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CONHEÇA A IGREJA DE NOSSA SENHORA DO CARMO

IGREJA DE NOSSA SENHORA DO CARMO – UM POUCO DE SUA HISTÓRIA

– APRESENTAÇÃO

O Complexo Arquitetônico do Carmo é um dos mais notáveis da capital paraense, isso deve-se a sua esplêndida arquitetura assim como a sua grande importância histórica construída na catequese aos índios, na luta dos cabanos, nos conflitos religiosos e políticos da época de sua gênese.
A nós, privilegiados detentores desse patrimônio, cabe lutar para a preservação e manutenção desse tesouro artístico que temos, fazendo com que essa história continue a ser contada a nossos filhos, netos e a tantas gerações com todo o encanto que merece.

LOCALIZAÇÃO GEOGRÁFICA
O Complexo Arquitetônico do Carmo encontra-se localizado no Centro Histórico de Belém(capital do Estado do Pará), no Bairro da Cidade Velha.
O sítio está compreendido a oeste, pela Passagem São Boaventura (antiga Ladeira do Carmo,às margens do Rio Guamá ), a norte pela Travessa Dom Bosco, a leste pela rua Dr. Assis (antiga Rua do Espírito Santo) e posteriormente, ao sul por casarios da Travessa Gurupá.
Diversos meios de transportes fluviais, por diversas linhas de coletivos, transitam pelas adjacências do complexo mostrando uma paisagem característica de ruas estreitas, pavimentadas com paralelepípedos revestidos de asfalto e calçadas em pedras de lióz, definindo o meio-fio para o escoamento das águas pluviais.
O entorno é constituído de casarios térreos e sobrados coloniais significativos, ocupados por uso residencial e comercial. A proximidade com o Rio Guamá, com vários trapiches para embarcações que efetuam transportes de mercadorias e pessoas, entre o interior do Estado e a Capital, constituindo grande potencial turístico e paisagístico.
IGREJA DO CARMO
A Igreja do Carmo é parte integrante de um dos maiores conjuntos arquitetônicos da Cidade, constituindo uma das relíquias da cidade de Belém.
A sobriedade da fachada da Igreja do Carmo está longe de anunciar a opulência de sua decoração interior, marcada principalmente, pela proximidade entre si, das enormes ordens que formam, com o teto em abóbada de berço, uma pronúncia do movimento ascendente, muito peculiar a arquitetura barroca italiana. Ferdinando Galli, o mestre de Landi, publicou em 1711, um tratado de arquitetura civil em que mostra um certo desembaraço no manejo das ordens. Essa lição de desenvoltura diante dos modelos antigos, assimilou a Landi, interpretando-a magistralmente no interior da igreja carmelita.
O altar-mor da Igreja do Carmo pertence a construção da segunda Igreja, a crônica carmelita diz: ” Esta é a parte da Segunda igreja que ficou da demolição feita em 1760 e que está unida ao templo não acabado que a piedade dos fiéis e a santidade dos religiosos erigiram naquela época”, dessa forma o seu estilo nada tem a ver com as composições de Landi.
Esculpido em madeira e coberto pela douração da época, com complementos simétricos de imensos anjos, mísulas antropomorfas, colunas torsas (salomônicas) entremeadas por cachos de uvas, flores e folhas. O altar é decorado com folhas de acanto, volutas, cartelas, etc., que caracterizam o período barroco.
Os púlpitos, entalhados em madeira, são bastante dourados, em sua origem, com profusão de rocailles (movimentação de linhas curvas e convexas), são de um gracioso barroco rococó, que lembram a anatomia dos púlpitos de Aleijadinho.
As pinturas dos altares laterais remontam as reformas efetuadas pelos salesianos em pleno século XX.
O amplo átrio da Igreja contém um oratório de Nossa Senhora de Lourdes, obra dos irmãos Maristas, não tendo nenhuma relação com a obra dos Carmelitas Calçados.
Algumas imagens que atualmente ornamentam a Igreja do Carmo remontam a época dos Carmelitas, podendo-se destacar as de Nossa Senhora do Carmo e os bustos dos santos carmelitas, a do Crucificado, no primeiro altar-lateral, a de Sant’ Ana e a de Santa Madalena de Pazzi, essas imagens são entalhadas de madeira e receberam um fino revestimento de gesso. A imagem de Sant’ana é de estilo português do século XVIII e a de Santa Madalena de Pazzi possui as características do barroco italiano.
Durante a Cabanagem, grande movimento popular paraense, através do qual os cabanos conseguiram chegar ao poder, a Igreja foi usada como ponto estratégico pela tropa imperial. No entanto, foram descobertos pelos cabanos. Segundo o Professor Ernesto Cruz: “Houve combate. No ardor da luta, inúmeros soldados imperiais refugiaram-se atrás do altar-mor. Cessada a refrega foram descobertos e levados para a rua, sendo uns espangardeados, enquanto outros salvaram-se devido a interferência do Bispo, o virtuoso D. Romualdo de Souza Coelho”.

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