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The faith in S?o Sebasti?o is reflected in artworks and stories throughout Rio de Janeiro

Celebrated on ?oSebasti?simulador cassinoJanuary 20th with a public holiday, the patron saint of Rio de Janeiro is an inseparable part of the city's official name: S?o Sebasti?o do Rio de Janeiro. Since the time of Portuguese colonization, the saint has been a vivid part of the cultural imagination in these tropical lands. He is revered in the samba world, celebrated in African-rooted religions where he is syncretized with Oxóssi, and considered an icon by the LGBTQIA+ community. He is widely depicted by visual artists, and his arrow-pierced image is prominently displayed in public squares, small markets, taverns, and theaters. Above all, S?o Sebasti?o is cherished and popular. Stage for iconic performances: Circo Voador is declared an Intangible Cultural Heritage of Rio50 Best list: 'Gastronomy Oscars' honors 9 Brazilian restaurants among Latin America's top 50 One of the most spectacular episodes surrounding his mystique in Rio is the Battle of Canoas. More than a thousand years after being sentenced to death, he is said to have returned in the 16th century to support a key battle in the Portuguese victory over the Tupinambás and French for control of the Guanabara Bay region. This story is depicted in a stained glass at the Sanctuary Basilica of S?o Sebasti?o, the Church of Capuchins in Tijuca. The artwork shows the saint-soldier standing with a halo around his head. Above, an inscription reads, “02-20-1567 - Estácio de Sá expels the French Calvinists from Guanabara Bay. S?o Sebasti?o appears fighting by his side.” Inaugurated in 1931 to replace the Cathedral of S?o Sebasti?o on Morro do Castelo—the first Catholic church in the city, demolished along with the hill it stood on—the Church of Capuchins plays a central role in the devotion to the patron saint. It is from there that processions on January 20th head to the Metropolitan Cathedral of S?o Sebasti?o, located in the city center. The church also houses relics such as the image brought by Estácio de Sá to honor King Dom Sebasti?o of Portugal, marking the beginning of the saint's veneration in Rio. — It is the same image entrusted to the Capuchin friars when the church was on Morro do Castelo. This tradition of devotion to S?o Sebasti?o is intertwined with the city's history, inspiring Rio's residents to find courage and resilience to face life's challenges — reflects Cardinal Orani Jo?o Tempesta, Archbishop of Rio. In the Capuchin church, a stained glass window depicts the apparition of Saint Sebastian at the Battle of Canoas — Foto: Gabriel de Paiva The religious program on January 20th included a mass at the church in Tijuca starting at 5 a.m. At 4 p.m., a procession set off towards the city center, followed by another religious service. This was the highlight of a program that began on January 7th, during which the traveling image visited places like the Cacique de Ramos. The saint is the patron of the group, which was, interestingly, founded on January 20, 1961. — For Cacique, S?o Sebasti?o symbolizes protection, inspiration, and perseverance, a spiritual bond that strengthens the group with every challenge overcome — explains Márcio Nascimento, the group's manager. — The convergence of religious traditions (Catholicism, Umbanda, and Candomblé) is essential to our identity. The founders of Cacique taught us to walk under this blessing and to pass on to younger generations the importance of this influence. In museums and during carnival In samba schools, S?o Sebasti?o has already been a theme: it was in 2020 at Paraíso do Tuiuti. In this year’s Portela samba, about Milton Nascimento, there is a verse that mentions the saint: “With an open heart, I carry hope / From the altar of S?o Sebasti?o.” Unidos da Tijuca, Mangueira, and many groups in the access leagues also hold the patron saint in high regard. In Mocidade's 2022 samba, it proclaimed: “Who belongs to Oxóssi belongs to S?o Sebasti?o,” reflecting a connection through the syncretism linked to the bow and arrow associated with the orixá. — Oxóssi carries what we call Ofá, the bow and arrow. The most obvious connection between S?o Sebasti?o and Oxóssi is the arrow. Iconographically, it marks the image of S?o Sebasti?o and is the great symbol of Oxóssi — explains professor and writer Luiz Ant?nio Simas. S?o Sebasti?o is also one of the most depicted saintly figures in the arts. The National Museum of Fine Arts (Museu Nacional de Belas Artes) alone houses nine works on the theme, from various styles and periods. Notable is the Reward of S?o Sebasti?o (1898), an oil painting by Eliseu Visconti that won a gold medal at the 1904 Universal Exposition in Saint Louis, USA. In english: Read more stories on O GLOBO's website Landscapes and corners of Rio also preserve the saint's presence. In Pra?a Luís de Cam?es, in Glória, a 13-meter statue of S?o Sebasti?o by artist Dante Crossi stands out. Meanwhile, at the Jo?o Caetano Theater in the city center, a small image of S?o Sebasti?o greets artists and technicians entering through the side entrance. It was brought there by actress Lucélia Santos in 1992 during the production of “Amazon Forest in A Midsummer Night's Dream.” S?o Sebasti?o was born in 256 in Narbonne, in what is now France. A soldier of the Roman Empire, he converted to Christianity, endured persecution, and faced powerful adversaries. Contrary to popular belief, he did not die from arrows. He survived the wounds inflicted by Roman arrows and remained loyal to the Christian faith. In 288, by order of Emperor Diocletian, he was executed on January 20th. The translation of this text into english was carried out by Project Irineu, O GLOBO's initiative to develop artificial intelligence tools. Here is the link to the original report. 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