This is HISTORIC TOUR. One of our three pre-planned tours for you to try out.
1. Ladeira Ary Barroso – Leme.
The great brazilian composer Ari Barroso made his home in the nearby hill called “Chapeu Mangueira“. You know his song „Aquarela do Brasil“. Yes, you do. The is a square named in his honor at Antonio Vieria. This square has live music during each Carnaval by the famous Banda do Leme - a neighborhood band parading down the streets of Leme.
2. Leme and Hotel Windsor Atlantica
Leme is named after the huge rock on the northern side of the beach which is in the shape of a rudder or “Leme”. Leme is the portion of the beach which is to the north of Princessa Isabel Avenue. It is more residential and less touristic than the neighboring Copacabana Beach.
At the opposite end of Leme is the Leme Fort. You can walk up to the top of the Leme Rock and enjoy wonderful looks over both Copacabana and Leme and on Sugarloaf on the other side. There is also the Whale sculpture and a walkway built along side the Leme Rock, where it is good to ask for fried sardines.
Windsor Atlântica Hotel, formerly Le Méridien Copacabana is a 110-metre 37-storey skyscraper hotel in the Leme neighbourhood of Rio de Janeiro, Brazil. It is the tallest building on Copacabana Beach. It originally opened in 1976. Le Méridien Copacabana was the first on the beach with fireworks to celebrate the new year. Then they added more fireworks and today they are between world largest New Year celebrations.
The Port Tunnel Engineer Marques, started in 1946 and opened in 1949 a Tunnel Engineer Coelho Cintra. It now connects Leme and Copacabana to Botafogo and downtown Rio.
Workers who worked on the tunnel, founded nearby favela de Babilonia where they stayed.
3. Parque do Flamengo
Parque do Flamengo, officially Parque Brigadeiro Eduardo Gomes, also popularly known as Flamengo or landfill, is a leisure complex in Rio de Janeiro, Brazil. It was built on landfill in successive Guanabara Bay.
The park extends from Santos-Dumont Airport, in the city center, to the beginning of Botafogo beach, in the South among the elements of the complex include: the Museum of Modern Art in Rio de Janeiro, the Monument to the dead of World War II, the Marina da Glória, the Monument to Estacio de Sa, an expressway, areas for sports, a restaurant and two beaches (the Glory and Flamengo).
The urbanization of Flamengo should be seen as part of a larger plan whose goal was to articulate and improve traffic between the southern, central and northern regions, along with the dismantling of Morro Santo Antônio, the Perimeter Avenue and Tunnel Rebolledo.
These fundamental ideas for the planning of Rio de Janeiro had been matured since the Squat Plan (1927-1930). In different urban solutions developed by the Department of Planning for the city, the architect Affonso Eduardo Reidy played a key role, working since 1929 as a student assistant Alfred Crouch and then as director of the department since 1947, and more effectively to resume its proposed urbanization of the landfill from 1961.
Years later, was performed by the main part of the landfill. The debris removed from the hill was being dumped into the sea, forming from the Dungeon spit up the hill Widow, a long sandbank of stones arranged to form a lagoon and sand strip of beach Flamengo, then, was grounded . The original plan envisaged the construction of express lanes between the Centre and the South Zone. But the idea of creating a large park in the area, along the lanes, is attributed to the landscape Carlota de Macedo Soares, a friend of the governor of Guanabara Carlos Lacerda. With landscape design by Roberto Burle Marx, the new park was designed for sports activities, receiving soccer fields, tennis, volleyball, basketball and track aeromodelling and naval modeling; highlight the soccer fields on the initial Flamengo Beach , created on the initiative of Raphael de Almeida Magalhães, another collaborator Lacerda.
The park project Brigadeiro Eduardo Gomes entered the square and surroundings of the Cuauhtémoc monument to the dead of World War II and the Museum of Modern Art in Rio de Janeiro, was followed in Clover Edson Luís, at the Gloria Marina (opened in 1982) and Praia de Botafogo.
4. Palácio Tiradentes
The Tiradentes Palace was the old building of the National Congress of Brazil, between 1926 and 1960 and is the current seat of the Legislative Assembly of the State of Rio de Janeiro.
The first was an imperial parliament building, built in 1640, which had in its lower floor a chain called “Old Jail,” where prisoners were housed and where the colonial period was also arrested for three years, the conspirator Joaquim José da Silva Xavier (Tiradentes), while awaiting execution by hanging, which was to take place on April 21, 1792.
The imperial parliament building was demolished in 1922, and led to the Tiradentes Palace, monumental building in Eclectic Style designed by Archimedes Memoria Cuchet Francisco and opened in May 1926, which honors the ensign Tiradentes, and today offers visitors a multimedia exhibition permanent titled: Tiradentes Palace site of memory of the Legislature.
With the establishment of the New State, in 1937, the Tiradentes Palace became the headquarters of the Department of Press and Propaganda (DIP). With the end of the Estado Novo returned to house Chamber of Deputies.
In 1960, with the change in Capital Federal Brasilia, the city of Rio de Janeiro has the quality and state of Guanabara Palace Tiradentes went to welcome the Legislature of the State of Guanabara. The Guanabara existed between 1960 and 1975, when it merged the State of Rio de Janeiro and the Tiradentes Palace became home to the Legislative Assembly of the State of Rio de Janeiro.
In eclectic style, the facade is lined with concrete. Stands the dome, adorned with allegorical sculptures representing the Independence and Republic. Inside, the dome, decorated with paintings by the artist Rodolfo Brazilian Chambelland boasts a stained glass painted like the night sky of November 15, 1889. The building also houses decorations made by renowned artists such as Eliseu Visconti, Carlos Oswald and John Timothy Coast. The decorative panel from the floor of the Palacio Tiradentes was executed by Eliseu Visconti in 1926 and represents the signature of the first Republican Constitution of 1891. In large panel, restored in 2001, appearing in natural size portraits of sixty-three constituents.
5. Paço Imperial
The Paço Imperial, or Imperial Palace, previously known as the Royal Palace of Rio de Janeiro and Palace of the Viceroys, is a historic building in the center of the city. The Paço Imperial was built in the 18th century to serve as residence for the governors of colonial Brazil. From 1808, it was used as a royal residence by King João VI of Portugal as King of Portugal and later also as King of Brazil. In 1822 it became the city palace of the monarchs of the Empire of Brazil, Pedro I and Pedro II, who used it not as a residence, but as a workplace. It was one of the main political centers of Brazil for nearly 150 years, from 1743 to 1889.
The Paço Imperial is located in the Praça XV in central Rio. Due to its architectural and historical significance, it is one of Brazil’s most important historic buildings. Today it serves as a cultural center.
In 1763, as the seat of the colonial government of Brazil was transferred from Salvador to Rio de Janeiro, the building was turned into the Viceroy’s Palace.
The Palace became a Royal Palace (Paço Real) in 1808, when the court of Prince Regent John VI arrived in Rio, escaping the invasion of Portugal by Napoleon. Here the Prince Regent (and later King) João VI ruled the newly-named United Kingdom of Portugal, Brazil and Algarves. A throne room was arranged on the second floor of the Palace, and there the traditional ceremony of beija-mão (hand kissing) took place.
In 1822, Brazil became an independent nation as the Empire of Brazil. The Palace continued as an administrative center under Emperor Pedro I and his successor Pedro II. At this time it was renamed the Imperial Palace (Paço Imperial). The Emperors resided at the São Cristóvão Palace (Palace of St. Christopher), but the Imperial Palace remained the formal seat of the Court and the monarch’s workplace.
On 9 January 1822, Pedro I announced from one of the balconies of the Palace facing the square that he would refuse Portuguese orders and remain on in an independent Brazil. During 1888 in one of the Palace chambers, Pedro II’s daughter Princess Isabel, acting as regent, signed the famous Lei Áurea, which definitively banned slavery from Brazil. The Palace and its adjacent square and chapel were the scene for the coronations of John VI, Pedro I and Pedro II and other public celebrations.
6. Arco do Teles
Walking through this arch, opposite the Praça XV, will take you back to the time of Imperial Brazil. A winding path, which passes by bars and restaurants wonderfully preserved despite the building dating from the 18th century. The place name comes from the Teles family. The area between the arch and the Avenida Presidente Vargas offers a glorious walk between museums, cafes, simple bars and bookstores.
7. Catedral da Sé
The Old Cathedral of Rio de Janeiro dedicated to Our Lady of Mount Carmel, (Portuguese full name: Igreja de Nossa Senhora do Monte do Carmo da antiga Sé, literally Church of Our Lady of Mount Carmel of the Ancient See) is an old Carmelite church which served as cathedral (Sé) of Rio de Janeiro from around 1808 until 1976. During the 19th century, it was also used successively as Royal and Imperial Chapel by the Portuguese royal family and the Brazilian imperial family, respectively. It is located in the Praça XV square, in downtown Rio. It is one of the most important historical buildings in the city.
Building of the present church started around 1761, and was probably directed by Portuguese architect Manuel Alves Setúbal. The church was consecrated in 1770, still with the façade unfinished. The inner decoration, in gilded woodwork in Rococo style, was carved after 1785 by master Inácio Ferreira Pinto, one of the main sculptors of 18th-century Rio de Janeiro.
In 1808, Prince Regent João, the future King João VI of Portugal and his court arrived in Rio, fleeing Napoleonic troops which had invaded Portugal. Several of the buildings of Rio started being used by the Portuguese court, including the old Viceroy Palace (now known as Paço Imperial), the Carmelite Convent (in which the Prince Regent’s mother, Maria I of Portugal, was housed) and the nearby Carmelite Church, which was converted into a Royal Chapel and soon afterwards into the new Cathedral of Rio.
As Royal Chapel, the then Cathedral was a witness to several important events in this period. The Funeral Rites after the death of Queen Maria I in March 1916, and the Te Deum following the solemnity of the Acclamation of her son and heir, John VI, as King of the United Kingdom of Portugal, Brazil and the Algarves (6 February 1818) are among them. Prince Pedro, future Emperor of Brazil as Pedro I and Princess Leopoldina of Austria received the nuptial blessing in the chapel on 6 November 1817, having previously entered into marriage by proxy.
The Old Cathedral of Rio was an important setting for classical music in Brazil. In 1808 the Brazilian composer Father José Maurício Nunes Garcia (1767–1830) was appointed Master of the Royal Chapel by Prince Regent John. Father José Maurício is considered the best composer of the period. He was later replaced by another important musical figure, the Portuguese Marcos Portugal (1762–1830).
8. Mosteiro de São Bento
The Monastery of São Bento do Rio de Janeiro is a historic monastery located in Morro de Sao Bento, the center of the city of Rio de Janeiro, Brazil. It is one of the main artistic monuments of the colonial city and the country.
The Monastery of São Bento do Rio de Janeiro was founded by Benedictine monks from Bahia in 1590. The monastery still functions as such, and there, beside him, one of the most important educational institutions and traditional Brazil: the College of St. Benedict, founded in 1858, which formed a considerable amount of Brazilian personalities such as Pixinguinha, Benjamin Constant, Noel Rosa, Antonio Silva Jardim, Villa-Lobos, among others.
The history of the monastery began in 1590, when it was donated by the nobles Manoel de Brito and his son Diogo Lacerda de Brito, the Benedictine monks Pedro Ferraz Porcalho and John, who had come from the Monastery of São Bento de Salvador in October 1589, a vast land in the center of the city of Rio de Janeiro that included current Morro de São Bento1. At the time, the monks lived, as historian Rio Vivaldo Coaracy explains on page 145 of “The Rio de Janeiro in the 17th Century”, a “hospice skimpy” next to the Chapel of Nossa Senhora da Conceição, this hermitage of clay that had been erected by Aleixo Manuel in the current Morro da Conceição, located next to the Morro de São Bento.
The financial resources required for the construction of the current building came from income earned by the production of cane sugar in the numerous properties that the monks received through donations within the Captaincy of Rio de Janeiro, especially in the regions of Nova Iguaçu and Fields Goytacazes.
The legwork of building the monastery was performed by slaves. The plans of the new building were drawn up in 1617 by the Portuguese military engineer Francisco Frias de Mesquita, according to the Mannerist aesthetic stripped (“tea”) in force in Portugal at that time. Church construction only began in 1633, the chapel and when Brother Francis was abbot of Magdalene, circa 1651, with continued emphasis to end in about 1671. The original design was modified during construction, the architect Frei Bernardo de São Bento Correia de Souza and the church passed a count on three naves4. The monastery attached to the church was completed in 1755, with the construction of the cloister, designed by the military engineer José Fernandes Pinto Lucknow.
9. Real Gabinete Português de Leitura
The institution was founded in 1837 by a group of forty-three Portuguese immigrants, political refugees, to promote culture among the Portuguese community in the then capital of the Empire. It was the first association of this community in the city.
The current headquarters building, designed by Portuguese architect Rafael da Silva and Castro, was erected between 1880 and 1887 in style neomanuelino. This architectural style evokes the exuberant Gothic-Renaissance force at the time of the Portuguese Discoveries, known as Manueline in Portugal for having coincided with the reign of Manuel I (1495-1521).
The Emperor D. Pedro II (1831-1889) laid the foundation stone of the building on June 10, 1880, and her daughter, Princess Elizabeth, along with her husband, the Count d’Eu, inaugurated on September 10, 1887. The facade, inspired by the Jeronimos Monastery in Lisbon, was crafted by Joseph Germano Salle in stone limestone in Lisbon and brought by ship to Rio. The interior also follows the style neomanuelino the shutters, wooden shelves for books and memorials. The ceiling of the Reading Room has a beautiful chandelier and a skylight iron structure, the first example of this type of architecture in Brazil. The lounge also has a beautiful monument of silver, ivory and marble (the Altar of the Fatherland), 1.7 meters high, which celebrates the time of discovery, held at Kings House & Sons by goldsmiths in Port Antonio Maria Ribeiro, and acquired in 1923 by the Royal Cabinet.
Open to the public since 1900, the Library of Royal Cabinet has the largest collection of Portuguese works outside Portugal. Among the approximately 350 000 volumes, domestic and foreign, are rare works as a copy editor of “princeps” The Lusiads of Camões (1572), the Ordinances of D. Manuel (1521), the Capitolos Cutting and Leys what about some Delles made (1539), True informaçam land of Prester Joam according vio escreveo ho and Father Francisco Alvarez (1540), a manuscript of the comedy “You, only you , pure love “Machado de Assis, and many others. Annually receives about six thousand titles Portugal. There is also an important collection of paintings by José Malhoa, Carlos Reis, Oswaldo Teixeira, Eduardo Henrique Malta and Medina. Daily receives, on average, one hundred and fifty guests. Among its illustrious guests of the past, are the names of Machado de Assis, João Olavo Bilaspur and the Rio.
10. Praça Paris
The Paris Square is a street in the neighborhood of Glory, in the city of Rio de Janeiro, Brazil. It was built in 1926 with French urban design Alfred Crouch, during the administration of Mayor Antonio Prado Junior.
This project reproducing the layout and elegance of a Parisian garden, sheltering in their spaces large number of large almond trees, as well as works of art and sculptures.
Among these works stood out:
- cats Carrara marble;
- equestrian statue of Marechal Deodoro da Fonseca, in bronze;
- the fountain with nine movements of light, gushing water twenty-five feet tall.
The square was restored and reopened in 1992, when it was surrounded by railings, aiming at its preservation.
The square was built on a landfill. In principle, would the avenues Rio Branco and Beira Mar to the street of glory. It was later shortened to make way for the square Marechal Deodoro da Fonseca. The square was designed as a gem of the belle époque, built when he was mayor of the Federal District Antônio Prado Júnior, between 1926 and 1930.
At the time of subway construction, the square was completely destroyed, but was rebuilt from 1992. It is a popular location for hikers and sportsmen. Favors race training due to dirt floors. Policing has municipal police and military police during the day and night.
11. Parque do Palácio do Catete
The Presidential Palace is located in the neighborhood of Catete1, in the municipality of Rio de Janeiro, Brazil. It was the seat of power Ghosn 1897-1960. From this year, the seat of executive power was transferred to the newly opened city of Brasilia. From the 1970s, the palace has housed the Museum of the Republic, a post he continues to practice today.
The building was built as the residence of the family of Luso-Brazilian grower Anthony Clement Pinto, Baron of Nova Friburgo, in the then capital of the Empire of Brazil. It was called the Chateau Largo Valdetaro and Palace Nova Friburgo.
Design with German architect Carl Friedrich Gustav Waehneldt, dated 1858, the work began with the demolition of the old house at 150 Rua do Catete. The building officially ended in 1866, but the finishing works also continued for more than a decade.
After the death of the Baron and Baroness, the son of these, Antonio Clemente Pinto Filho, the Earl of St. Clement, sold the property in 1889, shortly before the Proclamation of the Republic of Brazil, for a group of investors, who founded the Great Company Hotel Internacional. This development, however, did not succeed in turning the palace into a luxury hotel. Due to the economic crisis at the turn of the nineteenth to the twentieth (Encilhamento), the venture went bankrupt, and their titles acquired by the counselor Mayrink Francisco de Paula, that five years later, paid off debts with the so called Bank of Republic of Brazil.
At the time, the seat of the executive branch of Brazil was the Foreign Ministry’s Palace in Rio de Janeiro. In 1897, President Prudente de Morais became ill and, meanwhile, the government assumed the vice-president, Manuel Vitorino, who did get the palace and there did install the seat of government. Officially, the palace was the seat of the Federal Government February 24, 1897 until 1960 when the capital and the Federal District were transferred to Brasília.
Several historical events happened in the halls of the palace, such as the death of President Afonso Pena in 1909, the signing of the declaration of war against Germany in 1917, during the First World War, and hosting the visit of Cardinal Pacelli, the future Pope Pius XII, in 1934, the declaration of war against the Axis in World War II, in 1942, the suicide of President Getúlio Vargas in 1954, shot in the heart, in his room on the third floor of the palace, among others.
12. Igreja de Nossa Senhora de Gloria de Outeiro
The Church of Our Lady of the Glory of Knoll stands atop a small hill, in the Gloria district. It is considered one of the jewels of colonial architecture in Brazil and one of the most characteristic monuments.
The church comes from a small chapel built in the seventeenth century land donated to the Fellowship of Glory in 1699 by Claudio do Amaral Gurgel. It is not known exactly when construction began on the church, knowing for sure that was inaugurated in 1739. It is considered likely to have been started in the 1730s, though some believe it still works began in 1714. Oral tradition assigns the project to lieutenant colonel and Portuguese military engineer José Cardoso Ramalho, but there are no documents to confirm authorship. The stone used in the construction of the church came from the quarry of Glory, the Morro da Nova Sintra, in the neighborhood of Catete. The church plant is composed of two octagons, which gives the form of an “8″. The curved spaces – especially ellipticals – are a typical form of Baroque architecture and debut in Rio in this church. One of the octagons are occupied by ship bow church, while the other is occupied by the vestry. The interior of the ship conveys a sense of monumentality, thanks to monumental pilasters and vaulted ceiling.
The lower parts of the ship are covered with beautiful panels of blue-white tiles from Lisbon, made between 1735 and 1740 in the workshop of Master Valentim de Almeida, with biblical themes, recently restored. The sacristy is also lined with tiles, but with profane subjects (hunting scenes). The church has three altars good feature of Rococo, dated to the transition between the eighteenth and nineteenth centuries. About crossing arch of the chancel is the shield of Imperial Family.
The exterior of the Church of Glory has a characteristic profile, with two octagonal bodies preceded by a square tower crowned with a dome shape “with onions”. The first floor of the tower has a porch – vaulted space – where you enter the church through a portal with a medallion depicting the Virgin and Child. This portal and two others are carved in stone and limestone were brought from Lisbon in the second half of the eighteenth century
14. Largo do Boticário
The Largo is a famous place located in the neighborhood of Cosme Velho City of Rio de Janeiro, in Brazil. PM can access by a narrow alley – by Alley Boticaria – passing over a small bridge bout the Carioca river. The area is characterized by the exuberant vegetation of the Atlantic and the mansions neocolonial.O style name and is derived in Alley off Joaquim Luís da Silva Souto, Boticaria Tinh your establishment right on Old Street, now First Street March About the center in Rio Boticaria, very good and successful Tinh than among their customers real Family, Buy Land zone to the Cosme Velho and the Mute-wide and around 1831. In 1846 there lives the Marshal Joaquim Alberto Silveira de Souza, frequenter of the court and godfather Birth of Machado de Assis.
Feature in The tenure COMECA off and be given in the 1920s when Edmundo Bittencourt, Founder Morning Post newspaper to buy about Land and COMECA construire and neocolonial style homes. The vacancy was continued neocolonial us decades of 30 and 40 by Rodolfo diplomat and collector of art Siqueira, who was an architect and lives in Amador wide between 1928 and 1941 and by Sylvia de Arruda Botelho Marida Paulo Bittencourt and his heirs to the Morning Post . Some of these homes have been remodeled with and participation of modernist architects Lucio Costa and Gregori Warchavchik using authentic materials from the Colonial demolitions through the City.
15. Parque Lage
The Parque Henrique Lage is a public park in the city of Rio de Janeiro, located at the foot of the Corcovado Mountain, the Botanical Garden street. It has an area of over 52 hectares and was listed by the National Historical and Artistic Heritage (IPHAN), on June 14, 1957, as a historical and cultural city of Rio de Janeiro
The history of Parque Lage date 1811, when Rodrigo de Freitas Castro Mello and acquires a farm belonging to Fagundes Varela, the Sugar Mill Del Rei, on the banks of the pond. John Tyndale, English landscape, receiving, in 1840, the task of redesigning the farm and prints the structure of your project all the romanticism found in parks his land natal.2 In 1859, the park passes into the hands of Antonio Martins Lage, through a process of buying and selling. At this point, given the name “Park of Lage”, which later in 1900, goes to his three sons as an inheritance. In 1913, the farm is purchased by Dr. César de Sá Rabello, remaining as his property until 1920 when Henrique Lage, grandson of Antonio Martins Lage, can recover the former property of família.
In 1920, Henry began his remodeling, inviting the Italian architect and designer Mario Vodret palace that had his father. His style was quite different, mixing different trends of the season, framing their work in that period of art was called eclectic, which pleased the Italian opera singer, wife of Henry Lage, Gabriela Bezanzoni.3 At its center is a courtyard with pool and in its facade, a porch quite prominent. The gardens were designed geometrically, according to the grandeur of the mansion, which overlooks the hill of Corcovado.
In 1936, the wife of Henry Lages founds the Brazilian Society of the Lyric Theatre, and in 1948, new people come to the mansion of Lage, the great-nephews of Gabriela Marina Colasanti and his brother Arduino Colasanti. At this time, Gabriela Bezanzoni organized magnificent celebrations that included the most prominent representatives of society carioca.
However, indebted to the Bank of Brazil because of deals made with this financial institution, Henrique Lage needed to dispose of part of its assets. Gave part of their property to the bank as payment, and the other sold to private businessmen. In order to survive the Park was declared a historical and artistic heritage with the help of Governor Carlos Lacerda.
In 1960 part of the land came to be bought by businessman Roberto Marinho for the construction of the TV headquarters Globo however the entire property was expropriated and converted into a public park. In the palace is the School of Visual Arts of Parque Lage, created in 1975 by the Department of Culture of the State Department of Education.
16. Jardim Botanico
The Research Institute of the Botanical Garden of Rio de Janeiro1, traditional and popularly referred to only as the Botanical Garden of Rio de Janeiro2, is a research institute and botanical garden located in the Botanical Garden on the south side of the city of Rio de Janeiro, in Brazil.
One of the most beautiful and well preserved green areas of the city, is an example of the diversity of flora and foreign. In it can be observed about 6500 species (some endangered), distributed over an area of 54 hectares, outdoors and in greenhouses.
The institution also houses monuments of historical, artistic and archaeological and most comprehensive library in the country specializing in botany, with over 32,000 volumes.
With the proclamation of the Brazilian Republic (1889), the following year (1890), came to be known as Botanical Garden. From then receive many illustrious guests like Albert Einstein (May 1925), 21 Queen Elizabeth II of the United Kingdom (November 1968), 22 among others, 23 becoming postcard city. Among the names of researchers connected to it stands the Pio Manuel Correia.
The Botanical Garden of Rio de Janeiro is listed by the National Historical and Artistic Heritage since 1937.
In 1991, the United Nations Educational, Scientific and Cultural Organization considered it as a Biosphere Reserve. At that moment, when the garden was struggling maintenance and conservation, a group of public and private companies formed to assist him. As a result of the partnership, in 1992 the nursery and greenhouse violets were renovated, and proceeded to clean the lake. In 1995, we built the Sensory Garden with herbs and nameplates in braille, allowing visitation by the visually impaired. Subsequently, a new greenhouse was built for bromeliads. At the beginning of the century, the garden wall street Pacheco Leão was demolished, replaced by a grid, improving your landscape integration with the neighborhood.
As recognition for its scientific importance, it was renamed as Institute Research Botanical Garden of Rio de Janeiro in 1998, getting affection to the Ministry of Environment. In 2002, it became a federal agency.
17. Vista Chinesa.
Since 1856, the Botanical Garden was connected to the Alto da Boa Vista on a road carriageway, opened by the influence of Lord of Bom Retiro and the implementation and maintenance was contracted to Thomas Cochrane. Records chronicle of the city that, in this work, we employed workers coolies brought from Macau, China, to develop farming rice, but not having shown any ability for agriculture, were utilized in the construction of the road. This region presents a striking coincidence of Chinese presence, which began with the arrival of planters of tea at the time of Dom João VI.
After the failure of this crop, according to Brazil Gerson, the Chinese would have spread “the diapers Tijuca.” In 1844, a map of the area recorded a building called “House of Chinas.” Probably a remnant of this early experience. This vocation probably explains why the mayor Pereira Passos in 1903, with project architect Luis King), built in mortar copying the bamboo on the banks of this road, the pavilion Chinese View. Further up, on the same road the Chinese View a location prepared to serve as a resting point on frequent tours of the imperial family was named Emperor’s Table.