Documenting Recoleta Cemetery in Buenos Aires since 2007
AfterLife Posts
A few months later in November 2003, the hand-drawn map had been replaced with a more professional version. 89 locations (4 more than the first map) were marked to visit:
By either being lucky or a regular enough visitor, one day I was given a free handout which was a tri-fold reproduction of the map at the entrance gate:
Initially pleased at having a free guide to the cemetery, the design was remarkably amateur… for example, the map had been scanned at a very low resolution & enlarged. Pixels were glaringly obvious & angles were badly rendered. Note that there are two sets of three photos each on the map. The two sets are exactly the same. Could they not come up with six original photos for the brochure?
Design issues aside, the map turned out to be less than useful. In the pic below, what spot does #31 belong to? On the map it overlaps three squares, but in reality some of those blocks are subdivided. It took a bit of work to use the free handout:
A brief history was poorly translated on the back of the pamphlet. Read for yourself:
Don’t get me wrong… I’m not trying to slam the city government’s efforts. The problem is that at the same time they were producing wonderfully designed brochures to promote other areas of development within the city. Cutting-edge design & attention to detail was what I’d come to expect. So for the most-visited tourist site in Buenos Aires, I expected something much better than what was produced.
Only a few months before this map was issued, I began my walking tours in Buenos Aires. One of the walks offered was of the Recoleta neighborhood, & we ended with a quick stroll through the cemetery. I wasn’t sure if the tours would be successful, but I was certain that Recoleta Cemetery could be better promoted.
Read the complete story in the following posts titled “map development”: Part 1, Part 3, Part 4, Part 5, Part 6 & Part 7. Good news! The PDF guidebook is now available.
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With most of the production of yerba mate—a traditional, South American bitter tea—originating in Paraguay & Brazil, several foreign companies supplied Argentina’s demand throughout the 20th century. Plaques on the mausoleum are dedicated to the most influential president of the Empresa Mate Laranjeira, native Brazilian Ricardo Mendes Gonçalves:
Responsible for the distribution of the Cruz de Malta brand, the main warehouse was located in the neighborhood of Barracas on the edge of San Telmo & La Boca. Although warehouse facilities were later moved outside the city limits, the building still remains & occupies its own city block. It appears to have been purchased & interior renovation is currently underway… lofts or a hotel may be coming soon.
Update (Oct 2009): All the fine iron work has been removed & the restoration project completed. Nothing as fancy as a hotel, the building is now used as office space for HSBC.
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Although labeled as the Sepulcro Milano, one of the first great literary figures of Argentina is buried here—José Mármol. Born in 1818, Mármol became involved in politics at an early age. He didn’t complete his law degree due to fierce opposition & activism against the dictatorial style of Juan Manuel de Rosas. After being imprisoned for arguing with members of the Rosas family, Mármol decided to leave Buenos Aires. He met other anti-Rosas comrades in Montevideo & was inspired to write. When the forces of Rosas invaded Montevideo, Mármol moved even further away… this time to Rio de Janeiro. By the time Rosas was removed from Argentina, Mármol had been away from Buenos Aires for 13 years. From 1845 to 1868, he occupied several government positions. His last duty before going blind & passing away in 1871 was director of the National Library.
In spite of a life dedicated to serving his nation, José Mármol is most remembered for his first novel, Amália. Published in serial form beginning in 1844, the 75-chapter novel successfully mixed romance with current events so well that readers weren’t sure if they were reading fact or fiction.
A quick plot summary: Eduardo Belgrano is wounded in an attempt to escape Buenos Aires & the rule of Rosas. A friend, Daniel, saves Eduardo’s life & gives him refuge in the house of his cousin… a young widow named Amália. Daniel & Amália pretend to support Rosas in order to keep Eduardo safe, & of course this gives time for Eduardo & Amália to fall in love. But as they try to flee Buenos Aires, both are killed by the right-hand man of Rosas. This classic is usually required reading in most Argentine schools, & Mármol’s entire body of work can be found online for free in the public domain.
The tomb is a wonderful interpretation of Art Nouveau, full of curves, vines & depictions of plant life:
A plaque on the right was given by a cultural center inspired by Mármol:
And an oval image of man being swallowed by a crowned “serpent” appears to be a loose interpretation of the Visconti coat-of-arms… surely because this mausoleum was used by Milanese descendants. But how did José Marmol end up here?
Like Art Nouveau? Learn about the architects of the era, their individual styles & what makes Art Nouveau in Buenos Aires so unique with a 33-page guide from our sister site, Endless Mile.
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