Tiradentes Palace
The Tiradentes Palace was a central hub of Brazilian politics until the capital was moved to Brasília. It was inaugurated as the seat of the Chamber of Deputies on 6 May, 1926 and also commemorated the Centenary of the Legislative Power. Its plenary hall hosted presidential inaugurations and witnessed the drafting of two Constitutions, in 1934 and 1946., It was closed during the Estado Novo (1937–1945) because it housed the Department of Press and Propaganda (DIP). The palace also served as the Assembly of Guanabara between 1960 and 1963. With the dissolution of Guanabara, it became home to the Legislative Assembly of the State of Rio de Janeiro (Alerj) in 1975, hosting the state parliament and gubernatorial inaugurations until 2021. Today, the palace is the historical headquarters of the state legislature and was designated a heritage site by IPHAN in 1993.
Inauguração do Palácio Tiradentes, em 6 de maio de 1926. Photograph by Augusto Malta, 1926. Source: Augusto Malta/Instituto Moreira Salles collection
The Tiradentes Palace, a landmark of Brazilian architecture, has deep roots in Rio de Janeiro’s political culture. This is evident in the choice of location. Before the Palace, the location housed the Municipal Chamber and Jail, the headquarters of the Senate of the Chamber of Rio and a public jail between 1639 and 1808. It was later succeeded by the General Legislative Assembly of the Empire, from 1826 and the Chamber of Deputies in the early Republic. It was dubbed the Old Jail and shortly before its demolition, the building witnessed the sentencing of Tiradentes. He was imprisoned for three long years on the Ilha das Cobras for his involvement in the episode known as the Conjuração Mineira (Minas Conspiracy). The second lieutenant was the only conspirator sentenced to death by the Portuguese Crown. He was held in the Old Jail for four days before his execution by hanging in Rio de Janeiro on 21 April, 1792.
Cadeia Velha, que deu lugar ao atual Palácio Tiradentes. Photograph by Augusto Malta, 1919. Source: Augusto Malta/ Instituto Moreira Salles collection.
Leitura da sentença dos inconfidentes. Author: Eduardo de Sá, 1921. Source: National History Museum/Ibram/MinC.
It is the younger sibling of the Pedro Ernesto Palace, inaugurated in 1923 in Cinelândia, and they shared the same architects. The building’s construction lasted four years (1922–1926) and it was designed by Archimedes Memoria in partnership with Francisque Cuchet, two architects who played a pivotal role in transforming Rio de Janeiro during the 1920s with significant works such as the Jockey Club in Gávea. The Palace was a modern building for its time and was one of the first structures in Latin America built with reinforced concrete. The use of innovative construction techniques served the purpose of transforming the palace into a “nation in miniature,” using materials sourced from all the Brazilian states. For example, the interior of the plenary hall was crafted from imbuia wood donated by the State of São Paulo.
Project for the Tiradentes Palace. Source: O Paiz, year XXXIX, nº 632, 1922. National Library Foundation – Brazil
Demolition of the Castelo Hill with the Tiradentes Palace under construction in the background. Photography by Sebastião Lacerda, circa 1922-1923. Source: Sebastião Lacerda Collection/Instituto Moreira Salles collection
The building stands out in the cityscape as a piece of narrative architecture. Its portico with classical columns, a dome forming an immense internal stained glass feature, and the sculptural groups adorning the façade and staircase tell the story of Brazil’s Republic, making the palace a monument to national politics.
At the forefront is the statue of Tiradentes, created by Francisco de Andrade. Inspired by Rodin’s ´Monument to Balzac´, the sculptor employed modern techniques to transform bronze into the civic Christ of Brazil, portraying Tiradentes as a martyr with long hair and a beard. The second lieutenant is flanked by two winged Victories holding laurel crowns, symbolizing the triumph of the ideal of Independence in Brazil.
On the sides of the composition are two notable groups: ´Independence´, featuring Pedro I and José Bonifácio, and ´Proclamation of the Republic´, with Deodoro da Fonseca and Benjamin Constant. All the figures are dressed as Roman emperors, emphasizing the building’s authority. The author of these works, Modestino Kanto, a Black artist, prominent sculptor, and carnival designer in early 20th-century Rio de Janeiro, drew inspiration from carnival floats for the decoration of the Palace.
Modestino Kanto, sculptor. Source: Album de Artists, 1917. National Library Foundation – Brazil.
