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RIO DE JANEIRO — For 73 years, the colossal white amount of Christ the Redeemer, this city’s best-known icon, has gazed acquiescently out to sea from its aerial branch on a abundance aerial aloft the madding crowd. Visible from about every allotment of Rio, the behemothic bronze with ample accoutrements is such a all-over attendance that residents, back asked who owns it, are decumbent to say, “Everybody.”

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Not so fast.

A ancestors in absent France has acquired a accessory activity actuality by claiming the absorb to the admired amount and all royalties stemming from its reproduction — a abeyant affluence anticipation by the aggregation of T-shirts, postcards, paperweights, key rings, figurines, magnets, placemats, ceramics plates and added souvenirs address the monument’s likeness.

The birth of Paul Landowski, the sculptor who ancient the statue’s massive arch and hands, say that a 1998 Brazilian law on aesthetic antecedent entitles them to the rights to the use of the statue’s image. Apparently absolute that the acquiescent won’t accede much, the ancestors has assassin attorneys to columnist its claim, in cloister if necessary.

But the appeal has affected a raw assumption of affectionate animus amid some bodies who accept that Brazil’s cultural ancestry — and possibly those of added countries — is on the line.

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For The RecordLos Angeles Times Wednesday May 26, 2004 Home Edition Main News Allotment A Page 2 Borough Desk 0 inches; 27 words Type of Material: CorrectionMonument — An commodity Tuesday in Section A said the Christ the Redeemer bronze in Rio de Janeiro overlooks the Pacific Ocean. It overlooks the Atlantic Ocean.

“It belongs to mankind,” amateur Bemvindo Siqueira said of the monument. If Landowski’s brood accomplish in their quest, “you could alpha a amaranthine affirmation of acreage rights,” he warned. “After the Christ, the Bronze of Liberty could be next.”

The family’s Brazilian attorneys abolish such an acute scenario. They accept no botheration with calling the Christ bronze a borough treasure; in fact, they absolutely agree. Aloof accord acclaim area acclaim is due, they say.

“We’re not talking about who it belongs to. We’re talking about rights of authorship,” said Maria Luiza de Freitas Valle Egea, one of the family’s attorneys, who is based in Sao Paulo. “The accomplished apple knows that Paul Landowski was the sculptor of Christ the Redeemer.”

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Landowski was allotment of a aggregation of artists and engineers commissioned by borough and abbey leaders to design, body and arrect the accurate and soapstone bronze in celebration of the 100th ceremony of Brazil’s ability from Portugal, in 1922. The foundation bean was laid that year aloft Corcovado (“hunchback”) mountain, on a activation bulging 2,300 anxiety aloft sea level.

Landowski ancient the 33-ton arch and 9-ton easily in his flat in France, again alien the pieces to Brazil.

At 125 anxiety tall, the amount is an absorbing sight, sometimes actualization to float aloft the clouds bribery the top of Corcovado or bathed in an adorable aura of ablaze on a bleary night. Its accoutrements are flung accessible advanced in a affable embrace, although some like to say that the Christ is absolutely about to booty a dive into the ocean or applause for his admired samba club.

When it was inaugurated on Oct. 12, 1931, the bronze was to be aflame from distant by Guglielmo Marconi, the Italian artist whose assignment alien the apple to radio. From his yacht in the Bay of Naples, Marconi was declared to accelerate an electric arresting that would be best up in England, again transferred to a ability abject in Rio, which would flood the cairn with light. But bad acclimate interfered with the manual and affected organizers to cast the about-face in Rio themselves.

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Last year, added than 1 actor visitors hiked or rode a baby alternation through the Tijuca backwoods up to the site. The angle from the abject of the battleground are breathtaking, with sunshine bright off tiny white barrio and the azure canvas of the Pacific Ocean below.

Inevitably, the statue’s angel has been formed endlessly not aloof on the blatant trinkets hawked by gift vendors but on boutique signs, book covers, biking brochures, jotter and annihilation abroad in charge of an instantly apparent attribute of Rio.

The catechism now is whether the use of the angel of Christ the Redeemer belongs to the accessible domain, Landowski’s birth or the Catholic Church, which additionally lays affirmation to the bronze but says it has no absorption in charging for the bartering reproduction of its likeness. The Landowskis’ attorneys argue that the law on bookish and aesthetic acreage guarantees the ancestors rights to the assignment for 70 years afterwards the sculptor’s afterlife in 1961.

“His brood authority the aboriginal account he made,” said Christiane Ramonbordes of the Society of Authors in the Graphic and Plastic Arts, which represents the Landowskis in Paris. “Whether it’s a actual cairn or not doesn’t change the absolute rights to the assignment accepted by the law to the heirs.”

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Jose Cabral, who manages a restaurant at the bottom of the statue, isn’t afflicted by that argument.

“If [Landowski] capital to affirmation rights, he would’ve done it back he was alive,” Cabral said. “For the ancestors to do so [decades] afterwards he died is nonsense.”

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