THE FRONT OF THE EXHIBITION, THE ROUNDABOUT OF SAN DIEGO AND THE HALL OF INFORMATION
home American Exhibition
For access to the Exhibition , were built a series of gates in the perimeter of the compound, in order to facilitate access to certain exhibition, and the Puerta de San Telmo, gave access to Gardens of San Telmo where were the flags of Peru, Chile, Uruguay and the U.S.. The call of the dock, takes us through the Avenida de Rodríguez Case to the Plaza of Spain and Avenida de las Delicias the flags of Guatemala, Venezuela and Argentina.
The doors of the court, stood at Moliní Avenue, near the Puente de Alfonso XIII and the flags of Morocco, Guinea, Marina and Amusement Park. Another gate was called the Queen Victoria or the Infanta Luisa, located on Avenida de la Palmera at the height of the current street Páez de Rivera, and gave access to the halls of oil, Cuba, Santo Domingo, agricultural and ranchers, and commercial facilities, regional and finally provincial of Mexico, located on the roundabout of the same name, which gave access to the halls of Mexico, Brazil, Colombia and Latin Square.
However
the main entrance of the Exhibition was at the Glorieta de San Diego, as this is the place to access from the nearest village, in this place were the doors of Portugal, which gave way to the Avenue of the same name where halls were located in Portugal, and the Army of Extremadura. The Isabel la Católica located at the beginning of the Avenue and served to bring visitors to the Plaza of Spain and Maria Luisa Park. The María Luisa Avenue of the same name, and access to the park. And San Diego in the door of the Pavilion of Seville which was used to enter the Casino and Theater.
site map showing the location of the main doors.
addition to these doors, there are others around the enclosure completing the access, as well as others specific to only access a given area as corresponding to the amusement park.
All the doors that made access to the Glorieta de San Diego, was considered the main gate to the entrance to the Exhibition site. Aníbal González in 1925 designed an Arc de Triomphe standing in brick carving, Renaissance style inspired by the arc of the City of Seville. This large project had access to the roof, along the lines of this type of work in international exhibitions.
However, the project was unsuccessful, being forgotten in the resignation as an architect of the event, being superseded by the completed project the following year by Vicente Traver and Thomas.
The award of the tender for the realization of the San Diego home was not made until March 1927, in which four proposals with a deadline of eight months. The awarded work began in May of that year, and conformed strictly to the enclosure and masonry, without considering the artistic aspects and the sculptures would be made later. In March the following year had not yet been completed, which was given a new deadline.
triumphal arch Draft Aníbal González
La Portada de San Diego diseñada por Traver, construida entre 1927 y 1928, se componía de ocho pilares de planta cuadrada de ladrillo con basamento y terminación de piedra con decoración neobarroca. Los pilares que flanquean las Avenidas de Isabel la Católica y María Luisa son de mayor altura que los que se sitúan la Avenida de Portugal y de acceso a la rotonda del Casino.
Portada de San Diego
En esta composición se inscribe en el centro una arco triunfal de tres vanos, ocupados por esculturas en piedra as the base and arches, with the central medium and larger point, supported by paired columns of red marble, with capitals and white marble base.
As mentioned, in each of the openings are placed a sculpture. The central and highest point was made by Manuel Delgado Brackembury, Hispania symbolizes the hieratic figure of a stately matron with a crown and robe, with a lion on one side that supports one of its claws on a globe and the right hand holds a shield with the arms of the historical kingdoms of Spain.
On both sides there are the magnificent statues of two meters high, made by Pérez Comendador, perhaps the best sculptures of the exhibition. And youth are early works, which already suggests his love of classical form titled "Heaven of Seville" and "Land of Seville." On the right, as viewed, represented by a woman in robe, carries in her right hand a small figure of Mary Immaculate, symbolized the spiritual wealth of Seville. The left shows the material wealth of Seville, by a young woman who carries in his left hand ears of corn and a bunch of grapes and in the right fruit.
Sculpture Hispania Delgado Brackembury
"El Cielo de Sevilla" de Pérez Comendador
"The Land of Seville" by Pérez Comendador.
Mug source.
At the base falls below the source, consisting of a pipe coming out of a mask that flows into a scallop inverted, falling to time in a larger cup.
name Glorieta de San Diego, is in memory of a former Franciscan convent gone barefoot San Diego de Alcala, was located the space currently occupied by the Casino of the Exhibition and Teatro Lope de Vega (Pavilion of Seville) surrounding areas. Was in use as such until the late eighteenth century, being abandoned by the friars and making up half of the nineteenth century tannery, and thereafter until its demolition in 1883, stables of the Palacio de San Telmo.
Glorieta del Cid, during the fair in 1929, days before the opening of the Exposure.
Mariano Benlliure For mediation, the colossal statue was donated to Seville by Anna Huntington, wife of billionaire Hispanist Archer Milton Huntington and founder of the Hispanic Society of America in New York, which at that time was closely linked with the city archaeological excavations in italics.
Cid Monument in the Square its name.
The stone pedestal was designed by Vicente Traver, which can be read on each of the longer sides of the following legends:
SEVILLA RESIDENCE AND KING'S COURT POET Motamid
AMBASSADOR HOSTS A MIO CID
OF ALFONSO VI and saw him
VICTORIOUS RETURN OF THE KING OF GRANADA.
And in the other
SIGN THE CALAMITY FOR ISLAM WAS BY
VIRIL
strength of character AND ENERGY FOR YOUR HEROIC
ONE OF THE GREAT MIRACLES OF THE CREATOR.
BEN BASSAM
But this is the only statue of the Cid, are distributed the world a few replicas of this, as found in the central courtyard of the Hispanic Society of America in New York on a similar pedestal, or San Diego in California located in the Gamboa Park opened on July 5, 1930 or the Californian city of San Francisco also in the California Palace of the Legion of Honor.
monument in the central courtyard of the Hispanic Society of America New York.
The Park located in San Diego Gamboa . Here at
country there is another statue identical to the set in the Gateway, is built in the sixties of last century in Valencia, located in the Plaza of Spain in the Avenida del Cid in the eastern city, and finally, that is satisfied, the monument erected to Cid in the city of Buenos Aires, offered in 1929 by the English community in Argentina's capital, opened on October 13, 1935, in the geographic center at street intersections Pueyrredon Horacio San Martín and Gaona, on a pedestal covered with stones from Burgos, the birthplace of the Cid.
Monument located in Buenos Air
The erected in the Plaza of Spain Valencia
The built in San Francisco at the California Palace of the Legion of Honor .
The amount of the ticket for access to the Exhibition, fluctuated depending on the normal price was a quarter and two Gala Days pesetas, and for children 6 to 12 years and ranking military officers with 50 cts. But Thursdays, Saturdays from nine in the evening, Sundays and called People's Day, the price was 50 cents and 25 cents for children and non-degree military, for cars the ticket was 3 pesetas in the first case and half in the days of low prices.
There were also personal subscriptions at a cost of 25 pesetas with 25 coupons, 40 pts. for 50 coupons and 60 pts. with 100 coupons. The car payment for the entire duration of the event was 100 pts.
addition to paying this input for some of the pavilions also had to pay another amount, and all facilities for payment of the Plaza of Spain could be visited by 2 pts. service or gondola lift the estuary and the North Tower of the Plaza.
day program in the newspaper ABC .
During the winter season entering the site from nine-thirty at night, persons and vehicles was free to access for the cover of San Diego to the casino and night clubs and the Avenida Reina Victoria (the Palm) facilities for Amusement Park and Southern Sector.
The local press considered the cost of your ticket too expensive, taking into account the time an officer charged ten pesetas bricklayer's salary, and a pawn seven.
hours of opening and closing the enclosure was 9 am to 2 am, with some modifications on this schedule depending on the season. International and national flags during the morning had between ten to one of half-day and three in the afternoon until nine at night, also depending on the weather station. Among other exhibitions
point, could enjoy almost daily concerts by brass band music, film screenings in the halls of Argentina, Brazil, USA and Portugal, and the use of the miniature railway and electric buses.
Among other services, could also use the restaurants located in the Parque de María Luisa called Andalusia Planting and Bar and the South Sector Palermo and the Middle Passage. Popular Days, the entrance to the amusement park was free. Another major attraction was the wonderful artistic lighting that could be enjoyed in the Plaza of Spain, Maria Luisa Park and Southern Sector and will be treated in a specific section.
HALL OF INFORMATION.
was a small flag of only 140 square meters, and one of the cheapest that were built just 42,000 pesetas.
In 1954 this flag was purchased by industrial landlord José Rodríguez Cala, converting the kiosk in a terrace-bar known as La Raza, whose name is inspired by the nearby monument to Ruben Dario. As a curiosity, the tables found in the roof of La Raza, also dating from the 1929 Exhibition.
Current Status of the building occupied by the restaurant La Raza.
Two postcards of the period with a view of the main entrance of the Exhibition
LINK TO DOWNLOAD THE TEXT FILE IN PDF
SOURCES - The American Exhibition of the press through 1923-1929. Encarnación López Lemus.
- Newspaper Funds. The American Exhibition Halls. Alberto Villar Movellán.
- JUAN TALAVERA HEREDIA-Alberto Villar Movellán. ART HISPALENSE
- Architecture of Regionalism in Seville 1900-1935. Alberto Villar Movellán.
- HISTORY OF THE AMERICAN IBERO STATEMENT OF SEVILLE. Eduardo Rodríguez Bernal.
- Official Guide. American Exhibition 1929-1930.
- Gold Book Exhibition Iberoamericana 1929-1930.
- ABC (Sevilla), various dates (1929-1930). American Exhibition daily schedule.
- ABC (Sevilla) Sevilla neighborhood to neighborhood.
- Sevilla, statues and gardens. José María de Mena.
-Enrique Pérez Comendador, sculptor and carver 1900-1981 - José Hernández Days. ART HISPALENSE.
http://www.galeon.com/juliodominguez/2010b/paceite.html
http://arteparnasomania.blogspot.com/2010_10_01_archive.html
http://www.galeon.com/juliodominguez/ seg/17sandiego.htm
http://www.galeon.com/juliodominguez/seg/16cid.htm
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