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Ignacio Agramonte | |
North end | Caller Arsenal |
---|---|
Major junctions | Calle Neptuno, Calle Dragones |
South end | Capdevila (Cárcel) |
Other | |
Known for | Havana walls |
Calle Zulueta follows the exterior line of the old defense wall of Havana, its route is affected by several inflections along the way. Running from its northern source at Calle Arsenal, it follows a slight incline to the southwest and heads south at the intersection with Calle Neptuno, then inclining to the south southeast at Calle Dragones. [1] With a slight incline to the southwest, it heads south at the intersection with Calle Neptuno, then inclining to the south southeast at Calle Dragones. [1] It marks one of the limits of the Parque Central, it extends by the Plaza hotel, and by the Museo Nacional de Bellas Artes (Trocadero, between Zulueta y Monserrate), Sloppy Joe's bar. Running parallel to Calle Zulueta is Calle Monserrate.
Calle Zulueta runs north from its southern intersection with Calle Cárcel north to the Havana Central railway station on Calle Arsenal. Calle Ignacio Agramonteis was its official name given in 1909, the locals to the present call it by the name it received in 1874: Calle Zulueta. [2]
Its name honors of the potentate Don Julián de Zulueta, 1st Marquis of Álava, a colonel of the Volunteer Corps, president of the Spanish Casino, municipal deputy mayor, interim political governor on several occasions in which he rendered notable services to the city of Havana in terms of charity and public works. Julián Zulueta was a staunch defender of slave trafficking. [lower-alpha 1] [1]
The main character of Guillermo Cabrera Infante's La Habana para un infante difunto family moves to Calle Zulueta: [3]
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Paseo del Prado is a street and promenade in Havana, Cuba, near the location of the old city wall, and the division between Centro Habana and Old Havana. Technically, the Paseo del Prado includes the entire length of Paseo Martí approximately from the Malecon to Calle Máximo Gómez, the Fuente de la India fountain. The promenade has had several names; it was renamed Paseo de Martí in 1898 with the island's independence from Spain. Despite the historic references, the people of Havana simply call it "El Prado".
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Arcabuco was the name of a footpath starting in Old Havana, in the vicinity of the church of Loma del Ángel, and ran in a westerly direction to an inlet cove of approximately 93 metres (305 ft) wide and 5.5 metres (18 ft) in depth. When Juan Guillén a Spanish soldier installed a carpentry shop to build small boats close to the cove the site became known as “La Caleta de Juan Guillén”, the road was known as “the caleta”. Eventually the Hospital de San Lázaro, the Espada Cemetery, the San Dionisio mental asylum, and La Casa de Beneficencia were developed in close proximity to the Caleta de San Lazaro.
The Antonio Maceo monument is a 1916 bronze statue by the Italian sculptor Doménico Boni located in the neighborhood of San Lázaro, between Malecón and the Hermanos Ameijeiras Hospital.
Calle Monserrate is a primary thoroughfare in Old Havana. It serves as an extension or continuation of Calle Egido, traversing Old Havana from end to end. Both streets were originally known as Belgium Avenue. The segment near the former Presidential Palace is referred to as Avenida de las Misiones. Consequently, if we trace its path from the old Railway Station to the monument of Major General Máximo Gómez, Calle Monserrate currently boasts the highest number of names that define its course. Calle Monserrate is the other side of the original city wall designated by Calle Zulueta, Havana.
The palace of the Marchioness of Villalba, built around 1875, features the work of architect Eugenio Rayneri y Sorrentino. According to historian Carlos Venegas in his book "The Urbanization of Las Murallas: Dependence and Modernity," the palace maintains the traditional structures of Havana's stately homes while updating its ornamentation with precise historicist features. The main floor displays Corinthian pilasters and curved or triangular pediments, alternating with the transparency of the two galleries of the main central patio. The architect incorporated a Gothic motif of a pointed arch in the portal arch, showcasing an eclectic and historicist expression. This departure from strict neoclassicism demonstrates a more daring approach in the conception of its forms and in the modernization of the style. It is located on what is today is Calle Egido 504 in Havana.
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