimo Sacramento

The Basilica of the Holy Sacrament is a Roman Catholic parish church in Colonia del Sacramento, Uruguay.

History

The parish was established on 2 February 1680, being one of the oldest in the country. The very first temple was a humble mud ranch. It is as old as the city itself (a former Portuguese settlement); but, together with the changing fortunes of this small city, this church suffered many bombings and destructions. The present temple dates back to 1810, when it was built according to plans by Tomás Toribio; soon afterwards a lightstorm destroyed the building, which was restored between 1836 and 1841. Finally, in 1976 a conceptual refurbishment took place, and so is the temple we see today. Important architects working in its restoration were José Terra Carve, Antonio Cravotto, and Miguel Ángel Odriozola.

In 1995, the Historic Quarter of the City of Colonia del Sacramento was declared a World Heritage Site by UNESCO - with it, the Basilica.

The Church is mentioned by Charles Darwin in his travel journal aboard the HMS Beagle between 1831 and 1836: "The Church is a curious ruin. It was used as tinderbox, and was struck by lightning during one of the thousands of thunderstorms of the Rio de la Plata. The explosion blew two thirds of the building to the ground, the other part remains standing as a rare and destroyed monument of the power of electricity and powder together."

See: wikipedia

Colonia del Sacramento

Colonia del Sacramento (formerly the Portuguese Colónia do Sacramento) is a city in southwestern Uruguay, by the Río de la Plata, facing Buenos Aires, Argentina. It is one of the oldest towns in Uruguay and capital of the Colonia Department. It has a population of around 27,000.

It is renowned for its historic quarter, a World Heritage Site. Modern Colonia del Sacramento produces textiles and has a free trade zone, in addition to a polytechnic centre and various government buildings.

History

Founded in 1680 by Portugal as Colónia do Sacramento, the colony was later disputed by the Spanish who settled on the opposite bank of the river at Buenos Aires. The colony was conquered by José de Garro in 1680, but returned to Portugal the next year. It was conquered again by the Spanish in March 1705 after a siege of five months, but given back in the Treaty of Utrecht. Another attack during the Spanish-Portuguese War, 1735-1737, failed.

It kept changing hands from crown to crown due to treaties such as the Treaty of Madrid in 1750 and the Treaty of San Ildefonso in 1777, until it remained with the Spanish. It then transferred to Portuguese control again, being later incorporated into Brazil after 1816, when the entire Banda Oriental (Uruguay) was seized by the government of the United Kingdom of Portugal, Brazil and the Algarves and renamed the Cisplatina province.

On 10 January 1809, before the independence of Uruguay, it was designated as a "Villa" (town) and has since been elevated to the status of "Ciudad" (city).

Since independence Colonia del Sacramento has expanded to the north and east, but the original Barrio Histórico (historic quarter) retains its irregular, terrain-fitting street plan built by the Portuguese, contrasting with the wider, orthogonal calles in the newer Spanish area.

See: wikipedia

Statue of San Francisco (17th century) in Basílica del Santísimo Sacramento, Colonia del Sacramento, Uruguay

Basílica del Santísimo Sacramento

The Basilica of the Holy Sacrament is a Roman Catholic parish church in Colonia del Sacramento, Uruguay.

History

The parish was established on 2 February 1680, being one of the oldest in the country. The very first temple was a humble mud ranch. It is as old as the city itself (a former Portuguese settlement); but, together with the changing fortunes of this small city, this church suffered many bombings and destructions. The present temple dates back to 1810, when it was built according to plans by Tomás Toribio; soon afterwards a lightstorm destroyed the building, which was restored between 1836 and 1841. Finally, in 1976 a conceptual refurbishment took place, and so is the temple we see today. Important architects working in its restoration were José Terra Carve, Antonio Cravotto, and Miguel Ángel Odriozola.

In 1995, the Historic Quarter of the City of Colonia del Sacramento was declared a World Heritage Site by UNESCO - with it, the Basilica.

The Church is mentioned by Charles Darwin in his travel journal aboard the HMS Beagle between 1831 and 1836: "The Church is a curious ruin. It was used as tinderbox, and was struck by lightning during one of the thousands of thunderstorms of the Rio de la Plata. The explosion blew two thirds of the building to the ground, the other part remains standing as a rare and destroyed monument of the power of electricity and powder together."

See: wikipedia

Colonia del Sacramento

Colonia del Sacramento (formerly the Portuguese Colónia do Sacramento) is a city in southwestern Uruguay, by the Río de la Plata, facing Buenos Aires, Argentina. It is one of the oldest towns in Uruguay and capital of the Colonia Department. It has a population of around 27,000.

It is renowned for its historic quarter, a World Heritage Site. Modern Colonia del Sacramento produces textiles and has a free trade zone, in addition to a polytechnic centre and various government buildings.

History

Founded in 1680 by Portugal as Colónia do Sacramento, the colony was later disputed by the Spanish who settled on the opposite bank of the river at Buenos Aires. The colony was conquered by José de Garro in 1680, but returned to Portugal the next year. It was conquered again by the Spanish in March 1705 after a siege of five months, but given back in the Treaty of Utrecht. Another attack during the Spanish-Portuguese War, 1735-1737, failed.

It kept changing hands from crown to crown due to treaties such as the Treaty of Madrid in 1750 and the Treaty of San Ildefonso in 1777, until it remained with the Spanish. It then transferred to Portuguese control again, being later incorporated into Brazil after 1816, when the entire Banda Oriental (Uruguay) was seized by the government of the United Kingdom of Portugal, Brazil and the Algarves and renamed the Cisplatina province.

On 10 January 1809, before the independence of Uruguay, it was designated as a "Villa" (town) and has since been elevated to the status of "Ciudad" (city).

Since independence Colonia del Sacramento has expanded to the north and east, but the original Barrio Histórico (historic quarter) retains its irregular, terrain-fitting street plan built by the Portuguese, contrasting with the wider, orthogonal calles in the newer Spanish area.

See: wikipedia

Municipalidad de Colonia, Uruguay

Colonia del Sacramento

Colonia del Sacramento (formerly the Portuguese Colónia do Sacramento) is a city in southwestern Uruguay, by the Río de la Plata, facing Buenos Aires, Argentina. It is one of the oldest towns in Uruguay and capital of the Colonia Department. It has a population of around 27,000.

It is renowned for its historic quarter, a World Heritage Site. Modern Colonia del Sacramento produces textiles and has a free trade zone, in addition to a polytechnic centre and various government buildings.

History

Founded in 1680 by Portugal as Colónia do Sacramento, the colony was later disputed by the Spanish who settled on the opposite bank of the river at Buenos Aires. The colony was conquered by José de Garro in 1680, but returned to Portugal the next year. It was conquered again by the Spanish in March 1705 after a siege of five months, but given back in the Treaty of Utrecht. Another attack during the Spanish-Portuguese War, 1735-1737, failed.

It kept changing hands from crown to crown due to treaties such as the Treaty of Madrid in 1750 and the Treaty of San Ildefonso in 1777, until it remained with the Spanish. It then transferred to Portuguese control again, being later incorporated into Brazil after 1816, when the entire Banda Oriental (Uruguay) was seized by the government of the United Kingdom of Portugal, Brazil and the Algarves and renamed the Cisplatina province.

On 10 January 1809, before the independence of Uruguay, it was designated as a "Villa" (town) and has since been elevated to the status of "Ciudad" (city).

Since independence Colonia del Sacramento has expanded to the north and east, but the original Barrio Histórico (historic quarter) retains its irregular, terrain-fitting street plan built by the Portuguese, contrasting with the wider, orthogonal calles in the newer Spanish area.

See: wikipedia

Paço da Liberdade cultural center, Curitiba

Palace of Freedom

The Paço da Liberdade is a cultural center located in the city of Paraná in Curitiba on Generoso Marques Square.

Opened in March 29 of 2009 after undergoing a thorough restoration funded, funded by SESC.

The building is listed by the municipal property (Curitiba), the State Secretary of Culture of State Government and by the National Heritage (IPHAN).

Operation

Tuesday to Friday, 10am to 21 hours, Saturdays from 10 to 18 hours and Sundays from 11 to 17 hours with the Palace Café, Library, Free Internet, the Palace Store, Customer Service and Visits Monitored services.

The performance of other activities, such as courses, concerts and film screenings, is disclosed in the printed program guide and via social media.

It also offers guided tours for students.

See: wikipedia

Fountain on Plaza Independencia, Montevideo

Plaza Independencia, Montevideo

Plaza Independencia (Spanish for Independence Square) is the name of Montevideo's most important plaza. It separates Ciudad Vieja from downtown Montevideo, with the Gateway of The Citadel on one side and the beginning of 18 de Julio avenue on the other.

In the center, the Artigas Mausoleum dominates the perspective.

Many important buildings, such as the Solís Theatre and the workplaces of the President of Uruguay (both the Estévez Palace and the Executive Tower) are located by this square.

One of the characteristic buildings located by the square is Palacio Salvo.

See: wikipedia

Sunrise view of Artigas statue and Palacio Salvo, Montevideo

Artigas Mausoleum

The Artigas Mausoleum is a monument to Uruguayan hero José Artigas, located in Plaza Independencia, in the neighbourhood of Ciudad Vieja, Montevideo. It was built in the 1930s and Artigas's remains are kept in an underground room underneath the statue. The moument is guarded by a traditional guard called "Blandegues de Artigas".

See: wikipedia

José Gervasio Artigas

José Gervasio Artigas Arnal (June 19, 1764 – September 23, 1850) is a national hero of Uruguay, sometimes called "the father of Uruguayan nationhood". His portrait is on the watermark on the 1998 Uruguay 5 Pesos Uruguayos banknote.

Early life

Artigas was born in Montevideo on June 19, 1764. His grandparents were from Zaragosa, Buenos Aires and Tenerife (Canary Islands). His grandparents fought in the War of the Spanish Succession and moved to the Americas to escape from poverty, settling in Buenos Aires in 1716. Artigas was the son of Martín José Artigas and Francisca Antonia Arnal, who came from a wealthy family. His parents enrolled him in the Colegio de San Bernardino, to pursue religious studies, but Artigas refused to submit to the school's strict discipline. Before he left the school, he developed a strong friendship with Fernando Otorgues, who would work with him in later years. At the age of 12, he moved to the countryside and worked on his family's farms. His contact with the customs and perspectives of gauchos made a great impression on him. Once he had come of age, he distanced himself from his parents and became involved in cattle smuggling. This made him a wanted man among the owners of haciendas and with the government in Montevideo. A reward was put out for his death.

Things changed with the opening of the Anglo-Spanish War, and the threat of a British attack upon the viceroyalty. The viceroy Antonio de Olaguer y Feliú negotiated a pardon with his family, on the condition that he joined the Corps of Blandengues with a hundred men, to form a battalion. Thus, he began his military career in 1797, at age 33, with the rank of lieutenant. The attack finally came in 1806, when William Beresford invaded Buenos Aires, in the first British invasions of the Río de la Plata. Although Artigas's unit was tasked with patrolling the frontier with Brazil, he requested to take part in the military expedition that Santiago de Liniers launched from Montevideo to drive the British out of Buenos Aires. His request was granted, and the British were defeated. After the liberation of Buenos Aires, he was tasked with returning to Montevideo and informing the governor Pascual Ruiz Huidobro of the result of the battle. A second British attack aimed to capture Montevideo, which was captured in the Battle of Montevideo. Artigas was taken prisoner, but he managed to escape and returned to the countryside. He organized groups of gauchos and began a guerrilla war against the invaders. The British tried to capture Buenos Aires a second time, but were defeated by the local armies, and returned Montevideo to Spanish control as part of the terms of capitulation. Artigas was promoted to captain in 1809.

Oriental revolution

The ideas of the Age of Enlightenment and the outbreak of the Peninsular War in Spain, along with the capture of King Ferdinand VII, generated political turbulence all across the Spanish Empire. The absence of the king from the throne (replaced by the French Joseph Bonaparte) and the new ideas of the Enlightenment sparked the Spanish American wars of independence, between patriots (who wanted to establish republics or constitutional monarchies) and royalists (who wanted to keep an absolute monarchy). Artigas, who thought that the gauchos were not treated well, supported the new ideas. Buenos Aires deposed the viceroy in 1810, during the May Revolution, replacing him with the Primera Junta. Mariano Moreno, secretary of war, wrote at the Operations plan that Artigas would be a decisive ally against the royalists in Montevideo, and called him for an interview. However, by the time Artigas arrived in Buenos Aires, Moreno had already left the government. He was still welcomed, but received little help. He was promoted to colonel and received some weapons, money and 150 men, very little to organize a rebellion at the Banda Oriental. This was the last time Artigas saw the city of Buenos Aires.

Spain declared Buenos Aires a rogue city, and appointed Montevideo as the new capital, with Francisco Javier de Elío as the new viceroy. The city had financial problems, and the measures taken by Elío to maintain the royalist armies were highly unpopular in the countryside. This allowed Artigas to channel the popular discontent against the colonial authorities. A hundred men met near the Asencio stream and made the cry of Asencio, a pronunciamiento against the viceroy. They captured many villages in the Banda Oriental, such as Mercedes, Santo Domingo, Colla, Maldonado, Paso del Rey, Santa Teresa and San José. They also captured Gualeguay, Gualeguaychú and Arroyo de la China, at the west of the Uruguay river.

Elío sent some soldiers to kill Artigas, who failed. Then, he sent Manuel Villagrán, a relative of Artigas, to offer him the pardon and appoint him general and military leader of the Banda Oriental if he gave up the rebellion. Artigas considered the offer an insult, and sent Villagrán prisoner to Buenos Aires.

Montevideo was soon surrounded by Artigas's forces. A Montevidean army tried to stop the patriots at the Battle of Las Piedras, but they were defeated, and the city was put to siege. José Rondeau, commanding forces from Buenos Aires, joined the siege. Artigas wanted to attack the city right away, but Rondeau thought that there would be less loss of lives by establishing a blockade and waiting for the city to surrender. However, the besiegers did not consider the naval forces of Montevideo, who kept the city supplied and enabled them to endure the blockade.

On the verge of defeat, Elío allied himself with Brazilian forces, requesting their intervention in the conflict. Dom Diogo de Sousa entered into the Banda Oriental, leading an army of five thousand men. This added to the defeat of Manuel Belgrano at the Paraguay campaign, the defeat of Juan José Castelli at the First Upper Peru campaign and the Montevidean naval blockade of Buenos Aires. Fearing a complete defeat, Buenos Aires signed a truce with Elío, recognizing him as the ruler of the Banda Oriental and half of Entre Ríos. Artigas felt the truce to be treasonous. He broke relations with the city, and lifted the blockade over Montevideo.

Artigas left the Banda Oriental and moved to Salto Chico, in Entre Ríos. All his supporters moved with him. This massive departure is known as the Oriental exodus.

The Supreme Director Gervasio Antonio de Posadas offered a reward of $6.000 for the capture of Artigas, dead or alive. The only consequence of this action was increased resentment of the orientals towards Buenos Aires. Several royalist leaders, such as Vigodet or Pezuela, sought an alliance with Artigas against Buenos Aires, but he rejected them: "I may not be sold, nor do I want more reward for my efforts than to see my nation free from the Spanish rule". Despite the deep disputes, Artigas was still eager to return to good terms with Buenos Aires, but only if the city accepted a national organization based on federalist principles.

Posadas sent two more armies to capture and execute Artigas, but they mutinied and joined the orientals. When the Artiguist influence expanded to Corrientes, Posadas sought to negotiate by accepting the autonomy of the provinces. Artigas accepted the terms, but clarified that such autonomy must not be understood as national independence. He did not want to secede the Banda Oriental from the United provinces, but to organize them as a confederation. Posadas, who supported the authority of Buenos Aires as the head of a centralized state, delayed the approval of the treaty.

Buenos Aires renewed the military actions against Montevideo. This time, the naval skills of William Brown helped to overcome the strength of the Montevidean navy, leading to the final defeat of the royalist stronghold. Carlos María de Alvear led the capture of Montevideo, and lured Artigas there by promising that he would turn over the city to the Oriental patriots. Alvear attacked them without warning at Las Piedras, but Artigas managed to escape from the trap.

Liga Federal

In 1814, Artigas organized the Liga de los Pueblos Libres (League of the Free Peoples), of which he was declared Protector. In the following year, he liberated Montevideo from the control of the "Unitarians" from Buenos Aires.

In 1815, Artigas attended the Proto-congress of the Independence of Argentina, held in Arrollo de la China (today known as Concepción del Uruguay). It was at this congress that the provinces of the Oriental Province (today the country of Uruguay), Córdoba, Corrientes, Entre Ríos, Misiones and Santa Fe declared themselves independent from Spain and formed the Liga Federal ("Federal League"). The Liga Federal invited other provinces of the former Viceroyalty of the Rio de la Plata to join them under a federal system.

In this congress, Artigas ratified the use of the flag created by Manuel Belgrano (which would later become the flag of the Argentine Republic), but added a diagonal festoon in red, the color of federalism in Argentina at that time.

Luso Brazilian invasion

The continued growth of influence and prestige of the Federal League frightened the governments in Buenos Aires (because of its federalism) and Portugal (because of its republicanism), and in August 1816, Portugal invaded the Eastern Province (with tacit complicity from Buenos Aires), with the intention of destroying Artigas and his revolution.

The Portuguese forces, led by Carlos Frederico Lecor, captured Artigas and his deputies and occupied Montevideo on 20 January 1817, but the struggle continued for three years in the countryside. Infuriated by Buenos Aires's passivity, Artigas declared war on Buenos Aires while he was losing to the Portuguese. His subordinates, members of the Federal League -- Francisco Ramírez, governor of Entre Ríos, and Estanislao López, governor of Santa Fe—managed to defeat the centralism of Buenos Aires. But hope for a new nation was short-lived; both commanders entered agreements with Buenos Aires that went against the principles of Artigas. They rebelled against him and left him to be crushed by the Portuguese.

Without resources and men, Artigas withdrew to Paraguay in September 1820. In Paraguay, Dr. Francia, the dictator, banished him to Candelaria. He then disappeared from the political life of the region. (B. Nahum).

After a long exile, he died in Paraguay in 1850, at age 86. It is said that Artigas, feeling himself to be near death, asked for a horse and died in the saddle, as a gaucho. His remains were buried and then re-interned at the Panteón Nacional in 1855. On the 19th of June, 1977, his remains were transferred to the Artigas Mausoleum in the centre of the Plaza Independencia.

See: wikipedia

Palacio Salvo

Salvo Palace is a building in Montevideo, Uruguay, located at the intersection of 18 de Julio Avenue and Plaza Independencia. It was designed by the architect Mario Palanti, an Italian immigrant living in Buenos Aires, who used a similar design for his Palacio Barolo in Buenos Aires, Argentina. Finished in 1928, Palacio Salvo stands 100 meter high with the antenna included.

The site was bought by the Salvo brothers for 650,000 Uruguayan pesos. It was built on the site where the Confiteria La Giralda was once located, a place renowned for being where Gerardo Matos Rodríguez wrote his tango La Cumparsita in 1917.

The original specifications, describing the details of the construction, describe a lighthouse at the top of the building, which was replaced by a set of antennas. The specifications stated “on the top part of the tower a lighthouse will be placed made by Salmoiraghi of Italy, with a parabolic mirror of 920 mm, reaching approximately 100 km, and a rotating 100 amp lamp”.

The building was originally intended to be a hotel, but this plan didn't work out, and it has since been occupied by a mixture of offices and private residences. The building has a height of 95 meter. While the set of antennas was at its top, its total height was 100 meter. The antennas were permanently removed in November 2012. For decades it was the tallest building in South America.

See: wikipedia

Statue of José Artigas, Montevideo, Uruguay

Artigas Mausoleum

The Artigas Mausoleum is a monument to Uruguayan hero José Artigas, located in Plaza Independencia, in the neighbourhood of Ciudad Vieja, Montevideo. It was built in the 1930s and Artigas's remains are kept in an underground room underneath the statue. The moument is guarded by a traditional guard called "Blandegues de Artigas".

See: wikipedia

José Gervasio Artigas

José Gervasio Artigas Arnal (June 19, 1764 – September 23, 1850) is a national hero of Uruguay, sometimes called "the father of Uruguayan nationhood". His portrait is on the watermark on the 1998 Uruguay 5 Pesos Uruguayos banknote.

Early life

Artigas was born in Montevideo on June 19, 1764. His grandparents were from Zaragosa, Buenos Aires and Tenerife (Canary Islands). His grandparents fought in the War of the Spanish Succession and moved to the Americas to escape from poverty, settling in Buenos Aires in 1716. Artigas was the son of Martín José Artigas and Francisca Antonia Arnal, who came from a wealthy family. His parents enrolled him in the Colegio de San Bernardino, to pursue religious studies, but Artigas refused to submit to the school's strict discipline. Before he left the school, he developed a strong friendship with Fernando Otorgues, who would work with him in later years. At the age of 12, he moved to the countryside and worked on his family's farms. His contact with the customs and perspectives of gauchos made a great impression on him. Once he had come of age, he distanced himself from his parents and became involved in cattle smuggling. This made him a wanted man among the owners of haciendas and with the government in Montevideo. A reward was put out for his death.

Things changed with the opening of the Anglo-Spanish War, and the threat of a British attack upon the viceroyalty. The viceroy Antonio de Olaguer y Feliú negotiated a pardon with his family, on the condition that he joined the Corps of Blandengues with a hundred men, to form a battalion. Thus, he began his military career in 1797, at age 33, with the rank of lieutenant. The attack finally came in 1806, when William Beresford invaded Buenos Aires, in the first British invasions of the Río de la Plata. Although Artigas's unit was tasked with patrolling the frontier with Brazil, he requested to take part in the military expedition that Santiago de Liniers launched from Montevideo to drive the British out of Buenos Aires. His request was granted, and the British were defeated. After the liberation of Buenos Aires, he was tasked with returning to Montevideo and informing the governor Pascual Ruiz Huidobro of the result of the battle. A second British attack aimed to capture Montevideo, which was captured in the Battle of Montevideo. Artigas was taken prisoner, but he managed to escape and returned to the countryside. He organized groups of gauchos and began a guerrilla war against the invaders. The British tried to capture Buenos Aires a second time, but were defeated by the local armies, and returned Montevideo to Spanish control as part of the terms of capitulation. Artigas was promoted to captain in 1809.

Oriental revolution

The ideas of the Age of Enlightenment and the outbreak of the Peninsular War in Spain, along with the capture of King Ferdinand VII, generated political turbulence all across the Spanish Empire. The absence of the king from the throne (replaced by the French Joseph Bonaparte) and the new ideas of the Enlightenment sparked the Spanish American wars of independence, between patriots (who wanted to establish republics or constitutional monarchies) and royalists (who wanted to keep an absolute monarchy). Artigas, who thought that the gauchos were not treated well, supported the new ideas. Buenos Aires deposed the viceroy in 1810, during the May Revolution, replacing him with the Primera Junta. Mariano Moreno, secretary of war, wrote at the Operations plan that Artigas would be a decisive ally against the royalists in Montevideo, and called him for an interview. However, by the time Artigas arrived in Buenos Aires, Moreno had already left the government. He was still welcomed, but received little help. He was promoted to colonel and received some weapons, money and 150 men, very little to organize a rebellion at the Banda Oriental. This was the last time Artigas saw the city of Buenos Aires.

Spain declared Buenos Aires a rogue city, and appointed Montevideo as the new capital, with Francisco Javier de Elío as the new viceroy. The city had financial problems, and the measures taken by Elío to maintain the royalist armies were highly unpopular in the countryside. This allowed Artigas to channel the popular discontent against the colonial authorities. A hundred men met near the Asencio stream and made the cry of Asencio, a pronunciamiento against the viceroy. They captured many villages in the Banda Oriental, such as Mercedes, Santo Domingo, Colla, Maldonado, Paso del Rey, Santa Teresa and San José. They also captured Gualeguay, Gualeguaychú and Arroyo de la China, at the west of the Uruguay river.

Elío sent some soldiers to kill Artigas, who failed. Then, he sent Manuel Villagrán, a relative of Artigas, to offer him the pardon and appoint him general and military leader of the Banda Oriental if he gave up the rebellion. Artigas considered the offer an insult, and sent Villagrán prisoner to Buenos Aires.

Montevideo was soon surrounded by Artigas's forces. A Montevidean army tried to stop the patriots at the Battle of Las Piedras, but they were defeated, and the city was put to siege. José Rondeau, commanding forces from Buenos Aires, joined the siege. Artigas wanted to attack the city right away, but Rondeau thought that there would be less loss of lives by establishing a blockade and waiting for the city to surrender. However, the besiegers did not consider the naval forces of Montevideo, who kept the city supplied and enabled them to endure the blockade.

On the verge of defeat, Elío allied himself with Brazilian forces, requesting their intervention in the conflict. Dom Diogo de Sousa entered into the Banda Oriental, leading an army of five thousand men. This added to the defeat of Manuel Belgrano at the Paraguay campaign, the defeat of Juan José Castelli at the First Upper Peru campaign and the Montevidean naval blockade of Buenos Aires. Fearing a complete defeat, Buenos Aires signed a truce with Elío, recognizing him as the ruler of the Banda Oriental and half of Entre Ríos. Artigas felt the truce to be treasonous. He broke relations with the city, and lifted the blockade over Montevideo.

Artigas left the Banda Oriental and moved to Salto Chico, in Entre Ríos. All his supporters moved with him. This massive departure is known as the Oriental exodus.

The Supreme Director Gervasio Antonio de Posadas offered a reward of $6.000 for the capture of Artigas, dead or alive. The only consequence of this action was increased resentment of the orientals towards Buenos Aires. Several royalist leaders, such as Vigodet or Pezuela, sought an alliance with Artigas against Buenos Aires, but he rejected them: "I may not be sold, nor do I want more reward for my efforts than to see my nation free from the Spanish rule". Despite the deep disputes, Artigas was still eager to return to good terms with Buenos Aires, but only if the city accepted a national organization based on federalist principles.

Posadas sent two more armies to capture and execute Artigas, but they mutinied and joined the orientals. When the Artiguist influence expanded to Corrientes, Posadas sought to negotiate by accepting the autonomy of the provinces. Artigas accepted the terms, but clarified that such autonomy must not be understood as national independence. He did not want to secede the Banda Oriental from the United provinces, but to organize them as a confederation. Posadas, who supported the authority of Buenos Aires as the head of a centralized state, delayed the approval of the treaty.

Buenos Aires renewed the military actions against Montevideo. This time, the naval skills of William Brown helped to overcome the strength of the Montevidean navy, leading to the final defeat of the royalist stronghold. Carlos María de Alvear led the capture of Montevideo, and lured Artigas there by promising that he would turn over the city to the Oriental patriots. Alvear attacked them without warning at Las Piedras, but Artigas managed to escape from the trap.

Liga Federal

In 1814, Artigas organized the Liga de los Pueblos Libres (League of the Free Peoples), of which he was declared Protector. In the following year, he liberated Montevideo from the control of the "Unitarians" from Buenos Aires.

In 1815, Artigas attended the Proto-congress of the Independence of Argentina, held in Arrollo de la China (today known as Concepción del Uruguay). It was at this congress that the provinces of the Oriental Province (today the country of Uruguay), Córdoba, Corrientes, Entre Ríos, Misiones and Santa Fe declared themselves independent from Spain and formed the Liga Federal ("Federal League"). The Liga Federal invited other provinces of the former Viceroyalty of the Rio de la Plata to join them under a federal system.

In this congress, Artigas ratified the use of the flag created by Manuel Belgrano (which would later become the flag of the Argentine Republic), but added a diagonal festoon in red, the color of federalism in Argentina at that time.

Luso Brazilian invasion

The continued growth of influence and prestige of the Federal League frightened the governments in Buenos Aires (because of its federalism) and Portugal (because of its republicanism), and in August 1816, Portugal invaded the Eastern Province (with tacit complicity from Buenos Aires), with the intention of destroying Artigas and his revolution.

The Portuguese forces, led by Carlos Frederico Lecor, captured Artigas and his deputies and occupied Montevideo on 20 January 1817, but the struggle continued for three years in the countryside. Infuriated by Buenos Aires's passivity, Artigas declared war on Buenos Aires while he was losing to the Portuguese. His subordinates, members of the Federal League -- Francisco Ramírez, governor of Entre Ríos, and Estanislao López, governor of Santa Fe—managed to defeat the centralism of Buenos Aires. But hope for a new nation was short-lived; both commanders entered agreements with Buenos Aires that went against the principles of Artigas. They rebelled against him and left him to be crushed by the Portuguese.

Without resources and men, Artigas withdrew to Paraguay in September 1820. In Paraguay, Dr. Francia, the dictator, banished him to Candelaria. He then disappeared from the political life of the region. (B. Nahum).

After a long exile, he died in Paraguay in 1850, at age 86. It is said that Artigas, feeling himself to be near death, asked for a horse and died in the saddle, as a gaucho. His remains were buried and then re-interned at the Panteón Nacional in 1855. On the 19th of June, 1977, his remains were transferred to the Artigas Mausoleum in the centre of the Plaza Independencia.

See: wikipedia

Den Coninck van Spaignien, Brussel

King of Spain - Le Roi d'Espagne

In the 13th century, the Brussels civil family Serghuys wanted to protect themselves against potential attackers and looters, and therefore built one of the first stone houses on the market. After a fire in 1695, the mayor of the city gave the order to put a new house. A dome had been put on top of the roof, which in the course of the years had disappeared. During the reconstruction of the house by architect Samyn (in 1900) the dome was reconstructed. The house was named after King Charles II of Spain, a bust can still be seen on the second floor.

Grand Place

The Grand Place or Grote Markt is the central square of Brussels. It is surrounded by guildhalls, the city's Town Hall, and the Breadhouse. The square is the most important tourist destination and most memorable landmark in Brussels. It measures 68 by 110 metres, and it is a UNESCO World Heritage Site.

Early history

In the 10th century, Charles, Duke of Lower Lorraine constructed a fort on Saint-Géry Island, the furthest inland point at which the Senne river was still navigable. This was the seed of what would become Brussels. By the end of the 11th century, an open-air marketplace was set up on a dried-up marsh near the fort that was surrounded by sandbanks. The market was called the Nedermerckt, or Lower Market.

The market likely developed around the same time as the commercial development of Brussels. A document from 1174 mentions a lower market (Latin: forum inferius) not far from the port on the Senne river. The market was well situated along the Causeway (Dutch: Steenweg), an important commercial road which connected the prosperous regions of the Rhineland and the County of Flanders.

At the beginning of the 13th century, three indoor markets were built on the northern edge of the Grand Place; a meat market, a bread market and a cloth market. These buildings, which belonged to the Duke of Brabant, allowed the wares to be showcased even in bad weather, but also allowed the Dukes to keep track of the storage and sale of goods, in order to collect taxes. Other buildings, made of wood or stone, enclosed the Grand Place.

The Brussels Town Hall stands 96 metres tall and is capped by a 3 metre statue of Saint Michael slaying a demon

Rise in importance

Improvements to the Grand Place from the 14th century onwards would mark the rise in importance of local merchants and tradesmen relative to the nobility. Short on money, the Duke transferred control of mills and commerce to the local authorities. The city of Brussels, as with the neighbouring cities of Mechelen and Leuven constructed a large indoor cloth market to the south of the square. At this point, the square was still haphazardly laid out, and the buildings along the edges had a motley tangle of gardens and irregular additions. The city expropriated and demolished a number of buildings that clogged the Grand Place, and formally defined the edges of the square.

The Brussels City Hall was built on the south side of the square in stages between 1401 and 1455, and made the Grand Place the seat of municipal power. It towers 96 metres high, and is capped by a 3 metre statue of Saint Michael slaying a demon. To counter this symbol of municipal power, from 1504 to 1536 the Duke of Brabant built a large building across from the city hall as symbol of ducal power. It was built on the site of the first cloth and bread markets, which were no longer in use, and it became known as the King's House (Middle Dutch: 's Conincxhuys), although no king has ever lived there. It is currently known as the Maison du roi (King's House) in French, though in Dutch it continues to be called the Broodhuis (Breadhouse), after the market whose place it took. Wealthy merchants and the increasingly powerful guilds of Brussels built houses around the edge of the square.

Destruction and rebuilding

On August 13, 1695, a 70,000-strong French army under Marshal François de Neufville, duc de Villeroi began a bombardment of Brussels in an effort to draw the League of Augsburg's forces away from their siege on French-held Namur in what is now southern Belgium. The French launched a massive bombardment of the mostly defenseless city centre with cannons and mortars, setting it on fire and flattening the majority of the Grand Place and the surrounding city. Only the stone shell of the town hall and a few fragments of other buildings remained standing. That the town hall survived at all is ironic, as it was the principal target of the artillery fire.

The square was rebuilt in the following four years by the city's guilds. Their efforts were regulated by the city councillors and the Governor of Brussels, who required that their plans be submitted to the authorities for their approval. This helped to deliver a remarkably harmonious layout for the rebuilt Grand Place, despite the ostensibly clashing combination of Gothic, Baroque and Louis XIV styles.

In the late 18th century, revolutionaries sacked the Grand Place, destroying statues of nobility and symbols of Christianity. The guildhalls were seized by the state and sold. The buildings were neglected and left in poor condition, with their façades painted, stuccoed and damaged by pollution. In the late 19th century, mayor Charles Buls had the Grand Place returned to its former splendour, with buildings being reconstructed or restored.

20th century

The Grand Place continued to serve as a market until November 19, 1959, and it is still called the Great Market or Grote Markt in Dutch. Neighbouring streets still reflect the area's origins, named after the sellers of butter, cheese, herring, coal and so on. The Grand Place was named by UNESCO as a World Heritage Site in 1998. One of the houses was owned by the brewers' guild, and is now the home of a brewers' museum.

See: wikipedia