CRIA - Centro de Referência em Informação Ambiental
Karen Macknow Lisboa
Frigates Austria and Augusta leaving Trieste for Brazil, 1817 (1817) by Giovanni PessiOriginal Source: The World of Habsburgs
View of the Carioca fontain (Santo Antônio monastary and Chapel dos Terceiros) (1817) by Thomas EnderOriginal Source: Wikimedia Commons
After a stay of nearly six months in Rio de Janeiro – a period dedicated to preparing the expedition and adapting to the climate – the duo set off at the end of 1817, accompanied by the painter Thomas Ender, heading towards São Paulo.
Spix Reiseatlas original 44 by Johann Baptist von Spix, Carl Friedrich Philipp von MartiusOriginal Source: Wikimedia Commons
While Ender had to return to Rio de Janeiro for health reasons, Spix and Martius continued on to Minas Gerais. From there they traversed the hinterlands of Bahia, Pernambuco, Piauí, and Maranhão, traveling through regions still largely unknown to European science.
Spix Reiseatlas original 61 by Johann Baptist von Spix, Carl Friedrich Philipp von MartiusOriginal Source: Wikimedia Commons
In 1819, they arrived weakened in São Luís do Maranhão. Once they had recovered, they sailed to Belém and set out on a long expedition through the Amazon River basin. Back in Belém, they departed for Europe, arriving in Munich in December 1820.
Vol. I, Part I, Fasc. See Urban Plate 18 (1906)CRIA - Centro de Referência em Informação Ambiental
In the absence of good roads and maps, the explorers relied on the support of local guides, muleteers with mule troops for personal and baggage transport, or skilled pilots and rowers when traveling along the rivers.
Die Österreichischen Kamer Herm auf der Reise nach St. Paul (1817) by Thomas Ender (1793-1875)Original Source: Spix Museum
Spix and Martius describe their daily life: “During the journey, we had the opportunity to observe the region through which we traveled and everything that existed near the road in terms of minerals, plants, animals, etc.”
“After setting up camp, we would spend the rest of the day on excursions in the vicinity for the same purpose. The twilight and early night hours were used to take notes in our diaries and to prepare, dry, and pack our collections.”
Both returned to Munich in December 1820, when the last stage of the mission began: evaluating and analyzing the trip, from everyday aspects to scientific activities and the objects collected to produce books, maps, illustrations, collections, etc.
Port of Miranhas (1820) by Carl Friedrich Philipp von Martius (1794-1868)Original Source: Wikimedia Commons
For this, they used their field notes, diaries, sketches, drawings, collections, letters, and reports sent to the King of Bavaria, as well as their memories. They also consulted experts and studies on the nature and history of Brazil.
One of the first major pieces of writing they co-authored was the travelogue. The first volume of Reise in Brasilien was published in November 1823.
Atlas of the journey through Brazil by Spix and Martius, tabula I (1823) by Hermann Anton Stilke and Josef PäringerOriginal Source: Wikimedia Commons
The second volume came out in 1828, with partial participation from Spix. He died six years after their return, leaving his work uncompleted. In 1831, the third and final volume of Reise was published, accompanied by an Atlas with illustrations, maps, and a musical compendium.
Martius, in contrast, lived for more than four decades, dedicating himself tirelessly to Brazilian themes. From the travelogue to studies of flora, passing through ethnography, and even venturing into historiography and fictional literature.
Research and writing: Karen Macknow Lisboa (University of São Paulo)
Assembly: Fernando B. Matos (CRIA)
Review: Fernando B. Matos (CRIA), Renato De Giovanni (CRIA)
References: Flora Brasiliensis (http://florabrasiliensis.cria.org.br/opus), Travels in Brazil (https://www2.senado.leg.br/bdsf/handle/id/573991)
Additional information: http://florabrasiliensis.cria.org.br/stories
Acknowledgments: To the curators who provided images for this story
*Every effort has been made to credit the images, audio, and video and correctly recount the episodes narrated in the exhibitions. If you find errors and/or omissions, please email contato@cria.org.br
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