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Libro Pueblo Libre PDF
Libro Pueblo Libre PDF
Pueblo Libre
Palacio Municipal
del Distrito de
Pueblo Libre.
Municipal Building
of the District of
Pueblo Libre.
Fuente de bronce
de 1742 de la
Plaza Bolvar.
10
Bronze fountain,
dated 1742, in the
Plaza Bolvar.
Presentacin
Sus monumentos, arquitectura y traza urbana, muestran las diferentes pocas de su historia, desde su ocupacin prehispnica hasta el
urbanismo moderno que luce hoy. Una gran riqueza compuesta por
monumentos precolombinos como la Huaca Julio C. Tello, que evidencia el sentido administrador de los pueblos antiguos, la hermosa iglesia
de Santa Mara Magdalena, una de las primeras iglesias rurales del Per,
la histrica Casa Quinta de los Libertadores y la imponente Casa Hacienda Orbea junto a otros monumentos, casas y espacios urbanos que
hoy forman parte del patrimonio cultural de la nacin.
Introduction
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 11
Fuente de bronce
de 1742 de la
Plaza Bolvar.
12
Bronze fountain,
dated 1742, in the
Plaza Bolvar.
P
Prlogo
Prologue
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 13
De Chaya Cala
a la bendita Magdalena
J fernando flores ziga
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 15
16
Reproduccin hipottica
de un segmento de la
zona urbana de Maranga.
Siglo XIII. Fuente: Ilustraciones expuestas en el
Parque de las Leyendas
en el marco del Proyecto
de preservacin y defensa del patrimonio arqueolgico de Maranga.
Ilustrador Yoshi Tokuda.
Hypothetical reproduction of a segment of the
urban zone of Maranga in
the 13th century. Source:
Illustrations exhibited at
the Parque de las Leyendas in the Project for Preservation and Defense of
Archaeological Heritage
of Maranga. Illustrator,
Yoshi Tokuda.
only a viaduct that for centuries led down to the beach and which
today is the far end of Avenida Brazil; and a mysterious site that
many assure once existed in the current Bolivar Park, the districts
main square.
But it is Chaya Cala, a name from enigmatic Yunga, Quechua
and Aymara origins, that should be considered for the weaving
and agricultural-fishing activities of its inhabitants and farmers
and because it gives its name to a funeral sanctuary that occupies the present day districts of Magdalena del Mar and Pueblo
Libre. On its east side lay the town of Guadca and the purely
agricultural strip of land of Guala, whose fields were fertilized by
the canal which more recently was named Huatica, a stream that
flows from the Rmac.
To the west, Hatun Maranga or "Batan Grande", already
dominated by the Incas, flanked this cultural center, an ancestral essence of the modern Pueblo Libre. Both in Guadca-Guala
as in Maranga, the chieftains or curacas Chumbichagnan and
Chayavilca, of remote Ychma origin, had been subordinated by
Inca commission to the supervision and authority of Taulichus-
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 17
18
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 19
y tierras como las de la Huaca fundo Pando- y diversas propiedades inmuebles sitas en el casco urbano del pueblo, completando
de esa manera un elenco de constructores de la vida peruana que
tuvo como escenario tan reducido espacio que, sin embargo de
ello, est pleno de historia patria.
Proclamado Pueblo Libre de la Magdalena por el General Jos
de San Martn, la vieja doctrina franciscana, luego en manos de
los dominicos y despus de los arquidiocesanos, estuvo rodeada
por los campos de las haciendas del valle de la Magdalena, irrigados por la acequia homnima: Orbea antiguamente apodada Zavala-; Colmenares tambin conocida como de los
Ejercicios-, Buenamuerte y su olivar, hoy ocupado por una villa
militar; Cueva cuya casa es actualmente sede del Museo Rafael
Larco-; Oyague y su estanque que existi a pocos metros de la
actual cuadra 18 de la avenida Brasil; y Desamparados, con su
huerta de Campbell, situada en la moderna interseccin de la
avenida Brasil con Bolvar.
20
APENDICE
EPOCA PROBABLE DE SU
GOBERNACION Y CACICAZGO
(1557-1562 1576)
(1562 1576)
(ejerciente en 1599 ca. 1620)
(ejercientes en 1646)
(ejerciente en 1693 y 1705)
(1705 -1725)
(ejerciente en 1726-1735)
(1735-1775)
(1775-1802)
(1803-1805)
(1805 - 1816)
(1817 - 1825)
APPENDIX
PROBABLE PERIOD OF
RULE & GOVERNORSHIP
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 21
Huaca Julio C. Tello: Nombre dado en homenaje al insigne arquelogo. Fue construida durante el intermedio tardo (s XII D.C.)
y form parte del complejo urbano prehispnico correspondiente al
curacazgo de Maranga. En la poca inca habra sido un centro administrativo. Actualmente cuenta con una extensin de 1,702 m2.
22
Huaca Julio C. Tello: Name given in honor of the distinguished archaeologist. This ceremonial site was built in the Late Intermediate Period (12th century) and was part of the pre-Hispanic urban complex that
belong to the chiefdom of Maranga. During the Inca period it was an
administrative center. Today, the site is 1,702 m2 (18,320 sq.ft).
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 23
Magdalena Vieja
J luis enrique tord
Old Magdalena
24
Templo de Santa
Mara Magdalena.
Santa Mara
Magdalena Church.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 25
26
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 27
28
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 29
times, offering a fresh and serene spring view; and as in all the
inherited lands there are country houses where the neighbors of
Lima tend to go for recreation (without the worry that rain will
spoil their holidays and pleasures, for it never rains), and they
lend beauty to the valley. The green and freshness is made particularly obvious by the olive groves, banana trees and the sugarcane
fields, the numerous orchards with fruit trees of oranges, quince,
grenadines and figs, vineyards and pear trees, with every type of
fruit from this earth and Spain; the palm trees stand far above the
other trees and the alfalfa fields brighten the surroundings with
their perpetual green and healthy look. There are so many of these
fields because alfalfa is the common sustenance of the horses and
work animals of the city and countryside, and so all over the city
there are many good and pleasant outings.
In the 17th century, the Franciscan Diego de Crdova y Salinas mentions Magdalena in his Chronicles of the very religious
province of the Twelve Apostles of Peru (1651), and praises the
authority of the priest Gernimo de Villacarrillo, Commissary
General of the Franciscan Province of Peru, who from the rural
town governed this immense district. Likewise, Joseph de Mugaburu, author of a Lima newspaper, reporting on incidences in the
30
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 31
32
capital between the years 1640 and 1694, describes a visit by the
Count and Countess of Lemos: His Excellency ordered that in
the town of Magdalena, half a league from this city, there should
be a parade and a squadron of Indians, and so in the morning, Sergeant Major Jil Negrete and other military officers went to make
preparations and at two in the afternoon there was a squadron of
ten companies and flags with spears, lances and slings; there were
close to five hundred Indians whose captains were dressed very
elegantly, in particular their Field Master, Gamarra, wearing a curiously worked and painted shirt; at three His Excellency and the
Countess went in their carriage to see him, having ridden twice
around the aforementioned squadron and having had the flags
waved for them, their Excellencies retired to a balcony provided
by the houses of the towns Priest and from there they saw the ten
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 33
18th century, it was included in the maps of the travelogues written by Jorge Juan and Antonio de Ulloa, as well as in the work of
Hiplito Ruiz and in the geography by Cosme Bueno.
It was in the days of the Independence that its traditional name
was changed to that of Pueblo Libre, or Free Town, as a reward
for the inhabitants patriotism, as read in the decree signed by
Jos Bernardo de Tagle y Portocarrero, Marquis of Torre Tagle,
which states: The Supreme Delegate, has agreed and decreed: As
a reward for the patriotism that distinguishes the inhabitants of
the town of Magdalena and the passionate votes that have been
manifested to the government, to give it a name that is an expression of its sentiment and will from here on be named Pueblo
Libre, suppressing that of Magdalena. Decreed in the Palace of
the Supreme Government in Lima on the 10 of April of 1822,
Signed: Torre Tagle. By order of S.E.B. Monteagudo.
Quite rightly, for aside from the popular support for the cause
of independence, the liberators Don Jos de San Martn and Don
Simn Bolvar had also lived in the district while making important decisions concerning the emancipation campaign, at the
country estate occupied today by the National Anthropology, Archaeology and History Museum and which had been the home of
the second to last Viceroy of Peru, don Joaqun de la Pezuela.
In the Republican period, Magdalena was mentioned by travel-
34
Ya en el periodo republicano se refieren a Magdalena viajeros como el suizo Juan Jacobo von Tschudi, el alemn Ernst W.
Middendorf, escritores de la talla de Ricardo Palma, el historiador
Germn Legua y Martnez y publicaciones periodsticas como la
revista Variedades y el diario El Comercio.
En el ltimo tercio del siglo XIX empieza a sentirse en la
pequea aldea el empuje modernizador de la Lima de Jos Balta,
Manuel Pardo y Lavalle y del gobierno de finales del siglo de Nicols de Pirola pues, a partir de 1872, se destruyen las murallas
de Lima y, en el 900, se abre la avenida Brasil que comunic el
centro de la ciudad con Pueblo Libre y Magdalena Nueva, distrito
este ltimo nacido a base de terrenos que haban pertenecido a la
vieja Magdalena.
En la primera mitad del siglo XX hallamos testimonios directos del aspecto del distrito como el que recoge el ilustre vecino
Jos Agustn de la Puente y Candamo en su Magdalena Vieja,
recuerdos de una larga historia (1986) all donde dice: Recuerdo
con exactitud en los aos treinta las huacas que pertenecan al
paisaje familiar, al pie de los potreros y los callejones rurales. La
conservacin, el cuidado, el respeto que merecen, no era frecuente
en esa poca. Se jugaba, se suba a caballo, y algunos con ufana
hablaban de sus indebidas hazaas de huaqueros. La huaca de
San Miguel era una de las mayores y ms importantes para
nuestros ojos infantiles; y no olvido una, llamada San Isidro,
ms pequea pero muy alta, ubicada frente al actual Seminario de
Santo Toribio. Y tengo memoria ntida de los adobes pequeitos
de la Huaca Armburu y de los muros de Mateo Salado.
Respecto de la traza urbana y la arquitectura en las primeras
dcadas del siglo XX el mismo De la Puente ha dejado una descripcin invalorable. Dice nuestro autor: El pueblo, siempre
muy pequeo. El ingreso, desde Lima, por el valo en Brasil y
por Vivanco, entre unos lamos altos y muy verdes y con pequeas huertas inmediatas. Las casas, unos doscientos metros antes
de la plaza, y unas pocas ms en la direccin a la actual esquina
de Vivanco con Sucre, en esos aos el ms ancho y polvoriento
callejn de chacra, era el final de lo urbano. Paralela a Vivanco,
solo la calle Chvez y La Mar, de los ltimos aos del siglo pasado
o de principios de ste. San Martn, por donde pasa el ro de la
Magdalena, estn la iglesia y la casa parroquial: son slo cuatro
cuadras entre la quinta del General Clement y la casa de la Hacienda Orbea. Este, un plano mental de la Magdalena Vieja que
llega a 1930. De este a oeste, el valo de Vivanco y la huerta de
Fresero, frente a la esquina de Vivanco y el callejn de chacra,
que es hoy da Sucre; de norte a sur, la quinta de Clement y la
casa de Orbea. Fuera de estos extremos todo es campo, potreros,
callejones.
La plazuela era modesta pero bella por su armona. Los
tres frentes, aparte el de los actuales museos, con el caracterstico
ers such as the Swiss Juan Jacobo von Tschudi, the German Ernst
W. Middendorf, writers such as Ricardo Palma, the historian
Germn Legua y Martnez and in news publications such as the
Variedades magazine and the El Comercionewspaper.
In the final third of the 19th century, in the Lima of Jos Balta
and Manuel Pardo y Lavalle and the government of Nicols de
Pierola at the end of the century, the small town began to feel
the drive of modernization as in 1872 the walls of Lima were
torn down and in 1900, Brazil Avenue was opened. This avenue
joined the center of the city with Pueblo Libre and New Magdalena, this latter district formed on the lands that belonged to old
Magdalena.
In the first part of the 20th century we find direct testimonies
describing the district. One such is by the distinguished citizen
of the district, Jos Agustn de la Puente y Candamo, in his Old
Magdalena, memories of a long history (1986) where he says: I
distinctly remember the 1930s when the huacas (pre-Hispanic
ceremonial mounds) were part of the familiar scenery, at the foot
of the paddocks and rural pathways. The conservation, care and
regard that they deserve were not frequent at that time. One would
play, horseback ride over them and some would brag about their
illegal exploits as huaqueros (grave robbers). The huaca of San
Miguel was one of the largest and most important to our young
eyes. I also remember one called San Isidro, smaller but very tall,
located opposite the present Santo Toribio Seminary. I also have a
clear memory of the tiny adobes of the Aramburu Huaca and the
walls of the Mateo Salado.
In reference to the urban plan and the architecture of the first
decades of the 20th century, De La Puente has left a priceless description. The author says: The town was always very small. The
entrance was from Lima, via the roundabout on Brazil Avenue
and along Vivanco, among some tall and very green poplars and
with small orchards close by. The houses, about 200 meters before
the plaza and a few more in the direction of the present corner of
Vivanco and Sucre, in those years the widest and dustiest farm
pathway, were the end of what was urban. Parallel to Vivanco,
there was only Chavez and La Mar streets, built at the end of the
last century or beginning of this one. At San Martin, where the
Magdalena River flows by, stood the church and parish home:
there were only four blocks between General Clements estate
and the house of the Orbea Hacienda. This is a mental plan of
Old Magdalena until 1930. From east to west, the Vivanco circle
and the Fresero orchard, opposite the corner of Vivanco and
the farm pathway that today is Sucre; from north to south, the
Clement estate and the Orbea home. Beyond these points everything is fields, paddocks and rural alleyways.
The small square was modest yet beautiful in its harmony. It
had three fronts, apart from the present museums, with the char-
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 35
36
Galera interior,
escalera y carruaje
de la casa Orbea.
Inside gallery,
stairway and carriage
at the Orbea house.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 37
Balcn
interior de la
casa Orbea
Orchard and
back balcony of
the Orbea house.
38
the Oyague house that I remember had a very tall silo; the Buenamuerte home with some beautiful columns; the Matalechuza,
further away, closer to the present Salaverry and San Felipe avenues; the Chacra Ros house, equally distant but associated with
Magdalena and next to a road that connected it to our town; the
Cueva home, on the way down Bolivar avenue, and I can see it
joined to our orchard; some vestiges of the houses of Chacra Colorada and Azcona could be seen until recently. Before Bellavista
existed, on our Royal Road to Callao, I have a detailed memory
of the Chacra Alta hacienda, belonging to Julio Carrillo de Albornoz, a fine gentleman and fraternal friend of my fathers and his
partner in agricultural businesses; the large patio, a small corridor
in the shape of a square, several rooms, an interior hallway and
pretty, adjoining orchard; I can still remember the lookout, the
carriages, and a desk that roused our youthful interest.
In this same vein, with similar characteristics, is the Orbea
house, preserved with great love and dedication by my parents
during a period of frivolous disdain for what was Creole, ours.
The wide stairways, the surrounding patios, the corridors on the
top floors, the terrace to dry out seeds, the "gallery", the chapel,
the cellar with the buried earthenware jars for the "oil factory",
the garden with a variety of trees, the "colcas" or granaries, the
workers house with a broad front court. And the reservoir, the
well, and the adjoining stable and henhouses. The thick walls on
the ground floor made with large stones in the foundations and
with thicker and longer adobe blocks than the current ones, the
flexible and functional wattle and daub or quincha of our coast,
the high ceilings, the doors with several panels, the pastelero brick
used habitually in interiors, the wood flooring with wider panels than those used today and in other rooms the flooring was
dovetailed. And the bougainvillea, the bellisima creeper, and the
earthenware jar storage area.
Today, the Orbea home is, together with the Libertadores
Quinta or country house, the greatest example of civilian colonial
architecture in Pueblo Libre. It owes its name to the original owner of the hacienda, Don Diego Jos de Orbea y Aranda, son of
Don Diego de Orbea Albizuri y Seisabel and of Doa Isidora de
Aranda Vsquez de Velasco. In September of 1774, Don Agustn
de Querejazu bought the Orbea hacienda for his brother Jos an
ancestor of the De la Puente Querejazu family in the auction
of Senator Don Diego de Orbeas estate. The Orbea home has
remained in the hands of the De la Puente family for more than
two centuries and its interiors give a clear indication of the aristocratic lifestyle of, mainly, the 18th and 19th centuries. Apart
from its main drawing room, dining room, smaller rooms and a
pleasant terrace, it possesses a unique, long balcony that is in fact
a closed gallery from whose wide windows one could look out
onto the former farmlands of the estate. On a beam supported
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 39
Plpito barroco de
madera sobredorada del
siglo XVIII del templo de
Santa Mara Magdalena.
Baroque, 18th century
wooden pulpit with gold
leaf, in the Santa Mara
Magdalena church.
40
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 41
42
walls, paddocks and ponds of swamp water, and the adobe huacas
half in ruins. To the west, the Island of San Lorenzo and the hazy
ocean horizon. The chapel, large rooms, bedrooms and washrooms
were on this floor. The third floor was a large dovecote. Behind
the house there was another earth courtyard facing the stables,
which until the 1950s, housed the descendants of the pacer horses
that belonged to the Pando hacienda and whose ancestors had
excelled in national competitions.
In his memoirs, Jos Agustn de la Puente Candamo also refers to the casa quinta as another type of construction. Spacious,
with gardens and orchards surrounding it; with creepers and old
trees; I remember with fondness the quinta Marie Louise, where
the Canonesas de la Cruz school stands today, and where Maria Luisa de Lavalle, widow of General Clement, lived until her
death. Wide door, entrance courtyard of very small pebbles, corridor in front of the rooms, inside patio, a glassed corridor that
allowed a view of the garden that was, in fact, an orchard. I vividly remember some very tall pine trees and several thick and full
ficus trees, with small sinuous paths among the trees, plants and
A republican house located on one of the tradicional streets of the district, a road that was also
the old route to Lima.
Frontis de casas
de principios
del siglo XX.
flowers that gave this orchard an air of mystery that to our childs
imagination, we found fascinating.
"I also remember the family home of the Gallese family, on
the corner of Junn and La Mar, with a beautiful entrance courtyard and pleasant rooms, which Jose Len Gallese cared for with
dedication and fondness. This house and the attached lands, The
Farm", according to documents seen by the current owner, show
that it belonged during the viceroyalty to Luis Antonio Oviedo y
Herrera, Count La Granja, singer of Santa Rosa.
"Another type of house is quite large, with a front garden,
interior courtyard and large rooms. On the corner of Vivanco and
Sucre, the home of the Gamarra Hernndez family is a beautiful
example that is still partly conserved.
"The house with a simple front grating from the ground to the
roof, of which very few remain as testimony, is the ranch typical
of our small coastal cities, as in the case of Chorrillos.
And we must also mention the small house, with a door and
window, facing onto an alleyway or open corridor, onto the main
house" or solar.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 43
principal como en las calles centrales de Pueblo Libre han subsistido algunas construcciones tipo rancho costeo como el ya mencionado de la esquina de las avenidas Manuel Ignacio de Vivanco
y la Jos de San Martn -con la caracterstica reja de fierro y un
patio de ingreso-, edificaciones de adobe, quincha, barro y maderas de altos techos como la tradicional Taberna Queirolo y su bodega o solares en que, de acuerdo a la tradicin, habit Manuelita
Senz. Tal como explica Jos Garca Bryce en La arquitectura en
el virreinato y la repblica en el siglo XIX se desarroll considerablemente el tipo arquitectnico del rancho, nombre que se
les da a las casas de las poblaciones ubicadas fuera de la ciudad,
en zonas de campo o cerca del mar. Los ms importantes grupos
de ranchos se edificaron en el valle del Rmac, en lugares como
La Magdalena, Chorrillos, Barranco y Miraflores. Aade Garca
Bryce un testimonio del viajero ingls Robert Proctor que asever
que los ranchos consisten generalmente de una sala grande,
abierta hacia el mar, con dos o tres dormitorios pequeos atrs; su
We should note that both in the main park and in the central
streets of Pueblo Libre some coastal ranch type constructions have
survived, such as the one already mentioned on the corner of the
avenues Manuel Ignacio de Vivanco and Jos de San Martin, with
the characteristic iron railings and entrance court, buildings of
adobe, wattle and daub, and high wooden ceilings, such as in the
traditional Queirolo Tavern and its cellar, or in the family home
where, according to tradition, the viceroys mistress Manuelita
Senz lived. As Jos Garca Bryce explains in "La arquitectura en
el virreynato y la repblica (Architecture in the Viceroyalty and
the Republic), in "the 19th century the architectural style of the
"rancho" developed considerably, its name given to the type of
houses in towns located outside the city, in the country or near
the sea. The most important groups of ranches were built in the
Rimac Valley, in places such as Magdalena, Chorrillos, Barranco
and Miraflores. Garca Bryce adds a testimony of the traveling
Englishman, Robert Proctor, who stated that the ranches con-
44
sist generally of a big "room" opened towards the sea, with two or
three small bedrooms at the back; the construction is very modest, since most of them have earth floors and cane roofs."
With regard to religious monuments, Pueblo Libre has one
of the most beautiful churches in Lima: that of Santa Maria
Magdalena. It was built on land donated by the chieftain Don
Gonzalo Taulichusco, a donation approved in 1557 by the Viceroy, the Marquis of Caete, and confirmed in 1587 by the seventh
Viceroy, Don Fernando de Torres y Portugal, Count of Villardon-Pardo. From the beginning, the religious teaching of the indigenous people and the temple were entrusted to the Franciscan
order. Time and earthquakes damaged it repeatedly, and it was
repaired several times during the Colonial and Republican centuries. Its current appearance, both in architecture and furnishings
such as the altars and pulpit, is at its very best, just as it was in the
18th century. It was in this same period that the church of Jesus,
Maria and Jos, in what is now downtown Lima, was built and
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 45
46
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 47
el caso de sus campanarios y fachada principal, as como la desaparicin de un balcn de madera situado sobre la fachada y las
antiguas rejas delanteras que se aprecian en una fotografa de la
segunda mitad del siglo XIX incluida en el libro Per del viajero
y arquelogo alemn Ernst W. Middendorf. Se han producido asimismo transformaciones en el baptisterio y la escalera de comunicacin con el campanario, y ya no existen el cementerio exterior
ni la vieja casa y huerta del prroco.
La actual fachada, que suplant en el siglo XX a la anterior
neoclsica, se compone de dos cuerpos y coronacin siguiendo los
lineamientos de las pilastras pareadas y las pronunciadas cornisas
partidas tan frecuentes en el barroco limeo del setecientos. En
la calle central, sobre el arco de ingreso de medio punto, sobresale un balconcillo curvo. Pinculos en el remate de las pilastras
extremas y orlas curvilneas a los lados de la coronacin acentan
el movimiento de los relieves. Esta fachada est enmarcada por el
remate en semicrculo de la bveda de la nica nave del templo y
escoltada por dos pequeos campanarios con barandales de madera apoyados sobre las cornisas.
48
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 49
Rosa de Lima, a la bendita Magdalena hoy de la Santsima Virgen-, a Jess Nazareno y a Nuestra Seora de la Soledad y Santo
Cristo, dedicado actualmente al Corazn de Jess. Mencin especial merece el plpito dieciochesco que es buen ejemplo del
gusto limeo por el intenso movimiento barroco evidenciado en
el labrado de la ctedra, el respaldar, el tornavoz y el barandal.
Dos grandes lienzos con escenas del Antiguo Testamento y algunos buenos oleos en la sacrista situada en la parte posterior del
templo- enriquecen este edificio que hoy est a cargo de los agustinos recoletos que han edificado al lado su convento.
El plpito, el altar mayor y los laterales merecieron la atencin de un pintor excepcional como lo fue Jorge Vinatea Reinoso
(Arequipa, 1900-Arequipa 1931). Atrado en la dcada del veinte
por la exhuberancia de estas piezas realiz de ellas oleos de singular dramatismo, particularmente del retablo mayor, frente al cual
se aprecian unas mujeres orantes vestidas de negro imbuidas en
una atmsfera de religiosidad en que la nota de suntuosidad la
pone el vibrante recubrimiento de las lminas de oro.
Pieza virreinal de especial importancia es asimismo la pileta
de bronce que se levanta en el centro de la plaza principal plaza
Simn Bolvar- compuesta por un plato y un eje que reposa sobre
una base. La decoracin en altorrelieve muestra labras de tema
vegetal y rostros humanos. Una inscripcin explica lo siguiente:
Juan de Espinoza me hizo siendo rector de este colegio el R. P.
Ignacio de Velasco. Ao de 1742.
Entre el jirn Callao y la avenida Antonio Jos de Sucre se halla
asimismo la plazoleta de la Santsima Cruz del Viajero. De acuerdo a la tradicin, este supremo smbolo cristiano tan querido
en esta versin caminera en los pueblos del Per- estuvo levantado
a unos cien metros de su actual emplazamiento, en el camino que
una hacia el occidente y el mar las tierras de Magdalena Vieja y
de Maranga. Hacia 1759 volvieron a cambiarla de ubicacin hasta
su moderno traslado al lugar que hoy ocupa.
Actualmente en Pueblo Libre son varias las construcciones
civiles domsticas calificadas como monumentos, se levantan iglesias modernas como la de la Encarnacin y se guarda el recuerdo
de personajes que habitaron en el distrito como el ensayista y poeta don Manuel Gonzlez Prada, Carlos de los Heros y la pintora
Julia Codesido. Y muestra el distrito numerosos monumentos
como los erigidos al Almirante Miguel Grau, al coronel Francisco
Bolognesi, a Carlos Larco Herrera, al presidente y jurista Francisco
Garca Caldern, al Libertador Simn Bolvar obra del escultor
espaol Victorio Macho-, a Jos Agustn de la Puente y Cortez,
a la Bandera -que se levanta al centro de su imponente plaza-,
al alcalde Fermn Rifkhoff, al embajador del Brasil en el Per
Orlando Leyte y Ribeyro, al Maestro, al educador Bruno Emilio
Barletti Valencia, al presidente general Jos Rufino Echenique, al
poeta indio Rabidranath Tagore y otros ms. A ello hay que sumar
50
Six other altarpieces are set into the side walls, dedicated to
Our Lady of Concepcin, Saint Joseph, Saint Rose of Lima, the
blessed Magdalene, today the Holy Virgin, to Jesus Nazarene and
to Our Lady of Solitude and Holy Christ, at present dedicated to
the Heart of Jesus. The 18th century pulpit deserves special mention as it stands as a perfect example of the taste of Limenians for
the rich Baroque movement, seen in the carving of the chair, its
back, the domed sounding board and the balustrade. Two large
canvasses with scenes from the Old Testament and some good oil
paintings in the sacristy, located at the back of the church, enrich
this building that is today in the hands of the peaceful Augustinians, who have built their convent on the side.
The pulpit, the high altar, and the lateral sections attracted
the attention of an exceptional painter, Jorge Vinatea Reinoso
(Arequipa 1900-Arequipa 1931) in the 1920s. The exuberance of
these pieces inspired him to paint canvasses that portrayed unique
drama. A particular one of the main altar, showing a group of
prayerful women dressed in black, is imbued in an atmosphere of
religiousness and a note of sumptuousness is given by the vibrant
coating of the gold leaf.
Another Colonial piece of special importance in the town is
the bronze fountain that stands in the center of the main square,
Plaza Simn Bolvar. It is made up of a bronze plate atop the slender central stand that rests on the wider base. The embossed decorations include plants and human faces. An inscription explains
the following: Juan de Espinoza made me while he was headmaster of this school the R.P. Ignacio de Velasco. Year of 1742.
Between Jirn Callao and Avenida Antonio Jos de Sucre, we
find the small plaza of the Santsima Cruz del Viajero (The Most
Holy Cross of the Traveler). According to tradition, this supreme
Christian symbol, so beloved of towns throughout Peru, originally was placed about 100 meters away from where it now stands,
on the road that joined to the west and the sea the lands of Old
Magdalena and Maranga. By 1759, the cross was moved to the
place it occupies to this day.
Today, there are a number of civilian and domestic buildings
in Pueblo Libre that are classified as historical monuments. Modern churches have been built, such as the Church of the Incarnation, and people who once lived in this district are remembered,
such as the writer and poet Manuel Gonzlez Prada, Carlos de los
Heros, and the painter Julia Codesido. The district has various
monuments to important people such as Admiral Miguel Grau,
Colonel Francisco Bolognesi, Carlos Larco-Herrera, President
and jurist Francisco Garca-Caldern, the Liberator Simn Bolvar a work by the Spanish sculptor Victorio Macho, to Jos
Agustn de la Puente y Cortez, to the national flag, which stands
in the center of its imposing plaza, to Major Fermn Rofkhoff, to
the Brazilian Ambassador to Peru Orlando Leyte y Ribeyro, to
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 51
52
Fachada de la
Quinta de los
Libertadores.
Faade of the
Quinta de los
Libertadores.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 53
Antigua estacin de
bomberos. Fuente:
Diario El Comercio.
54
Orchard in Magdalena
Vieja. 1920s. Source: De
la Puente Candamo Family
archive.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 55
56
El frondoso omb
ubicado en el parque
El Carmen.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 57
Maranga.
Dibujo de Leonce Angrand
del 12 agosto de 1838.
Maranga.
Draw of Leonce Angrand
of august 12, 1838.
58
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 59
60
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 61
Antigua fachada de la
Casaaspecto
Quintaque
de Los
Antiguo
Libertadores.
tena
hacia la dcada del
veinte la Quinta de los
Libertadores.
An old view of
the Quinta de los
Libertadores taken in
the 1920s.
62
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 63
64
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 65
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 67
Antiguo tranva de
sangre. Fuente: Archivo
de la familia Queirolo.
68
there are also six crates of champagne wine, six crates of Bordeaux
wine; twelve dozen bottles of wine Frutin; two dozen bottles
of liqueurs", four dozen bottles of pickles, a dozen of Burgundy
wine, and twenty-four hens and six turkeys.
The house, which had extensive gardens and is now the National Museum of Anthropology, merited from Vidaurre the
description of a superb palace. On another occasion, Hiplito
Unanue speaks of "repairing the house at Magdalena."
There are useful references to the house in Magdalena in a
charming biography of Juan Pezuela y Cevallos, later Count of
Cheste, an important man in Spain and life director of the Royal
Academy, born in Lima and son of viceroys.
Of Viceroy Pezuela he writes: He acquired a small ranch for
five thousand pesos in Magdalena, near Lima, furnished it in the
luxurious style of that country, buying a carriage and mule and
accessories, with four slaves for personal service."
During Juan Pezuelas early childhood, his parents lifestyle
improved. A beautiful country residence is built on the ranch in
Magdalena, richly bejewelled, surrounded by a large orchard that
is watered by the Rimac River. It was his mothers favorite place,
who was drained by the weather. The journey from the city of
Kings is made in a country carriage pulled by eight mules. There
are many slaves in the house, one among them, an Indian midget, intelligent and helpful, is Juans comrade and of his younger
brother, Jos."
There are several reports on the "home of the liberators", but
too many of these "memories" would be discourteous to the
reader. However, one last thing worth mentioning is that between
1822 and 1823, a project to donate the Magdalena house to San
Martin fails. Manuel Villarn, priest of Magdalena, was an important man during this time. He was one of those who signed the
writ to Viceroy Pezuela to negotiate an agreement with San Martin. Later, Hiplito Unanue asked that Villarn write a manifesto
together with Lucas Pellicer against the manifesto published by
Riva-Agero in London.
The Mayor of Lima in the days of the Independence, Isidro
Cortazar y Abarca, Count of San Isidro, whose name is the first
among those who signed the Act of Independence, is linked with
Magdalena by his marriage to Micaela de la Puente Querejazu,
owner of the Orbea hacienda.
The presence of inhabitants during the pre-Hispanic period
developed the area by working our land; the Emancipation period
reinforced the existence of Magdalena with greater character and
with strong relevance among Limas surrounding areas.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 69
70
Bodega de la Fundacin
Vinos y Piscos
Raggiardo y Balleta de
Pueblo Libre.
Milkman on one
of the traditional
streets.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 71
72
strength.
Luis Alayza Paz-Soldn, always demonstrating a strong Peruvianist spirit, wrote a valuable text in "My Country". "The transcendence of Magdalena lies not in the home where the Viceroys
enjoyed themselves, or in San Martins convalescence there, nor
in the gracious life of the Libertador, but it is in those days in
1881, between March and November, when it became the seat of
a national government organized amid the Chilean domination,
as the great civilian effort to prevent the dismemberment of the
territory and to rid the Americas of the stain and the danger of
wars of conquest."(Alayza)
Garca-Calderns lesson for us is the choice of the line of
duty, above the difficulties and stumbling. An example of moral
strength.
Garca-Caldern said to Lynch: "... as soon as the government
of Chile was convinced that I am not and was not willing to sacrifice the territory of Peru in a peace treaty, they began to use
hostile action ..." (Vargas Ugarte). He added that his authority
emanated from the will of the Peruvian people and not from the
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 73
74
Galera y jardn
interior de la
Quinta de los
Libertadores.
Balcony and
garden of the
Quinta de los
Libertadores.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 75
76
Chilean forces.
The termination of his government, his detention and deportation to Chile, showed his firm decision to defend national sovereignty. His continuing opposition is an example.
When he is made a prisoner to be deported, in November 7,
1881, he explains his conduct. "This violent action against me
has been dictated because of the energy with which I defended
the territorial integrity and sovereignty of the Nation. Being the
victim of such a noble cause, I am going abroad with the satisfaction of having fulfilled my duty..."
"... I am pleased to tell you today that I have more faith than
ever in the destiny of Peru."
In 1881, and in spite of the presence of Garca-Calderns government, Magdalena suffered, as did all the towns in Peru that
were occupied by the Chileans, the material and spiritual damages
that resulted from the abuses by the Chilean army: permanent insecurity, the killing of Peruvians who could not explain why they
were in one place or another, the imprisonment of the administrators of farming estates, and the demand for money or goods.
The following entry appears for October 2, 1881 in the death
registry of the parish of Santa Mara Magdalena: "Church burial
was given to 10 bodies of several other employees of the De Rios
farm who suffered violent death by the Chileans, as stated by
Don Francisco Mendoza. Esteban Boza, of Chancay, age 72. Jos
Patrocinio Zrate, of Lima, age 26, musician. Silvestre Azrate,
Lima, age 43, musician. Juan Palomino, Ayacucho, age 42. Antonio Alzamora, Chancay, 30 years. Mariano N., age 50. Fernando
N., Ayacucho, age 20. Elias N., age 26. A Colombian mulatto,
wagon driver. A handyman who worked in La Legua. "
The administrators or owners of small farms were required to
pay a sum of money, specified in each case, as a contribution imposed by the occupying forces to purchase sugar.
An economic issue related to the war was the often symbolic
value of farm leases.
I often think about what I learned in chatting with my parents,
that war and defeat represent an unequivocal tragedy, but they
should never be a reason for embarrassment to Peruvians. The war
was lost, with very inferior means and without preparation, but
with dignity, courage and heroism.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 77
El Museo Nacional de
Arqueologa, Antropologa e
Historia del Per y su programa
El Museo abre de noche.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 79
80
etter known as the Pueblo Libre Museum, or by the other names it has held over the years, such as the Bolivarian Museum
and/or the Peruvian Archaeology Museum, it is Perus largest,
oldest and most representative museum. Its life is a part of the
life of the Republic and, just as such, has lived through the difficulties
in Peruvian history.
The museum was created on April 2, 1822 by the liberator Jos de
San Martn who, as a foreigner and citizen of Argentina, already saw
Peru as tourists do today: a country rich in culture and history. Thus
it is not strange that San Martin, at the same time that he was creating
government ministries, founded the National Museum as was its original
name, short and sweet. His first and wise decision was to request that
his government revoke the 16th century Colonial by-law that allowed all
Spaniards to sack the buildings of the heathens in search of treasurer.
As a result, the practice of huaqueo or grave robbing became illegal.
The first director of the new Nacional Museum was Don Mariano
de Rivera y Ustariz, an internationally recognized chemist and geologist
who was one of the most outstanding Latin American scientists of the
19th century (foto 1). Don Mariano was undoubtedly prepared for the
great task and he took on the fledgling museum in 1826. He believed
that the collections in the museum should come from a scientific context
and, therefore, the step to prevent the sacking of monuments was intended to protect the cultural heritage in order to allow archaeology then
a new and unknown discipline in Peru to provide the answers to our
origins and historical development of our people. However, the museum
could not be just a repository for archaeological remains; objects of Colonial and Republican origin and from the animal, vegetable and mineral
worlds formed part of its full collection to show the historical continuity
and development of Peru as well as its rich environment. The National
Museum was also, at the beginning, a natural history museum.
Although don Mariano was not an archaeologist, he had had contact
with Europeans who were specialists in that field, and he himself carried
out the first archaeological excavations in Peru. Four of his articles are
testimonies of those early tasks. However, the first collection in the National Museum was not only formed by artifacts obtained in those first
excavations but also fundamentally from objects donated by private collectors as well as occasional purchases. An express invitation was made
shortly after the founding of the museum. We do not know how many
archaeological and historical remains, anthropological and natural pieces
the young museum had; it is believed they were only a few hundreds,
since there was no cultural or historical awareness that would encourage
a museums policy. The pieces came and went to a variety of locations
and, along the way, during the multiple movings, began disappearing. It
was only in 1872 that the collection was moved to the Exposition Palace
(today the Lima Art Museum, MALI), where it remained until 1924,
under the auspices of the Fine Arts Society.
Unfortunately, the first collection disappeared during the War of
Titulo de Leyenda
Una pequea Descripcin
de la imagen a manera de
leyenda para adjuntar a la
fotografia va en italica.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 81
82
the Pacific (1879-1884). Only the Raimondi Estela, the famous carved
stone slab from the Chavn culture found by the Italian explorer in 1871,
was left as a reminder of that first archaeological collection (foto 3a o
3c). The distinguished historian Jos Toribio Polo managed to find the
stone and wrote:
I found it at least, where I least suspected: in one of the parks, between the Revolver Club and the back of the Government Palace, next
to an irrigation ditch, under a ficus tree and lying on top of two poles;
the rough black wooden frame in which it had been placed was next to
it. It was exposed to the open air, where few people passed by, as if it
had been hidden from view, and few had seen it until now (May 1892),
within easy reach of mischievous children who frolic over it. (Polo cit.
in Tello y Meja 1967: 50).
Many historical pieces, such as Colonial paintings and the portraits
of the viceroys and others, (foto 3b) were probably not the object of the
sacking, since they were found elsewhere.
Shortly alter the war, in 1885, the well-known explorer Johann von
Tschudi speaks of a National Museum that was the poorest he had
seen in Lima, in comparison with the museums in the capitals of Europe
and given the cultural wealth of Peru. Without a collection, the National
Museum was practically dissolved, although the building remained, until
it was created again on May 6, 1905 with the name National History
Museum, under the auspices of the Historical Institute of Peru (today
the National Academy of History). The new museum occupied the same
building as its predecessor. Don Jos Augusto de Izcue (1872-1924), a
member of the Historical Institute and of the Americanists Society of
Paris, former Peru commissioner at the Universal Exposition in Paris in
1900, national director of Public Instruction and author of monographs
on the history of Peru, was appointed director (foto 4). Izcue was concerned about the lack of suitably prepared staff and proposed to hire the
prestigious German archaeologist, Max Uhle (1856-1944), known as the
father of archaeology of the Americas. On January 10, 1906, Uhle was
contracted by the Peruvian government as director (foto5), in charge of
archaeology in the museum, while Mr. Izcue took responsibility for the
Colonial and Republican sections. It is not clear who was the director
general or if both were co-directors.
Barely months after they began working, Uhle and Izcue inaugurated
the National History Museum on July 29, 1906, while Jos Pardo was
President of the Republic. At later events, Uhle and his activities in favor
of the museum stood out and, in the end, it was as if he had been the
only director. Uhles contract ended in 1911 and he was succeeded by Julio C. Tello (foto6). By that time, the director of the museum was Emilio
Gutirrez de Quintanilla, who succeeded Izcue and favored the exit of
Uhle and, later, that of Tello in 1915. When Uhle left, he had catalogued close to 9,000 archaeological pieces. We do not know how many
historical and anthropological pieces there were, although we know that
an impressive series of typical costumes and goods from Perus different
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 83
adems de las arqueolgicas existan, aunque sabemos que se coleccion una impresionante serie de trajes y productos tpicos de los diferentes grupos tnicos del Per. Esta magnfica coleccin ya no existe en el
Museo actual, y probablemente parte de ella se encuentre en el Museo
Nacional de la Cultura. En ese entonces, el Museo de Historia Nacional
contaba con las secciones de Arqueologa (foto 10b), Colonia (foto 10a)
y Repblica, Tribus Salvajes e Indios de la Sierra. Su perfil histrico y
antropolgico se haca evidente desde esa poca.
Las diferencias entre Tello y Gutirrez de Quintanilla se agudizaron
de tal modo que Tello logr que la seccin de Arqueologa se independi-
84
ethnic groups had been collected. This magnificent collection is no longer at the current Museum, and probably part of it is now in the National Culture Museum. In those early days, the National History Museum
included section on Archaeology (foto 10b), Colonial period (foto 10a)
and Republic, Wild Tribes and Indians from the Highlands. Its historical
and anthropological profile was already evident at that time.
The differences between Tello and Gutierrez de Quintanilla became
so sharp that Tello managed to get the Archaeology section separated
and inaugurated independently as a separate museum in 1924, on the
first centennial of the Battle of Ayacucho, the final battle in the war
Piezas arqueolgicas
exhibidas en el
antiguo Museo
del Palacio de la
Exposicin de Lima.
Archaeological
pieces exhibited in
the old Palacio de la
Exposicin museum of
Lima.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 85
zara e inaugurara como museo aparte en 1924, con ocasin del primer
centenario de la Batalla de Ayacucho. Llev el flamante nombre de Museo de Arqueologa Peruana. Las colecciones que lo conformaron en sus
inicios, provenan del Museo Vctor Larco Herrera (foto 7), un museo
privado que fuera comprado por el gobierno peruano; su local quedaba
en la Avenida Alfonso Ugarte, en la sede del actual Museo Nacional de
la Cultura. El edificio que ocup el Museo de Arqueologa Peruana es el
mismo en el que hoy funciona el MNAAHP (foto 8e), y fue construido
expresamente para ser museo por el arquitecto, pintor, escultor y cnsul
de Portugal, Ral Mara Pereira. La parte que hoy constituye las salas de
exposiciones de la poca colonial y republicana, era un museo aparte,
denominado Museo Bolivariano, fundado ese mismo ao de 1924, el
17 de diciembre, por el 94 aniversario del fallecimiento del prcer caraqueo. El edificio fue construido alrededor de lo que se denominaba
el Palacio de la Magdalena (foto 8a, b, c o d), una casona colonial que, a
comienzos del siglo XIX, haba sido la casa veraniega del virrey Joaqun
de la Pezuela. Posteriormente fue habitada por el libertador Jos de San
Martn, por Simn Bolvar y por Francisco Garca Caldern, este ltimo
fue presidente del Per durante la Guerra del Pacfico, y la casona fue la
sede del gobierno nacional, llamado Gobierno de la Magdalena.
Con el doctor Julio C. Tello, primer arquelogo peruano que tuvo
el Per y de talla cientfica eminente, comenz la era de apogeo tanto
del museo como de la arqueologa peruana. Las colecciones se incrementaron no solamente porque Tello logr que las piezas del todava
existente Museo de Historia Nacional pasasen al museo de Pueblo Libre,
sino porque l desarroll gran actividad llevando a cabo exploraciones
y excavaciones cientficas que incrementaron las colecciones del museo
y le dieron la fama que hoy posee (fotos 9a y b). Entre los aos 1925 y
1945 se investigaron sitios como Paracas y Wari, se estudi casi toda la
costa sur, el valle del Rmac, la regin del Cusco y gran parte de los valles
del Huallaga y del Maran. Junto con el aumento sustancial de las colecciones, Tello se preocup de la conservacin de las mismas, de modo
que puede ser llamado a la par de padre de la Arqueologa peruana y
padre de la conservacin y restauracin arqueolgica, ya que esta ltima disciplina tampoco exista antes de la era de Tello (Thays 2007). Sin
embargo, Tello no permaneci en la direccin del museo mucho tiempo.
En 1930 fue destituido, mediante una Resolucin Suprema, para dar
campo a nuevas reformas.
La Resolucin Suprema dispona tambin que ambos museos, Arqueologa Peruana y Bolivariano, se fusionaran, en sta se incluy asimismo al Museo de Historia Nacional. Este conjunto volvi a adoptar el
nombre inicial con el que se cre en 1822: Museo Nacional. Este museo
supervis, adems, una serie de otros museos que se fueron creando tanto
en Lima como en provincias. Su director fue el destacado antroplogo
peruano Luis E. Valcrcel (foto 11), quien promovi la salida a la luz de
uno de los rganos cientficos ms prominentes del pas: la Revista del
Museo Nacional, que se public casi de forma ininterrumpida hasta el
tomo 49 y el ao 2001 (foto 12). Dicha publicacin difunda los co-
86
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 87
88
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 89
90
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 91
Reconstruccin
de un oratorio
virreinal en el
Museo.
92
Reconstruction
of a colonial
oratorium in the
Museum.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 93
94
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 95
Jardines y rampa de
ingreso al Museo Rafael
Larco Herrera.
Gardenas and entrance
ramp to the Rafael Larco
Herrera Museum.
96
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 97
l Museo Rafael Larco Herrera es la obra primordial del notable arquelogo peruano don Rafael Larco Hoyle (foto),
quien constituy la coleccin arqueolgica de la que hoy
disfrutamos en Pueblo Libre. Esta coleccin naci del inters de don Rafael por el antiguo Per, inculcado desde muy temprano
por su padre. Un hermoso vaso-retrato mochica (foto), fue el primer
objeto con que se iniciaron las colecciones que hoy integran el Museo
Rafael Larco Herrera.
Entre 1923 y 1933 se form la mayor parte de la coleccin, que
don Rafael Larco Hoyle clasific y orden. Comenz a escribir para
dar al mundo los conocimientos que haba adquirido en mis viajes y
a travs del estudio de las colecciones de cermica del norte, centro y
sur del Per. Al encontrar algunas interrogantes que quera resolver,
comenz a llevar a cabo excavaciones arqueolgicas, que dieron como
resultado el descubrimiento de nuevas culturas y el crecimiento de la
coleccin. Estas excavaciones le permitieron aclarar la ecolucin de
las culturas del antiguo Per.
En la dcada de los 50, don Rafael se traslad a Lima, y decidi
transportar el Museo de Chicln a la capital, de tal manera de poder
continuar con los estudios arqueolgicos, y para que el Museo pudiera ser visto y admirado por gente de todos los pases, y su material
arqueolgico podra estar a la mano de los hombres de ciencia y estudio de todo el mundo.
Don Rafael adquiri el inmueble de los seores Luna Cartland,
que modific, dndole el estilo trujillano de una casona colonial del
ao 1700. Esta casa fue adaptada con rejas, puertas, columnas, vigas y
mnsulas recuperadas de la casa seorial de los marqueses de Herrera
y Villahermosa de Trujillo. En 1962, el museo Rafael Larco Herrera
en Pueblo Libre abri sus puertas y es desde entonces un centro de
cultura agradable y acogedor (fotos Museo).
El Museo
El museo est compuesto de tres secciones: las oficinas, los depsitos y las salas de exhibicin. En los depsitos se hallan las piezas de
cermica ordenadas, catalogadas y clasificadas por culturas, por temas
y series. Los anaqueles estn cubiertos de vidrios, a fin de que su contenido pueda ser estudiado por el arquelogo o apreciado por el turista interesado en el estudio de las culturas peruanas (foto depsito)
La Sala de la Cermica es una exhibicin didctica. Se ha tenido
especial cuidado en la seleccin del material, para darle al visitante
una idea ms o menos completa de la forma en que se trabajaba la
cermica en los tiempos precolombinos. Se exhiben los tiles, la arcilla y el caoln, los colores que se emplearon para pintar los vasos, los
implementos de hueso que utiliz el escultor y el alfarero, las matrices
hechas por el escultor, los moldes, la cermica sin cocimiento encontrada en las tumbas y la cermica con defectos de coccin producidos
dentro del horno. Tambin podemos observar los diferentes periodos
98
The Museum
The museum is composed of three sections: the offices, the storage
areas and the exhibition rooms. In the storage areas ceramic pieces are
organized, catalogued and classified by cultures, subjects and series.
The shelves are encased with glass so that the contents can be studied
by archaeologists or appreciated by the tourist interested in studying
Peruvian cultures. (storage photo)
The Ceramic Room is designed to be an instructive exhibition.
Special care has been taken in selecting the material in order to give
the visitor a fairly complete idea of the way in which pottery was
worked in pre-Columbian times. On show are the utensils, clay and
kaolin, the colors that were used to paint the cups, the bone tools
that were used by the sculptor and potter, the templates made by the
sculptor, the molds, the unbaked ceramics found in tombs and the
pots with defects caused by the oven-baking. Also clearly identified
are the different periods within a culture, the varied styles and the
different types of ceramics that are found in the regions of the North,
South and Center, all of which allows the visitor to understand how
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 99
El arquelogo Duccio
Bonavia, don Rafael
Larco Hoyle e invitados
a una ceremonia en el
Museo Rafael Larco
Herrera.
Archaeologist Duccio
Bonavia, don Rafael
Larco Hoyle and guests
at a ceremony in the
Rafael Larco Herrera
Museum.
100
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 101
que existieron en una cultura, los diversos estilos y los distintos tipos
de cermica que encontramos en las regiones del Norte, Centro, y
Sur, a fin de que se pueda tener una nocin de cmo se divide el arte:
escultrico en el Norte y pictrico policromado en el Sur.
Igualmente, en la Sala de los Metales se exponen los metales que
conocieron y trabajaron, los implementos que emplearon, las tcnicas
que dominaron y los objetos que manufacturaron con estos elementos. Entre los objetos manufacturados apreciamos vasos, recipientes,
copias en metal de vasos en cermica, palas, barretas, calabozos, piezas
de indumentaria, cuchillos, mazas, cascos e instrumentos musicales y
vasos ceremoniales.
En la Sala de Arte Ltico se exhiben morteros, estelas, mazas, figuras antropomorfas y zoomorfas, recipientes rectangulares y cilndricos, clavas, maquetas, conopas, cajas con dibujos incisos e incrustaciones de turquesa, de las diversas culturas precolombinas.
En la Sala de Arte Textil no solo se presenta un muestrario de telas
escogidas de diferentes lugares del Per, sino todos los implementos
hallados en las tumbas y las cajas de caa en que los guardaron. Por
eso es que vemos husos, telares, aparatos sobre los cuales se colocaban
los husos y que se afirmaban en el suelo. Tambin apreciamos los peines, las piezas de madera que servan para apretar el tejido, etc. Entre
las telas se exhibe un notable manto Paracas de 2000 aos (foto) y
en una vitrina especial un fragmento de tela que tiene 398 hilos por
pulgada lineal (rcord mundial de ayer y de hoy). A su lado aparece
otro fragmento de tejido, considerado el segundo rcord mundial,
y que no hemos estudiado por no tener en el Per los elementos
necesarios.
Bveda
102
Vault
Chosen pieces of gold and silver owned by the museum are kept
in the vault. Here we see the first crowns with gold feathers, the first
earrings, nose rings and necklaces, which clearly show the techniques used by ancient Peruvians. These pieces are exceptional: two
pairs of ear spools from the Mochica culture, one representing two
zooanthropomorphic characters holding a sling and the other is embellished with iguanas beautifully joined by the tail (photo). Both of
these pieces are considered master works of ancient Peru. There are
also nose rings, breast-plates of Peruvian turquoise, small containers,
ear spools and whistles that can be compared to the greatest pieces of
metalwork made in ancient times. The room also includes gold pieces from Chimu and artifacts from the Lambayeque culture. (photo)
Another central display cabinet exhibits the only complete apparel in
gold in existence. It includes a breast-plate, shoulder pads, a choker
necklace with gold balls, ear spools, a crown with large feathers, a bracelet (photo) and a gold and silver vessel with embossed motifs that is
unique in the way both halves were joined perfectly together.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 103
104
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 105
La Sala de las Culturas est ordenada con el objeto de que el turista o el estudioso aprecie el conjunto de las culturas que existan en
el Per precolombino. En sus vitrinas se rene la cermica y otros
objetos de las diferentes culturas, desde 7000 aos a. C. hasta la decadencia absoluta del arte indgena con la llegada de los espaoles.
Est dividida en cuatro secciones definidas: costa norte, centro y
sur, y culturas de la Sierra. Las muestra ha sido ordenada para establecer la secuencia cultural (foto).
En la parte baja del museo se encuentra la sala de Vasos Erticos,
lo que se considera otro rcord mundial: los cermicos erticos correspondientes a la cultura Salinar, que aparece quinientos aos a.
C. (foto) Es interesante anotar que en el norte del Per hallamos el
ms importante centro de representaciones erticas de Amrica. Son
los mochicas quienes nos han dejado los vasos ms numerosos. El
museo posee la coleccin de vasos erticos peruanos ms grande del
mundo.
El museo Rafael Larco Herrera se distingue por tener las colecciones ms numerosas de las culturas Cupisnique, Salinar, Vir, Mochica, Chim, Lambayeque, Chim-Inca y Huari norteo (fotos) hasta
el punto de poseer un abundante material para efectuar un estudio
integral de todas las otras culturas. Igualmente, cuenta con importantes colecciones de tejidos, collares y objetos de plata y oro.
Este notable museo no se ha formado solamente con las piezas que
un estudioso quiso reunir y proteger. Las piezas que integran el museo
Rafael Larco Herrera han sido seleccionadas no solo con un criterio
de coleccionista sino con las estrictas normas de la arqueologa
106
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 107
Apndice
Descubrimientos y trabajos arqueolgicos ms importantes
efectuados por el seor Rafael Larco Hoyle:
1. Descubrimiento del yacimiento arqueolgico de Cupisnique (1933).
2. Descubrimiento de la cultura Vir en los cementerios de la
pampa de los Cocos y en la pampa de Moche (1933)
3. Descubrimiento de Queneto y su cermica (1934).
4. Descubrimiento de la cermica Precupisnique (1939)
5. Descubrimiento de la cultura Cupisnique (1939).
6. Descubrimiento de los vasos llamados Cupisnique Transitorio
y su fijacin cronolgica (1939).
7. Descubrimiento de los cementerios que contienen cermica llamada Cupisnique de Santa Ana y la cultura del mismo
nombre (1939).
17. Hallazgo de tumbas conteniendo vasos anaranjados y su asociacin con vasos Vir, anterior a Mochica.
18. Hallazgo de las tumbas superpuestas y estratificaciones que le
permitieron la clasificacin de los cinco periodos Mochica.
19. Descubrimiento en Barbacoa de tumbas superpuestas Cupisnique, Salinar, Vir y Mochica, que dio por resultado que se
sealara por primera vez el orden cronolgico de las culturas
Premochicas.
20. Descubre que la cultura Huari, llamada Tiahuanaco, invade
todo el Per y que su centro no es Tiahuanaco sino Huari, en
Ayacucho.
21. Descubre y seala la existencia de la cultura Lambayeque, que
clasifica en dos periodos, Lambayeque I y II, y la cultura Huari-Lambayaque, diferenciando la cultura Chim de la cultura
Lambayeque.
22. Explica por qu no se encontraba el Middle Chim, tan buscado por los arquelogos norteamericanos, al probar que la
cultura Chim es el resultado de la fusin de los elementos
culturales Mochica, Lambayeque y Huari.
23. Es el primero en seleccionar lo que hoy se llama cermica Chim-Inca, diferencindola de la Chim.
12. Descubrimiento de instrumentos lticos utilizados por los cazadores en la poca Precermica (pampas de Paijn y Cupisnique).
14. Descubrimiento de los vasos Vir, con ornamentacin positiva y llamados por l Vir de Chicama.
15. Descubrimiento de las ruinas de Pacopampa, de la poca Evolutiva, y de instrumentos de la cultura que existi en este lugar.
16. Descubrimiento de la etapa Premochica, llamada Complejo
Mochica o Mochica Inicial.
108
Appendix
Mr. Rafael Larco Hoyles Most Important Discoveries and
Archaeological Work:
1. Discovery of the Cupisnique archaeological site (1933).
2. Discovery of the Vir culture in the cemeteries of the Cocos
plain and on the Moche plain (1933)
3. Discovery of Queneto and its ceramics (1934).
4. Discovery of Pre-Cupisnique ceramics (1939)
5. Discovery of the Cupisnique culture (1939).
6. Discovery of the vessels called Transition Cupisnique and its
chronological setting (1939).
7. Discovery of the cemeteries containing Cupisnique de Santa
Ana ceramics and the culture of the same name (1939).
8. Discovery of tombs with hybrid Mochica-Vir ceramics
(1940).
9. Discovery of the Salinar culture (1941).
10. First tomb opened in the Vir valley and finding of the hybrid
ceramics he named Vir-Cupisnique.
11. Discovery of the Salinar-Cupisnique vessels in the Vir valley.
12. Discovery of stone tools used by the hunters in the Pre-ceramic Era (Paijn and Cupisnique plains).
13. Finding of vessels from Vir culture in the Chicaza, Santa Catalina, Santa, Pacasmayo, Lambayeque and Piura valleys.
14. Discovery of the Vir vessels with positive ornamentation designs which he named Vir of Chicaza.
15. Discovery of the Pacopampa ruins of the Initial Period to
Early Horizon, and the tools of the culture that existed there.
16. Discovery of the Pre-Mochica era called Complex Mochica or
Early Mochica
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 109
110
29. Also discovered that the Chimu worked and used bricks.
40. Established that in Vicus the same steps were taken that developed to form Mochica I.
41. Was the first to identify Mochica funeral pottery and ceramics
of other cultures by themes and series.
42. Discovered that the ancient Mochicas practiced circumcision.
43. Proved the existence of syphilis in ancient Peru.
44. Emphasized, before others, the non-existence of the Chavin Empire but rather a decorative style used by various
cultures in the Developmental or Formative Period.
45. Found white on red Salinar vessels in Piura, Chiclayo, Pacasmayo,
Valle de Chicama, Santa Catalina, Vir, Chao, Santa and Nazca.
46. Established the complete chronology of cultures in the north
of Peru in his book "Cronologa arqueolgica del norte del
Per" (Archaeological Chronology of the North of Peru), published in Buenos Aires in 1948. The cultural sequence has
been proven by archaeological groups from other countries.
47. He was the first to state that the engraved pottery called
Chavn could not be considered a horizon, because then
vessels with negative decoration and cream on red would
need to be considered as horizons.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 111
112
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 113
Eplogo
La Zona Monumental
Al igual que las dems reducciones indgenas - y a diferencia
de las ciudades virreinales en general como Lima, Trujillo o Huamanga- la reduccin de Santa Mara Magdalena posee elementos
comunes en su proceso de desarrollo histrico y urbanstico, como
el haberse formado sobre la base de un curacazgo prehispnico
y haber pasado de ser una poblacin nativa casi dispersa en la
poca prehispnica, a un conjunto humano bastante diferenciado,
unitario, con plazuela, iglesia y calles rectas en el virreinato. (Lus
Villacorta, 2007).
114
Epiloge
Sin embargo existe una particularidad que diferencia a la Doctrina de Santa Mara Magdalena de las dems reducciones indgenas. Tal diferencia se debe a la ubicacin de la iglesia fuera del
entorno de la plaza, al pie del antiguo canal -debido a su temprana construccin en plena formacin de la poblacin previa a
1557, antes de imponerse el patrn urbanstico de las reducciones
toledanas.
Ese sera el inicio de la formacin del ncleo urbano de la Zona
Monumental cuya continuidad cultural se inici en la poca prehispnica, afirmndose luego como eje urbano de damero, basado
en los lineamientos de fundacin virreinal, versin que se confirma
en el Libro de Cabildos analizado por Del Valle, donde se menciona que en 1550 ya haba solares. El mismo autor cita, adems,
al historiador Alejandro Mlaga, quien refiere que la Reduccin
de Santa Mara Magdalena de Chacalea se traz con manzanas
cuadradas y calles delineadas a cordel. (Ramn del Valle, 2007).
Durante la Repblica, el poblado -an bastante pequeo- presenta manzanas de trazo irregular en la primera mitad del siglo,
perteneciendo, por lo general, a un solo propietario quien habitaba una casa quinta rodeada de jardines. En la segunda mitad del
siglo, estas se subdividen en cuatro lotes, y aparece un tipo de casa
ms pequea con jardn interior.
A inicios del siglo XX, luego de fundarse el balneario de Marbella, hoy Magdalena del Mar, comenz la poca del ferrocarril.
Este hecho defini el cambio urbanstico de la Zona Monumental
al configurar el espacio y contribuir al trazado regular de sus calles. La inauguracin de la avenida de La Magdalena, luego llamada
avenida Brasil, signific otro hito modernizador convirtiendo al
valo de la avenida Brasil, en el ingreso principal al distrito.
A pesar de los hechos expuestos la unidad urbana de inicios
de la Repblica, cuyas manzanas continan subdividindose, esta
vez de cuatro a trece lotes, se mantuvo vigente. Aparecen las casas
pequeas con puerta, ventana y callejn lateral, desapareciendo
las huertas y quedando los jardines interiores. (Sueldo Glvez,
1989: 78).
El Pueblo Libre moderno surge a partir de la segunda mitad del
siglo XX con la urbanizacin en torno al eje principal que sera,
desde entonces, la avenida General Vivanco y su cruce con la
avenida Brasil. Alrededor de esta va, llamada Av. de la Estacin,
pues conectaba las avenidas mencionadas, por donde pasaba el
ferrocarril, se construyeron, en la dcada de los aos 30 y 40,
edificaciones que mantienen, hasta hoy, los estilos entonces imperantes: el eclctico, el neo colonial y los dos estilos que marcaran los inicios de la arquitectura moderna: el estilo buque y el
art dec. En esta etapa, Pueblo Libre pasa de ser una poblacin
anexa a Lima a ser un barrio antiguo dentro de la ciudad.
Hoy, el aspecto urbano republicano se mantiene vigente en la
Zona Monumental. Las calles alrededor de la Plaza mantienen su
escala urbana original siendo alguna de ellas, como la calle Antonio Polo, la Av. San Martn - cuadras 10 y 11- y las primeras
cuadras de la calle Jos Barreda, declarados ambientes urbano
monumentales por el Instituto Nacional de Cultura.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 115
La Zona Monumental cuenta, adems, con una nueva delimitacin sealada por Resolucin Directoral Nacional N 57 3/INC.
En ella 26 edificaciones monumentales, que pertenecen, en su
mayora, a la tipologa arquitectnica domstica, junto a otros 23
declarados de valor monumental, y los mencionados ambientes
urbano monumentales, estn sujetos a proteccin y control.
Su adecuado estudio y recuperacin se convierten una fuente
de informacin que permite conocer su evolucin histrica, urbanstica, arquitectnica y artstica, constituyendo, al mismo tiempo, un foco de desarrollo turstico que da la oportunidad de
mejorar la calidad de vida de sus habitantes.
116
of Jose Barreda street, have been declared urban heritage spaces by the
National Institute of Culture.
The Heritage Zone also has a new demarcation, as indicated in
the National Institute of Cultures Directorial Resolution N 57 3/
INC. The area includes 26 heritage buildings that are, mostly, of typical domestic architecture, together with 23 other buildings listed as
heritage value, as well as the above-mentioned urban heritage spaces,
and they are all subject to conservation and protection.
The appropriate study and conservation of these monuments have
become a source of information that throws light on its historical,
urban, architectural and artistic evolution, and also contributes to
the development of a tourist focus that provides an opportunity to
improve the quality of life of its inhabitants.
Calle Tradicional
Traditional street
Current view of Jose Barreda Street with the church in the background.
Today, this street together with Av. San Martn and Calle Antonio Polo are
classified as Urban Monument Space, because of their historical buildings
and their original layout as typically narrow, republican streets.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 117
118
Non-urban homes for temporary occupation to enjoy the summer weather. The
layout is in the shape of a U or an L, not very large, built first in adobe and wattle
and daube, mud roofs and wooden floors, a covered gallery facing the street and
iron railings at the front. They were used in the 19th century and continued to exist
in the 20th century. There are examples of ranchos built in Chorrillos, Barranco
and Pueblo Libre. (Gladys Caldern, 2000).
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 119
Map dated 1898 that shows the route from Lima towards the town of
Magdalena Vieja and the resort of Magdalena del Mar, both towns
surrounded by farmland. Source: Juan Bromley y Barbagelata. Evolucin
Urbana de Lima. 1945.
120
Fuente: SUELDO GALVEZ, Carlos. "Magdalena Vieja: Estudio parta la revitalizacin de la Zona Monumental". Tesis para
optar el grado de bachiller. Facultad de Arquitectura, Universidad Ricardo Palma. 1989.
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 121
122
P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 123
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126
Document of the donation granted by Don Gonzalo, main chieftain of the Valley of Lima, to the Franciscan order, dated August 14, 1557.
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Acta de la donacin que le otorg Don Gonzalo, Cacique Principal del Valle de Lima, a los franciscanos, el 14 de agosto de 1557.
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P U E B L O L I B R E . h i s t o r y , c u l t u r e a n d t r a d i t i o n 127
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