(Second and last installment)
By Guillermo Vega Fischer
Last month we began this tour in the footsteps of the Exhibition of the Centennial of the May 1910 Revolution. The centenary found our country at the peak of its economic development, and the government and society wanted to celebrate it in a big way and exhibit the world and also that greatness. Five thematic pavilions were set up, Agriculture and Livestock, Railways and Land Transport, Fine Arts, Industry and Hygiene, bringing together a total of 35 beautiful buildings built specifically. In the previous installment (link: VER) we describe the first four, noting that almost nothing remains of those architectural gems. In this second installment, we complete the fifth pavilion, Hygiene, and conclude with the happy ending of this promenade, the monuments, gifts from European communities to our nation, all of them endure. This is an invitation to really explore -that is, beyond the virtuality of the internet- those monuments, sculptures and buildings, witnesses of that historical event in our country and that embellish our city of Buenos Aires. To do this, we completed the map that we drew the previous month, including a total of 17 visiting points, among the preserved buildings and monuments, or the locations where they were located. Provided with comfortable shoes and fresh water, let's go through the city in spring, in search of its history and beauty.
Hygiene Pavilion
Front of the Hygiene Pavilion.
Public health occupied a vital aspect in the Centennial Exposition and the exhibition gathered in the Hygiene Pavilion coincided with an International Congress on the subject that took place in Buenos Aires. It was installed in a large property belonging to the Pacific Railroad located between Avenida Alvear (today Libertador) between Tagle and Agüero. The Unzué Palace was its main headquarters. Different sanitary advances (such as the toilet), models of sewer lines, modern medical instruments and hospital facilities were exhibited. Mineral water companies also participated and there were kiosks installed by different Buenos Aires pharmacies and several laboratories, which showed their medicinal and perfumery production. Regarding this exhibition, we return to one of the reasons that we described in the previous installment, for which one of the layers of our history is erased: to annihilate the memory of a political opponent. This was the case with the Unzué Palace. Former residence of the wealthy landowning family of Mariano Unzué and his wife Mercedes Baudrix, after the Great Depression of 1930 the family lost its fortune and the National State had to expropriate the house and the land to pay off debts in 1937. Transformed into the presidential residence of Juan Domingo Perón and his wife Eva Duarte, after the Liberating Revolution it was demolished to erase all traces of Peronism, especially that of that mansion, transformed into a pilgrimage point after Eva's death right there. In that property, between 1962 and 1992 the National Library was built (the ninth point on our map).
After the expropriation, President Roberto Marcelino Ortiz decided to found by decree a "Kindergarten" in the Unzué Palace in 1938, moving the course for teachers of the subject there.
Eva Duarte de Perón leaving the presidential residence, the Unzué Palace, in 1946. General Archive of the Argentine Nation.
The monuments, with more happiness than sadness
We reach the end of this tour visiting the allegorical monuments. With a few exceptions, they are in a good state of conservation, and in the accessible view of the passerby. For the most part, gifts from friendly countries participating in the Exhibition, and others of our own, let's get to know them.
Spanish Monument
The Monument of the Spaniards, exhibiting the whiteness of its Carrara marble, and in the foreground the bronze allegory of La Pampa, with a plow.
Known as the Monument of the Spanish, its real name is "Monument to the Magna Carta and the Four Argentine Regions". It is located on Avenida del Libertador and Avenida Sarmiento. It was only inaugurated in 1926, after innumerable incidents that included the shipwreck in Brazil of the ship that brought its statues. Its style is art nouveau, standing as the largest monument in this style in the country, and even, through Argentine grandiloquence, many consider it the largest art nouveau monument on the planet! Made of Carrara marble, crowned at the top with the statue of the Republic, below, at the foot of the monument is Labor, and finally at the fountain the four regions of the country: Los Andes, El Río de la Plata, La Pampa and El Chaco, each one represented in bronze by its respective allegory. This jewel, a gift from the Spanish community of the city, deserves your observation with tranquility and not the one we offer you from a car, at the intrepid speed at which we circulate in this intersection of the two avenues. (10th point on our map).
Meteorological Column
Photograph around 1910. The meteorological column in the Montserrat neighbourhood, its first location, where the Rock Monument now stands. Observe the measuring instruments, now absent from the monument.
A gift from the Austro-Hungarian community, its first location was at the intersection of Peru and Alsina. Ambassador von Schucker said in 1910, when laying the foundation stone: “May the column always predict great goods for the Argentine people. This is the most sincere vote that the Austro-Hungarian colony formulates today, and encouraged by this desire, I invite my compatriots to exclaim with me 'Salud to the Argentine Nation. May it flourish and grow." Shortly after, it was transferred to Plaza Rodríguez Peña and, finally, it arrived at the Botanical Garden in 1923, and without its measuring instruments. The engineer José Marcovich, an Austrian of Croatian origin who was in our country, was commissioned to carry out the work; he made it in white marble from the island of Brac, located in the Adriatic. (11th on our map).
Source Agricultural Wealth Argentina
Detail of the magnificent bronze bas-reliefs, and behind the allegory in marble "Agriculture".
Also known as "German Fountain in Buenos Aires", the work of the German sculptor Gustav Adolf Bredow, was made of Carrara marble, bronze and stone, and is the gift of the German community. Circular in shape, it has a water spillway in the center. In the rear semicircle 16 bas-reliefs carved in bronze representing the 16 German federal states. Of course, many of these bas-reliefs fell in the bronze rush that is sweeping the city, and were stolen. In front, two magnificent sculptural groups represent "Agriculture" and "Livestock". It is located in Plaza Alemania, in the Palermo neighborhood, on Libertador Avenue. Personally, my favorite of the route (12th on our map).
Monument of France to Argentina
Carrara marble, red granite and bronze, in the balanced neoclassical monument of the French.
Work of the French neoclassical sculptor Edmond Peynot, it was one of the few monuments inaugurated in the same year 1910. It consists of several groups of allegorical figures. The main one, on the circular base in polished red granite, represents France and Argentina holding hands, advancing firmly towards progress. They are surrounded by four allegories, "Science", "Industry", "Agriculture" and "The Arts". The five sets were made of Carrara marble. The work is completed by four bronze bas-reliefs that represent historical scenes from “The Taking of the Bastille”, “The Crossing of the Andes”, “The Ball Game” and “The First Meeting”. It is located in the square that bears the name of the country that gives it away, Plaza Francia, in Recoleta (13th on the map).
Monumental Tower
Night view of the Monumental Tower.
Popularly known as the English Tower, it is effectively the gift of British residents in the city to commemorate the centenary. It is located in Retiro, in front of the train stations, in Plaza Fuerza Aérea Argentina. Finally inaugurated on May 24, 1916, it is a Palladian-style tower, 60 meters high and with a clock at 45 meters. Our 14th point on the map of this great trip through the city, allows the entrance and ascent to the tower, knowing its interior and enjoying a unique view of the city. Admission is without reservation and at the price of 250 pesos (September 2022), on Monday, Wednesday, Thursday and Friday from 11 a.m. to 6 p.m. (last ascent 5:40 p.m.). Saturdays, Sundays and holidays from 11 a.m. to 6 p.m. (Last ascent 5:40 p.m.). Closed on Tuesdays.
Monument to Christopher Columbus
Postcard, circa 1930, with the Plaza Colón and its monument. Behind, the Casa Rosada.
The Italian community honored the centenary with the Monument to Christopher Columbus, the work of the Italian sculptor Arnaldo Zocchi. Made in Italy in Carrara marble, Zocchi himself assembled it in Buenos Aires, in its original location in Parque Colón, from the Casa Rosada towards the river. The foundation stone was laid on May 24, 1910 and it was inaugurated in 1921. Its total height is 26 meters, the final 6.25 meters corresponding to the statue of Christopher Columbus. At its base there are sculptural groups inspired by the verses of Medea, the work of Seneca, which represent "Science", "The Genius", "The Ocean" and "Civilization". There are also images related to the life of Columbus along with some allegories that represent "La Fe" and "El Porvenir". Neighboring the Government Palace, its history is crossed by the ups and downs of national politics. Its surface preserves traces of the projectiles fired during the bombing of the Plaza de Mayo in 1955. Half a century later, and for political reasons and perimeter security issues around the Government House, in 2007 the national government disposed of Parque Colón, and began a study of conservation and maintenance of the Monument to see its state. The experts determined that due to the weight of the statue of Columbus (40 tons) the complex suffered from structural risks that affected its stability. It was then that it was dismantled, and a journey began for its new location. His first new destination was going to be in Mar del Plata, but demonstrations and a precautionary order issued by Judge Rodríguez Vidal prevented that transfer. It was finally reassembled at the Puerto Argentino breakwater of the Costanera Norte, in front of the Jorge Newbery Airport, our 15th point of visit.
The monument in its new location, facing the river, away from the center.
Monument to General San Martín and the Armies of Independence
On May 27, 1910, the pedestal for the equestrian statue of the Liberator San Martín was inaugurated. The original sculpture, the work of the French artist Louis-Joseph Daumas, was inaugurated in 1862. It is the first equestrian monument in the country. In 1910, the German sculptor Gustav Eberlein made a new, much more imposing plinth in red granite, and five great allegories were added to Saint Martin on horseback (Departure to the war, the Battle, the Victory and the return of the victor.) and reliefs, all in bronze. Another big change was the placement of the original sculpture, rotated so that the hero pointed north. Located on its original site, Plaza San Martín in the Retiro neighborhood, this is our 16th site to visit.
The Monument to General San Martín and the Armies of Independence. At the top, the original equestrian statue, below, God Mars with a condor, and in the foreground, The Battle.
Monument of the Two Congresses
The magnificent Monument to the Two Congresses and behind it, the National Congress.
Our last stop on this journey through our Buenos Aires geography and through time is the Monument to the Two Congresses, erected in front of the Palace of the National Congress. Commissioned in 1910 by the sculptor Jules Lagae and the architect Eugenio D'Huicque, both Belgians, it was inaugurated in 1914. The main sculpture symbolizes the Republic and is made of dark bronze. Two female figures evoke the Assembly of 1813 and the Congress of Tucumán in 1816. For his part, the architect designed the beautiful base built with stone from the French city of Nancy, with stairs, terraces and a large fountain that represents the River of the Silver, concluded with two allegorical figures that symbolize the Uruguay and Paraná rivers. Be this, naturally in the Plaza Congreso, the kilometer zero of the national routes, our 17th and last point of visit.
The route is arduous, seventeen enclaves throughout the city. We invite you to be attentive, and when we pass through any of these areas, stop for a few minutes to observe these magnificent works, enjoy them and reflect. Living in the city is often tedious, polluting from many aspects, but it is also living at the crossroads of history and in an environment of invaluable beauty. Let us be proud of what our ancestors, Creoles and immigrant communities knew how to raise, and above all, let us preserve it. We conclude by citing the ruling of the Supreme Court of Justice of the Nation on August 2, regarding the conflict over the restoration of the Argentine Pavilion: "The cultural heritage of a nation preserves the historical memory of its people and, consequently, it is a fundamental factor to conform and consolidate its identity. (...) It allows preserving the testimonies of past and present civilizations, which are essential points of reference for any society when it comes to programming its future social projects”.