San Clemente

The History of Saint Clement

1960s

Its debut in the official samba school parades took place in 1962, on Rio Branco Avenue, by the third group. The school's theme extolled the riches of Brazil: geography, vegetation, precious stones, iron, rubber, coffee, industry and oil. The following year, 1963, the school began a trilogy about the city of Rio de Janeiro. The first theme extolled Old Rio, from the times of gas lamps, carriages, tostão and vintém, highlighting Morro do Castelo and the São Bento Monastery. The school came very close to accessing the second group, securing third place.
In 1964, São Clemente won its first title in the Rio carnival.

The plot portrayed the 45-year period that began in 1763, the year in which the headquarters of the Viceroyalty of Brazil was transferred from Salvador, Bahia, to the city of Rio de Janeiro. This period lasted until the arrival of the royal family in Brazil in 1808. The plot was based on the book O Rio de Janeiro no Tempo dos Vice-Reis [Rio de Janeiro in the Time of the Viceroys], by the journalist and symbolist poet Luís Edmundo. At the time, the government sponsored countless popular festivals (festa do divino [divine festival], cavalhadas [horse riding], congadas [congadas], sawing of the old woman), a Brazilian version of the Roman policy of bread and circuses.

In 1965, already in the second group, São Clemente finished its trilogy about Rio, addressing the city's four centuries of glory through its relics and memories, such as the trams, the works of Mestre Valentim and the carnivals of Zé Pereira. In the 1966 carnival, the school won another title, with the theme “Apotheosis of Brazilian Folklore”. The theme was based on the Brazilian formation originated by the three races. From the whites, the inheritance was in the dances and clothing. From the Indians, the legends and tales. From the black Africans, the expansion and construction of music, through instruments, which would later give rise to samba, in addition to beliefs and superstitions that, added to those of the Indians and whites, make Brazilian folklore one of the most powerful in the world.

After the opening float, an allegorical panel on the selected themes, and the front committee, formed by the school's board of directors, each wing was responsible for showing the Brazilian regions. The first float, in homage to the North Region, represented the Legend of Boiúna (Big Snake). In it, the caboclos of the Amazon believed that a gigantic snake had magical powers and refused to kill it to avoid their own ruin. The second float was a tribute to the Northeast, with the representation of Iemanjá.

To represent the third float, from the Central-West Region, several figures were brought, such as the Saci Pererê, Curupira and Caipora. The last float, from the South Region, brought the Negrinho do Pastoreio. The legends were added to other regional manifestations, such as maracatu, reisado, boi bumbá, pastoril, Folia de Reis and Pau de Fita, giving greater breadth to the folkloric meaning of each region.
In less than six years after its foundation, the Botafogo school reached the first group of the Rio carnival, in 1967. For its debut in what is now called the Special Group, the school brought the popular festivals and traditions of Brazil, inspired by the book of the same name by Mello Moraes Filho, grandfather of Vinicius de Moraes.

This plot was suggested by the chronicler Eneida. The parties described in the parade were the New Year's Eve, the procession of Saint Benedict in Lagarto (Sergipe), the carnival and the country wedding. The school made reference to the poem Ode a Dois de Julho by Castro Alves, a day characterized as the effective fight for Brazil's Independence. The school did not remain in the group. The school was greatly affected by the rain.

The samba, despite having won the award for best samba of the year, did not allow for the desired harmony and as a result the school lost a lot as a whole. The floats also did not stand out. Moments before the parade, the school suffered from the intervention of the Juvenile Court that removed many of its young members due to lack of documentation.

Back in the second group, in 1968, São Clemente celebrated national culture, exalting the great researcher Ladislau de Souza Melo Neto (1875-1893), the most influential scientist in Brazil during the Second Brazilian Reign, the painter Pedro Américo, the jurist and politician Rui Barbosa and the writer Machado de Assis.

In 1969, the school competed for a spot in Group 1, with the theme Assim Dança o Brasil, but due to delays, the judges left the judging platform, no longer judging it, as well as the schools Tupi de Brás de Pina, Império da Tijuca and Independentes do Leblon that would close that parade. The samba theme of this parade, in fact, was the first to be re-edited in the history of samba, as it would be presented again in 1981.

1970s

In 1970, São Clemente ended its successful first decade of existence by bringing fantastic stories to the Avenue, such as the one about the frog aru, uirapuru, saci pererê and the little black shepherd.
During the 70s, the school remained largely in the second group, being relegated to the third group on two occasions: in 1978 and in 1980, when there was a reduction in the number of schools in the first and second groups, which now have only 8 schools each.

In 1971, São Clemente exalted miscegenation through the three races that formed the Brazilian people: native Indians, white Portuguese and blacks from Africa. The plot “Kiss of the three longings” was inspired by a poem by Olavo Bilac.

In 1972, São Clemente spoke of congadas, a dance that represents the coronation of the king of Congo, which emerged with the arrival of African people who had become slaves in Brazil, and which became part of Brazilian culture after the abolition of slavery.

In 1973, São Clemente showed the washing of the Church of Nosso Senhor do Bonfim, located on the Sacred Hill, on the Itapagipe peninsula, in Salvador. The plot covered aspects of religious festivities, such as the pilgrimage of the faithful, the traditional Bahian women with their vases of perfumed water to wash the church steps and the presence of stalls selling typical foods.
In 1974, São Clemente showed the plot “Fascinating Dreams of a Young Teenager”, passing through Chico Rei's Vila Rica, the cabocla Jurema from Amazonas and Iemanjá from Lagoa do Abaeté, in Bahia.

In 1975, São Clemente paid tribute to Francisco Alves, Ary Barroso and Lamartine Babo, remembering the songs that became part of the history of the national songbook.

In 1976, São Clemente paid tribute to Recife, the land of Dona Santa, queen of Maracatu Elefante.
In 1977, São Clemente brought the artist's fiction, transforming him into a prince who flies on a winged horse, in search of the constellation. There, the star Dalva points the way to an enchanted forest where he saw the wedding of Mr. Mamão with Mrs. Melancia, the mischievous Saci Pererê and the werewolf. Invited to a ghost ball at the castle, the artist comes across several highlights of the Municipal Theater, until the sun rises.

In 1978, São Clemente exalted the revue theater in the figures of Walter Pinto, Carlos Machado, Virginia Lane and Carmen Miranda.
In 1979, São Clemente paid homage to the queens of the sea, Iemanjá, of the flowers, Rosa, and of Maracatu, Dora.

1980s

In 1980, São Clemente brought as its plot the sweet illusion of the samba dancer, who sees his life transformed for the better during the four days of carnival, only to return to his harsh reality after Ash Wednesday.
The year 1980 had not been a good one for São Clemente. In addition to falling to the third group, the school lost its founder Ivo da Rocha Gomes in July 1980. In 1981, São Clemente, for the first time in the history of Carnival, re-edited a theme (Assim Dança o Brasil), thanks to the cunning of its leaders who obtained this right from the AESCRJ, since in 1969 the school had paraded with the same theme, but was not judged.
These were difficult times, but the school took advantage of the adversity to establish itself in the carnival. And the positive results were not long in coming. São Clemente's turnaround came about through the hands of carnival designer Carlinhos D'Andrade, who began working at the school's warehouse in 1982, developing the theme of the rainbow, in the legendary figure of Oxumaré. The following year, 1983, he led the school to second place, speaking about the creation of the night, ensuring the right to return to the second group in 1984.
From then on, the school was characterized by presenting participatory and socially oriented themes, which demonstrably define it as a samba school concerned with the problems of the Brazilian people. Bold, critical, irreverent, political, these are some of the adjectives that came to describe the Botafogo school.
In 1984, São Clemente managed to rise to the then first group with the plot Don't Run, Don't Kill, Don't Die: The Devil Is Loose on the Asphalt, about chaos and violence in traffic. The school enchanted the stands with the humorous story of Zeca Passista and the dangers of traffic. Signs, traffic lights, and accidents were brilliantly represented in costumes and the school's yellow and black joined the red and green in a parade that took the school back to the first group.
In the 1985 carnival, Quem Casa, Quer Casa, once again paraded a satire, this time regarding the serious problem of the housing deficit in Brazil. Its front commission won the Estandarte de Ouro award from the newspaper O Globo. The school revolutionized the Rio carnival by presenting its front commission making developments that engaged with the plot – until then, the schools presented in this regard the old guard whose sole function was to present the school, remaining static and without engagement with the plot being developed.
Back in the second group, São Clemente took to the avenue again with a good sense of humor and charmed the audience and judges with the theme “Muita saúva, Pouco saúde, Os mals do Brasil são” (Too many leafcutter ants, too little health, Brazil’s ills are), addressing the neglect of health in Brazil. A highlight was the float that paid homage to the hospital in Brasília that treated Tancredo Neves, where the patient’s bed was infested with cockroaches and there were ants even in his IV. Another float symbolized the diligence of health that was pulled by leafcutter ants. The school came in second place.
In the 1987 carnival, São Clemente returned to the first group with a beautiful samba, all in a minor key, composed by Manuelzinho Poeta, Jorge Madeira and Isaías de Paula, the latter a former inmate of SAM (Minor Assistance Service). His life experience allowed him to express in the verses of this highly inspired samba his revolt against the neglect of poor children in our country. The theme Captains of the Asphalt was an analogous replica of Jorge Amado's work, Captains of the Sand. During the parade, permeated with irony in the discrepancy between the luxury of the rich boy's life and the misery of the children who roam the streets of large cities, São Clemente presented a group of real street children. The parade moved the Marquês de Sapucaí and provided one of the best moments in the history of the school from Botafogo. With this parade, São Clemente achieved an honorable seventh place, and definitely marked its name in the history of catwalk parades. Long before there was talk of the statute of children and adolescents, São Clemente was once again at the forefront, and this time, leading the public and critics, who stopped to watch, appreciate and reflect on the school's theme.
In 1988, with violence making headlines and the Brazilian government becoming lenient with this cause, São Clemente once again gave a voice to the people, especially the people of Rio. The theme “Quem aviso amigo é” (Who warns a friend) was a cry of warning against violence. São Clemente attended with a large contingent. The success of the previous year led to the school being sought out by people outside the community and the school grew in popularity. Like an overwhelming wave, the school put its finger on the wound, calling for an end to violence, in a very beautiful and poetic, unconventional way.
The following year, with Made in Brazil!!! Yes, we have bananas, São Clemente brought irreverence by denouncing Brazil's economic and cultural influence in the international market, with an emphasis on North American hegemony. Coffee, gasoline, gold and even Brazilian soccer stars were addressed as a way of denouncing the disregard for genuinely Brazilian products, looted in the open and under the complacent eyes of the government. With a parade marked by problems with floats, the school's overcoming was essential, in a year in which five schools were promised to be relegated.

1990s

In 1990, the big surprise of the carnival was São Clemente, which created a famous theme called E o samba samba criticizing the Sapucaí carnival. The members of the front commission were particularly noteworthy, as they came with dolls in their hands, representing the commercialization of samba (the purchase and sale of the Mestre-sala and Porta-bandeira by the school leaders). In their choreography, the costumes were thrown to the ground and trampled on. The costumes of the first couple of mestre-sala and porta-bandeira symbolized string dolls. The symbolism of the costumes of the wings and floats was critical of the modernization of the carnival in the LIESA era. The school led the count in both categories, along with União da Ilha do Governador, in a year that promised to be one of the biggest surprises in the history of the parades. However, at the end of the count, the school finished in 6th place, its best position to date.
For 1991, the fictional-historical-futuristic plot, Já Vi este Filme, by São Clemente, mixed the future with the history of Brazil, in an apocalyptic way. São Clemente had a compact parade. Monique Evans, pregnant, shone at the front of the drum section. The lead float paraded, left at the dispersion and returned to the parade to close it, giving the impression that everything would start all over again, as the plot suggested. The float with the Statue of Liberty in ruins stood out, in the best Planet of the Apes style. Given the parade presented, it was surprising that the school was relegated, despite the thankless task of closing the parade on Sunday.
In 1992, with yet another critical theme, this time related to problems in education, São Clemente put on a good parade, with elaborate and effective costumes. The front commission, led by the good and creative Gabriel Cortês, came out swinging. They were men dressed as “lady teachers” who, in the chorus (And the salary, oh…), lifted their skirts and showed their butts on the avenue. Some characters from Escolinha do Professor Raimundo paraded in the school’s last float. The floats represented school subjects and there was a wing of teachers protesting for better salaries.
The following year, São Clemente inaugurated the merchandising of bread in the Marquês de Sapucaí parade, a theme that was taken to the avenue. Ironically, the school covered the avenue with tambourines, mice and, above all, baianas, representing the wheat, rye, corn and barley of “Our Daily Bread”.
In the 1994 carnival, São Clemente presented a theme that focused on the unity of peoples, which was based on the impeachment of Fernando Collor. The parade featured references to literature and children's stories (the musketeers, the three little pigs), music (country music duos) and public life (parades, protests). The theme and the samba were good, but the school presented an irregular set of floats and costumes, although the drum section was impeccably dressed as a musketeer.
In 1995, São Clemente opened the Special Group, remembering the winning of the fourth soccer championship, betting on the recovery of Brazilian pride. The front commission reproduced the error in the penalty kick by Roberto Baggio, an Italian player who gave Brazilian soccer its fourth championship. The school paraded with great excitement and joy, but the simplicity of the costumes and floats was evident. The opening float brought São Clemente flanked by Bahian women, whose wing came next representing religiosity. The school paraded with simplicity, but with great joy. In the center of the sports car there was a replica of Ayrton Senna's helmet, a tribute to the idol, in which Túlio Maravilha stood out. Isadora Ribeiro came in front of the drums, which came in multicolored and representing the Real currency.
The following year, São Clemente, respecting its colors, placed its vessels on the avenue, from Egyptian to Portuguese ships, and held a lively parade, full of seahorses, Vikings, pirates, gargoyles, galleons, sails, white swans, caravels and cannons. The front commission was formed by Aqualoucos, who came on flippers. The opening float represented maritime festivities. One of the floats was damaged on the avenue.
In the 1997 carnival, the school told the story of the Botafogo neighborhood and a little of the history of the school, which was celebrating its 35th anniversary. The parade was one of the most beautiful moments in the history of São Clemente, because in addition to the beautiful visual aspect, the school had perfect harmony. In the result, three schools ended up tied: São Clemente, Caprichosos de Pilares and Tradição. This fact generated controversy, because according to the rules, Tradição would be considered the champion, since it had the maximum score in the categories, and was penalized by two points, due to the excessive number of members in the Baianas section. In the tiebreaker between Caprichosos and São Clemente, another problem was observed, in order to elect the runner-up, who would be promoted to the special group. Both lost the same amount of points, in the same categories (Front Committee and Costumes), considering the discarded scores. A final clause in the rules stated that if the tie persisted, the school with the best ranking would be drawn. The draw was live and the ball chosen was that of Caprichosos de Pilares. São Clemente went to court, alleging suspicion of fraud in the classification. The school from Botafogo obtained an injunction granted by the judge of the 31st Civil Court, Carlos Eduardo Moreira da Silva, and was present at the champions' parade. However, over the course of the year, it lost its appeals and was forced to endure another year in the Access Group.
The following year, using simple and direct language, São Clemente came out swinging and held a protest on the Avenue, demanding justice. The theme, “Greater are the powers of the people. Tune in to São Clemente!”, portrayed the people’s fight for justice, talking about the struggle for essential rights: health, education, employment, and housing. The school raised its voice against hunger, low wages, and the lack of care for social welfare. In the front line were the “Momo warriors,” a shock troop to bring order to the house, since they had messed up Carnival. They came elegantly dressed and simulated an attack, in allusion to the judges who had harmed the school the previous year. The Baianas wing had the school’s name on their backs in large letters, showing their pride in being Clemente fans. Actress Neusa Borges was a prominent figure in the discrimination carnival carnival carnival carnival.
In 1999, São Clemente paraded with its traditional joy and opened the Special Group parade, paying tribute to the lawyer, journalist, politician, diplomat and abolitionist Rui Barbosa. The school held a modest parade and was relegated to the Access Group. Although the school had significantly improved in terms of costumes, some floats were lacking in boldness. Rui Barbosa was portrayed in almost all of them. One of the figures in the abolition float was damaged.

2000s

In the themed carnival celebrating Brazil's 500th anniversary, with the theme “In the year 2000, São Clemente is Tupi, with Sergipe in Sapucaí”, São Clemente highlighted the cultural, historical and natural riches of Sergipe, from archaeological sites to its fabulous folklore, questioning Brazil's 500th anniversary in a respectful way, incorporating the indigenous people not as exotic beings, but as elements of our historical identity. In increasingly competitive years, the school formed a partnership with the government of Sergipe, deviating somewhat from its style.
In the 2001 carnival, with light, humorous and clear costumes, the theme “São Clemente showed and nothing has changed in this giant Brazil” made reference to the school’s many old and critical themes. Right at the opening float, all white and silver, the school asked for peace on small banners that decorated the float: a huge bucket, with two bottles of champagne, surrounded by glasses. The party that the school took to the avenue was the answer to those who make the country a place that is not always happy. Therefore, after the opening float, the harsh reality arrived: the favela float had traffic signals, posts with wires and signs that read “do not throw trash”, in addition to toilets that served as the basis for the highlights.
In the year of commercialized themes, São Clemente was no exception. São Clemente celebrated its 40th anniversary with a theme that raised awareness of the need to preserve the environment: “Guapimirim, an ecological paradise blessed by the Finger of God.” The warning came right after the front commission, with 180 Bahian girls. The group paraded divided in costumes in two colors (black and white), representing Guanabara Bay, its waters and pollution. With gigantic floats, the school had problems with one of them, which broke down and the highlights had to parade on the ground. It was the second float that showed the first signs of man's presence in the region of Guapimirim – which means “small spring” in the indigenous language. With some problems in its development, the school ended up competing with Tradição for relegation, coming out on the worst, perhaps because it was the first to parade, a position commonly sacrificed by the judges.
The following year, São Clemente was once again crowned champion of the Access Group of the Rio Carnival. The last title had been won in 1966. The school obtained top marks in all categories with a beautiful parade in honor of the city of Mangaratiba. The result, however, was contested by the other competitors.
In the year of the re-enactments, 2004, São Clemente opened the parade and also revisited, not a theme, but its tradition of good-humored carnivals, marked by irreverent political and social criticism, abandoned in recent years. Under pressure from deputies and senators, Milton Cunha was forced to change at the last minute the sculpture that showed Uncle Sam sitting on Congress as if on a toilet in the theme “Boi voador sobre o Recife – Cordel da chocafa nacional” (Flying Ox over Recife – National Joke Cordel). Hampered by the rain, the irreverence of the theme, which started with the first toll collection in Brazil, by Maurício de Nassau, in Recife, to fiercely criticize Brazilian politicians, was not enough to keep the Botafogo school in the Special Group.
The following year, 2005, despite parading to nearly empty stands, at the end of a rainy morning, São Clemente moved and entertained those who stayed to see “Velho é a vovozinha: a São Clemente enrugadinha e gostososinha” (Old is the Grandma: the Wrinkled and Tasty São Clemente), in defense of the elderly. The school entered Sapucaí with a huge sculpture of an old black man as the opening float and made references to the film Cocoon.
In 2006, São Clemente entered in luxury and with large and well-finished cars in its tribute to the duo Luiz Gonzaga and Gonzaguinha. São Clemente won the gold standard for best school in the access, but only came in second place.
The following year, 2007, São Clemente took to the avenue determined to put an end to all types of prejudice. The theme 'Barrados no Baile' (Barred from the Ball) brought hippies, gays, people from the Northeast, funk fans, blacks and all tribes subject to any type of discrimination to the 1,400 costumes. With 2,500 members on the Avenue, São Clemente made no mistakes and won the title of Access Group A, which gave it the right to return to the Special Group in 2008.
Back in the Special Group in 2008, São Clemente opened the parades with luxury, presenting the arrival of the Portuguese royal family in Brazil in 1808, from the perspective of King Dom João VI's mother, Dona Maria, “the Mad”. The smallest loincloth worn during Carnival brought fame to model Viviane Castro. The 3.5 cm of fabric, however, cost the school 0.5 points. The Regulatory Obligations Verification Committee of the Independent League of Samba Schools of Rio de Janeiro understood that the dancer was naked, which is prohibited by the regulations. The punishment harmed the school, but was not the reason for its relegation to the Access Group.
Upon its return to Access Group A in 2009, São Clemente opened the parade for the second time in this group, with the maintenance of carnival designer Mauro Quintaes, who was going to develop a plot about trickery with carnival designer Wagner Gonçalves, but the school's management decided to change and brought in Alexandre Louzada, to develop the carnival alongside Mauro Quintaes, the plot O Beijo Moleque da São Clemente. The school was harmed by the organization of the parades, since they did not release the concentration area, which caused the parade to be delayed by more than 40 minutes. The school told the story of the first black clown Benjamin de Oliveira. The school came in 4th place with 238.5 points, remaining in the same group in 2010.[20]

2010s

In 2010, with the theme Choque de Ordem na folia, São Clemente put on a correct and safe performance and was crowned champion of the Access Group, earning a score of 10 in all categories, with the exception of a 9.7 for the master of ceremonies and flag bearer, who were discarded. With sheriffs on the drums, the school mixed the actions of Choque de Ordem, coordinated by the current administration of the Rio de Janeiro City Hall, with situations from contemporary carnival. The opening act represented Copacabana in the 1950s. But the highlight was a huge cat, which alluded to the illegal electricity and water connections.
In the year of its golden jubilee, 2011, São Clemente hired carnival designer Fábio Ricardo, who came to the attention of Acadêmicos da Rocinha and is one of the most promising, making his solo debut in the Special group. The chosen theme paid homage to the monuments of the marvelous city, entitled “My, your, our river, blessed by God and beautiful by nature”. Despite having presented a quality carnival, the school did not receive good marks from the official jury, coming in 9th place.
For 2012, the school will not be presenting a theme about its 50th anniversary. Carnival designer Fábio Ricardo is preparing a theme about great musicals. The theme was considered the best carnival the school has ever done. Its parade was luxurious with great surprises, including a violinist in the middle of the drum section and an inflatable mulatta. As a result, it came in 11th place and remained in the special.
In 2013, the school continued with its great foundations, the carnival designer Fábio Ricardo, who had received proposals from other schools, such as Imperatriz and Mangueira, in addition to continuing with the financial partnerships that in 2012 yielded great results for the school; during the carnival, he presented on the avenue the plot “Horário Nobre” that reminded many soap operas of Rede Globo, winning 10th place and remaining in the Special Group.
For 2014, the school announced its plot, about the favelas, whose synopsis was conceived by the composer André Diniz. The development of the plot was initially to be carried out by Bia Lessa and Gringo Cardia, who, due to a lack of sponsorship, left the school. Negotiations were even made with Roberto Szaniecki to fill his position, but they did not go ahead. Opting instead for the school's Creative Nucleus, formed by Roberto Gomes, Tiago Martins, Muqueca and Ricardo Gomes, with the participation of the color wizard Max Lopes[26] and made together with João Vítor, Muqueca and Tiago Martins.
In 2015, the school presented the theme “The Incredible Story of the Man Who Was Only Afraid of Matinta Pereira, Tocandira and Onça Pé de Boi.” Created by carnival designer Rosa Magalhães, it was one of the best parades of the night and was considered by many to be one of the leaders of the competition. With top marks in the categories of Drums, Master of Ceremonies and Flag Bearer, and three scores of 10 and a 9.8 for the theme, the school from the South Zone finished in a good 8th place, overcoming the difficulties of previous years. The school also won awards for Best Theme and Best Parade of 2015.
For 2016, the team was renewed with carnival artist Rosa Magalhães, who presented the theme “More than a Thousand Clowns in the Hall” about clowns. On the day of the parade, the second float, in which the carnival artist came, had a problem with the lights and paraded without lights on. However, since it was a light-colored float, it was not so badly damaged. The third float also had a problem with the chassis and stopped moving, creating a hole in the middle of the avenue. The queen of the drum section, Raphaela Gomes, fell during the parade. In the counting of votes, the school came in 9th place.
In the 2017 carnival, São Clemente brought as its theme “Onisuáquimalipanse” (which in Portuguese means “Shame on anyone who thinks badly of this”) to tell the story of the construction of a palace by Nicolas Fouquet, finance minister of Louis XIV, a palace that was so splendid that it made the king begin to doubt the honesty of this minister, ending up sentencing him to life imprisonment and confiscating his assets. Despite a parade that was praised for its luxury, the school repeated in ninth place.
In preparation for the 2018 carnival, the school lost important names: carnival designer Rosa Magalhães and choreographer Sérgio Lobato – both hired by Portela – and flag bearer Denadir Garcia, who moved to Vila Isabel. Amanda Poblete and Jorge Silveira – who came from Vila Isabel and Viradouro, respectively – were hired to take their respective places. The theme for 2018 will be “Academicamente Popular”, which pays homage to the 200th anniversary of the Rio de Janeiro School of Fine Arts.