Necropolis Cristobal Colon, an open-air museum in Havana

Very close to historical and central intersection of 23 and 12 streets, on Zapata Street in Havana’s Vedado, the silent seclusion contrasts with the hustle and bustle of the city, after passing Christopher Columbus Necropolis entrance.

This majestic cemetery was declared in 1987 National Monument. Historians and specialists place it as third cemetery of world importance, preceded only by Staglieno in Genoa, Italy and Montjuic in Barcelona, Spain.

Origins

In Cuba since Spanish colonialism beginnings, prevailed the old continent inherited custom related to burials in churches.

This goes back to the time when Emperor Constantine I, “The Great”, authorized the transfer to churches of the remains of Christian martyrs, who until then had rested in the catacombs.

Walling became a privilege of wealthy classes. Catholic Church offered spaces for niches and vaults with higher prices if they were located closer to altar.

These burials cracked churches hygienic-sanitary conditions. However, it was not until the end of the 18th century that the Cuban civil and ecclesiastical authorities spoke in favor of solving the problem.

In this regard, Havanan Bishop Juan Jose Diaz de Espada and Fernandez de Landa was projected in a pastoral ministry to faithful people of Havana:

“Imagine that cemeteries are only destined for poor and unhappy people is presumption, it is a mistake (…) because on the Resurrection Day your Divine Omnipotence will get the same bones from this one than from that grave…”

Growth of a sprawling city and inhabitants didn’t stop and cemeteries became small. This caused that on November 9, 1854, Alderman Don Ramon Montalvo, insisted on the construction of a necropolis with a monument and grave as a tribute to Grand Admiral Christopher Columbus.

Although this idea was warmly welcomed, litigation began between church and city Council for constructive rights. But, in the year 1861, Madrid court favored the highest ecclesiastical authority.

Bishopric made public in The Gazette the call for construction of a new Havana necropolis on December 1, 1868. Jury was chaired by prestigious Coronel Don Francisco de Albear. On July 17, 1871, project of the young Spanish architect Calixto Aureliano de Loira y Cardoso was chosen, under the motto:

“Pale death enters equally in the cabins that in the palaces of kings.”

After first stone

With an important religious ceremony, Necropolis’ corner stone was placed where main cover would be raised, at morning, October 30th, 1871.

To perpetuate the event, it was introduced in an open hole in the stone, a box of mahogany, reinforced with another of lead that contained copies of press of the previous day, a guide of Outsiders and a calendar of 1871. It was added several silver coins and a copy of the ceremony’s resume.

On November 25th, 1871 the government of Madrid approved the request to dedicate to Christopher Columbus memory, the new necropolis of Havana. Although, sadly, the Admiral’s Ashes never rested in that graveyard.

Fifteen years elapsed since first stone was placed, till at the end of 1886 official completion of the necropolis occurred. In spite of death of Loire, occurred in 1872, as well as constructive arrears, original design was respected in main aspects

Architecture of a necropolis

Havana’s great cemetery has two wide avenues that cross in its center, where Central Chapel is erected. With an extension of 57 hectares, between its avenues and interior barracks, almost all architectural styles converge.

Visitors can find firmness of the Romanesque-Byzantine style, along with the excellence of Greek temples. It highlights gallant Renaissance Chapel, which skunk its vaulted ceiling in competition with the Gothic turrets. Meanwhile, belligerents of medieval castles emulate with robust pyramids solidity.

But it also has its place, the diversity of forms of eclecticism, with the sober and linear Art Deco, as well modernism as the bold expressiveness.

Exquisite finish and sculptures invoice that exalt the memory of high aristocrats or distinguished public and historical personalities, honor the whiteness and richness of Carrara marbles.

This great museum historical value is incalculable. Many of its monuments have been appreciated over years up to 100 times what it took to lift them.

Nevertheless, any evaluative reference is surpassed by its social, historical and cultural content that in its works is enclosed, without disregarding, of course, the sentimental evocation that represents this necropolis for Habaneros.

Between masonry and marble … a real museum

For the chronological dating of constructions, the material with which they were built is a significant element. Likewise, all those that were beginning in 19th century were erected primarily with ashlar masonry, which is, carved limestones.

Subsequently began the heavy employment of marbles, mainly whites imported from Carrara.

In 20th century granite and terrazzo were also generalized, with different colors and textures. Other types of European and Cuban marbles, but with ochre, grey and black shades, are part of the cemetery’s architecture.

Architectural styles also reflect the different times in which they were in vogue. However, it should be noted the existence of a prevalence of neoclassical and Renaissance airs. This shows a time of great change and enlightenment, as was the transition from XIX to XX century.

An open book

Christopher Columbus Necropolis is an open book of stone and marble, where countless buried stories and legends lie. Those that the perceptive and diligent eye of a visitor can unravel between tombstones, funerary symbols and epitaphs. The vivid flame of art surpasses the mournful transcendence of death to give way to the inspiring and overflowing touch of creation.

Originally published at havanaprivatesuite.com.