Víctor Eusa Razquin (1894–1990) was a Spanisharchitect, active almost exclusively in Navarre; he left his personal mark on Pamplona, which hosts numerous prestigious and monumental buildings he designed. Eusa is best known for his version of art déco style, though he went also through eclectic, regionalist, rationalist, expressionist and neo-classical periods, with occasional references to historicism, beaux arts, neo-mudejár or Dutch neo-plasticism styles. His best known works are the San Miguel seminary and the Piarist college, both in Pamplona. In the mid-1930s he was engaged in politics and held a seat in the Carlistwartimeexecutive in Navarre.
The Eusa family has been for generations related to Valle de Egüés, a Navarrese community near Pamplona, already at the Pyrenean foothills.[1] Víctor's great-great-grandfather[2] and great-grandfather[3] originated from the village of Alzuza. Also his grandfather, Martín José Eusa Ardaiz, was the native of Alzuza, but in the mid-19th century he settled in Pamplona.[4] Víctor's father, Salustiano Eusa Goñi (1852-1919) was born already in the Navarrese capital; in 1889 he married Tomasa Razquin Ijurco (1862-1958) from Arruazu.[5] Eusa Goñi worked as administrator of estates, held by local landholders and aristocrats; his customers were e.g. the former mayor of Pamplona José Javier Colmenares Vidarte and Condesa de Ripalda. Over time he grew to wealth; while in the early 1880s there were no possessions registered against his name, in the 1910s he was known as “rico propietario”, categorized as member of “clases pasivas”[6] and ranked 44. on the list of key taxpayers of the city.[7]
Víctor was born as the only son; he had two sisters, an older[8] and a younger one.[9] They were raised in a family considered typical for Pamplonese bourgeoisie of the late 19th century, tending to conservative outlook, adhering to traditional values, and profoundly Catholic.[10] He initially frequented the Piarist school, later to enter Instituto General y Técnico de Pamplona.[11] Reportedly from early childhood he demonstrated a gift for drawing, and in his teens he developed interest in design and architecture. In 1911 or 1912 Víctor moved to Madrid.[12] During first few years he was attending courses at Universidad Central, required before commencing dedicated architectural studies. In 1914 he was admitted to Escuela Superior de Arquitectura. The curriculum lasted 6 years; throughout this period, his master was Teodoro Anasagasti.[13] Eusa graduated in 1920, together with other later known architects José de Azpiroz and Manuel Sanchez Arcas.[14] He then returned to Navarre seeking first design contracts.
wedding
In 1929 and when already a known architect, Eusa married a girl from Pamplona, Florencia Eugui Garro (1906-2009). She was descendant to another local bourgeoisie family.[15] Her father ran a sugar mill in the Cuatro Vientos district[16] and later developed it into the alcohol and vinegar business;[17] he also served as councilor in the Pamplona town hall.[18] The marriage proved to be lasting and happy; Florencia was ingenious and resourceful, which allowed Víctor to focus on architecture.[19] The couple lived in the Eusa family house at the central Pamplonese calle Estafeta[20] and had 4 children, born between 1930 and 1940: Carmen, María Jesús, Isabel and Miguel Angel Eusa Eugui.[21] None of them became a public figure. Neither Víctor's grandchildren are known nationally, though Reyes Marquiegui Eusa tried her hand as translator of juvenile literature.[22] The Eusa branch is likely to extinguish; Víctor's son has only female descendancy.[23]
Works (overview)
Vasco-Navarra
Eusa was professionally active between 1920 and 1973; throughout this period he was engaged in around 560 projects, some 80 to 120 every decade, though his most productive period ranged from the mid-1920s to the early-1950s.[24] Except his juvenile drawings and few designs which for one reason or another remained on paper, almost all were completed as finished constructions; they ranged from massive buildings or entire living quarters to sepulchral family mausoleums or minor refurbishments of existing buildings.[25] He delivered most of the projects as independent, contracted-out architect. However, during two spells he worked as self-governmental employee. In 1937-1941 Eusa acted as provisional municipal architect of the city of Pamplona;[26] in 1945-1962 he held the post of official provincial architect of Diputación Foral de Navarra.[27] Around 320 of his projects are related to Pamplona, many in the district known as Segundo Ensanche; he is so much associated with the city that some authors name him “el Gaudí de Pamplona”.[28] Most of the remaining constructions are located in Navarre and undertakings beyond his native region are very few.[29] Some 40 of his works were contracted by the Navarrese Diputación Foral, around 15 by the Pamplona town hall, around 30 by other ayuntamientos (mostly in Navarre), and around 30 by religious orders. Among Eusa's private or commercial customers the one which stands out is Caja de Ahorros de Navarra (around 60 projects); further 400 contracts were signed with other business entities, various institutions and numerous private individuals.[30]
Present-day historian divides Eusa's works into 13 categories. Some 65 projects covered multi-family residential buildings; some were grouped in entire housing developments, e.g. as council estates.[31] Around 60 designs were related to single-family estates, ranging from modest urban houses to prestigious villas to imposing rural properties.[32] Around 25 projects are categorized as public educational establishments, including crèches, various types of schools or entire compounds known as “colonia escolar”.[33] Around 20 works are related to schooling institutions managed by religious orders, including colegios, gymnasiums or seminars.[34] Constructions serving strictly religious purposes amount to some 35: they range from chapels to monuments, monasteries, churches and even hermitages.[35] There are some 55 sepulchral projects, especially family mausoleums; they include also military pantheons, monuments, crematoria or general cemetery designs.[36] Constructions intended for health and related services are clinics, elderly wards, sanatoria, charity establishments and hospitals (around 20).[37] Some 30 projects designed for travel & leisure industry cover hotels, casinos, cinemas, tennis clubs, concert halls or tourist shelters.[38] Administrative and other institutional projects include municipal houses, town halls and exposition halls (around 15).[39] Contracts with banks and other financial institutions amount to around 75, from headquarters of major insurance or bank companies to branch offices.[40] Other commercial projects cover bars, workshops, garages, service stations, retail or service premises (around 20).[41] Finally, general urban projects include parks, gardens, bus stations, plazas, viewpoints, monuments, a tunnel and a bridge.[42]
Major works
Piarist college
Chronologically the first major project was headquarters of the insurance company La Vasco Navarra (1924).[43] Along few large residential villas[44] the same year Eusa produced the plan of the Hijas de María Immaculada monastery.[45]Puente de San Jorge in Alcoy turned out to be the only bridge he designed (1926).[46]Casa de Misericordia was the first monumental, multi-volume establishment, designed with no restraints related to size. It included a number of in-built facilities, like a large chapel (1927).[47] Residential villa for Eguinoa brothers demonstrated ingenuity embodied in mid-size construction (1928).[48] Eusa returned to religious theme with the church of Padres Paúles, known as La Milagrosa (1928).[49] Colegio de los PP. Escolapios, a 3-storey enormous multi-wing building, was Eusa's most ambitious project so far and is one of his most iconic works (1928).[50]Basilica of Nuestra Señora del Puy in Estella turned an essay in geometry (1929),[51] while residential multi-dwellings at Plaza Príncipe de Viana marked his urbanistic capacity (1930).[52] A 7-storey edifice hosting Casino Eslava, with meticulously designed interior, was Eusa's last major work of the monarchy (1931).[53]
The first project of the Republican era was perhaps Eusa's most important work, usually listed first among his designs: Seminario Conciliar de San Miguel (1931).[54] Planned on massive scale for the plot of 98,000 sq.m., with numerous wings and internal yards, it was designed as a Pamplona landmark. Its giant cross on the front facade spoke volumes at the time when newly adopted law prohibited presence of religious symbols in public space.[55] Residential multi-apartment buildings at calle García Castañón, chalé de Erroz villa and a tennis club followed (1933).[56] Eusa returned to major projects with schooling establishments in Zudaire and Fuenterrabia (1933),[57] and then with crèche of San Manuel in Tafalla, designed with adjacent church. (1933).[58] A group of twelve 5-storey buildings hosting 400 flats is his most notable work in large-scale urbanistic design (1933).[59] The last project completed before the war was the Clinic of San Juan de Dios, another complex, large scale construction (1935).[60]
First arrangements of the Francoist period are exercises in urbanism: Parque de Media Luna (1937),[61] Plaza de la Cruz, war cemetery and the Taconera gardens (1938). Religious projects of Convento de las Esclavas and Colegio de Sagrado Corazón (1939) are compact compared to earlier projects.[62] Mausoleum to fallen Italian soldiers, planned for Zaragoza,[63] was built 3 years later with major changes introduced (1940).[64] In 1940-1941 Eusa joined forces with José Yárnoz to design Monumento a los Caidos, a monumental construction which jointly with re-arrangement of the quarter was intended as Pamplona's landmark.[65] Following a number of refurbishment projects[66] new masterpiece works were Casa Consistorial in Olite (1945), the Coliseo theatre in Eibar (1949), and the headquarters of the insurance company Aurora, a 10-storey corner building (1949).[67] Eusa's last major work is Colegio Santa María la Real, contracted by the Marianists (1951).[68] A number of other lesser projects followed, e.g. numerous multi-dwellings, refurbishments or branch offices. Some monumental designs, like Ego Sum Veritas church, remained on paper.[69]
During his formative years Eusa was influenced by 3 grand architects: Durand, Guadet and Wagner;[70] some add his direct master, Anasagasti.[71] Later on he absorbed styles advanced by the Vienna secession, the Paris art deco and the Dutch Amsterdam school. His early designs are referred to as eclecticism[72] or historicist eclecticism,[73] with interior of Casino Gran Kursaal in Donostia quoted as the key sample. The following phase is by some categorized as regionalism, exemplified by villas in II Ensanche.[74] Others also admit brief regionalist leaning, but categorize it as “episodes” falling on the early 1930s and prefer to quote colonias escolares in Zudaire and Fuenterrabia (1933),[75] works classified by others rather as marked by “romanticismo”.[76] The mid-1920s is viewed as the period of prevailing secessionist influence of the Vienna branch, marking the Immaculada convent, Casa de Misericordia or the Alcoy bridge.[77] A competitive approach places the Alcoy construction within the current defined as “French rationalism”, as demonstrated also by the Paulist college and church.[78]
The late 1920s and the early 1930s produced full esthetic maturity embodied in the trademark Eusa's style of art déco, at times referred to as “déco expressionism”[79] or simply as “expresionismo”.[80] Its best achievements are the Paules convent, the Escolapios college, the El Puy basilica,[81] the Eslava casino and above all, the San Miguel seminary.[82] Afterwards and well into the late 1930s Eusa underwent a “rationalist evolution”, demonstrated by utilitarian turn to residential buildings in the Pamplonese II Ensanche and in the San Juan clinic.[83] In the 1940s this phase gave way to urbanism, marked by parks, gardens, cemeteries and other public zones, including monuments.[84] This is also when Eusa embraced classicism or “estilo clásico nacional”; its most powerful demonstration is Monumento a los Caidos.[85] Later Eusa's works, dated at the late 1950s and later, are described as constructions marked by functional design and decreasing stylistic features. Apart from the above major categorizations, other style references sporadically applied to his architecture are symbolism,[86] medieval historicism,[87] Dutch neoplasticism,[88] beaux arts,[89] “simplismo”[90] and the neomudejár style.[91]
Casa Goicoechea
In terms of materials Eusa is considered the master of reinforced concrete. He was among the first Spanish architects who realized its flexibility and enormous potential compared to traditional techniques;[92] its usage was symbolically demonstrated by enormous cross at the San Miguel facade. Another preferred material was bricks, especially used jointly with concrete; this combination is thought to be related to influence of the Dutch architectural modernism. Steel is used mostly for decorative and auxiliary roles, like railings and bannisters. In terms of interior design scholars note that Eusa was among architects who mastered electric lighting, applied in different and ingenious ways. The result is not only enhanced functionality but also the look of his buildings after dark, e.g. the landmark role of Casino Eslava in the centre of Pamplona, patios and internal yards of Casa de Misericordia, or cross of San Miguel, originally visible for tens of kilometers in the countryside north-east of the city.[93]
Politics: Carlist episode
Carlist standard
Eusa's ancestors and distant relatives were loosely related to liberalism,[94] though he was brought up in the conservative, Catholic family.[95] Until mid-age he was not active in politics. However, during local elections of April 1931 he joined a local coalition list named “candidatura antirrevolucionaria”. It was dominated by Traditionalists from the Jaimista current, with few Integrist, liberal and independent candidates; Eusa was among the independents. The list proved hugely successful and Eusa was easily voted into the town hall.[96] However, Basque nationalists lodged a protest claiming irregularities. The claim was examined already by the makeshift, republican authorities, which decided to re-run the entire Pamplonese election process. The right-wing coalition was rebuilt as “candidatura católico-fuerista”, but for reasons which are not clear, Eusa was not on the list.[97]
During works on Casa de Misericordia Eusa frequently interfaced with its administrator, Blas Inza Cabasés, a Carlist militant. Historians speculate that it was because of him that Eusa started to approach Carlism.[98] The decisive moment was assassination of his friend and fellow architect Ezequiel Lorca, who in 1934 was killed by a socialist militant.[99] From this moment Eusa underwent political radicalization and some time afterwards joined Carlist organization in Pamplona and facilitated its operations, e.g. by enabling access to premises in some buildings.[100] According to his own testimony in the spring of 1936 he represented the movement during conspiracy talks with general Mola, though documents do not confirm this.[101] He might have also left some of his personal assets, among them a car, at the disposal of the plotters. During first days of the coup the Navarrese Carlists formed Junta Central Carlista de Guerra de Navarra, their regional wartime executive; within this structure Eusa took seat as the representative of Pamplona.[102] He also entered Inspección de Requeté and Régimen de Gobernación, two sub-bodies of unclear purpose.[103] Starting September he was also formally incorporated into requeté as jefe técnico of 1. compañía de zapadores.[104]
Eusa in Junta Central Carlista
There is little known of Eusa's engagement in Carlist structures in late 1936 and early 1937; some claim he was co-responsible for arrests carried out in Navarre and decided the fate of detainees.[105] His architectural work ceased almost entirely.[106] The exception was a giant altar, drafted probably in the fall of 1936; the construction was to be erected at the Madrid Puerta del Sol plaza, as the city was expected to be soon taken by the Nationalists.[107] It is known that in the spring of 1937 Eusa was taking part in sittings of the Navarrese junta when discussing the threat of forced amalgamation into a state party; details of the position he took are not clear.[108] In May 1937 the new Pamplona ayuntamiento performed purges among its employees; the municipal architect Serapio Esparza lost his job and as temporary stopgap measure, Eusa was appointed “arquitecto municipal interino”.[109] From this moment onwards there is no information available on any further Eusa's engagements in Carlist structures, though Carlist connections were related to his further professional career.[110]
↑ Víctor great-great-great-great grandfather was Carlos Eusa, his great-great-great- grandfather was Miguel Eusa Elain; in 1728 he married Graciosa Errea Ecay, Miguel Eusa Elain entry, [in:] Geneaordoñez service, available here
↑ Víctor's great-great-grandfather was Francisco Eusa Errea; in 1780 he married Maria Josepha Ardanaz Azacarate from Alzuza, Pedro Miguel Eusa Ardaiz entry, [in:] Geneaordoñez service, available here
↑ Víctor's great-grandfather was Pedro Miguel Eusa Ardanaz; he married Maria Andres Ardaiz Roncal, Martin Josef Eusa Ardaiz entry, [in:] Geneaordoñez service, available here
↑ Víctor's grandfather Martin Josef Eusa Ardaiz in 1845 married Maria Goni Esquiroz, Salustiano Eusa Goñi entry, [in:] Geneaordoñez service, available here
↑ she was daughter to Jose Francisco Razquin and Braulia Vicenta Yjurjo [Yjurco] Adrian from Lizarraga de Ergoyena, Tomasa Razquin Ijurco entry, [in:] Geneaordoñez service, available here
↑ e.g. individuals which did not perform any specific job and lived off what they already possessed
↑ Fernando Tabuenca González, La arquitectura de Víctor Eusa [PhD thesis Universidad Politécnica de Madrid], Marid 2016, p. 20
↑ Felisa Eusa Razquin entry, [in:] Geneaordoñez service, available here
↑ María Dolores Eusa Razquin did not marry, Tabuenca González 2016, p. 19
↑ in 1973, when Eusa found i difficult to climb the stairs, the couple moved to an elevator-equipped house at Plaza del Vínculo, Ion Stegmeier, Los personajes de Víctor Eusa, [in:] Diario de Navarra 08.10.10, available here
↑ in the 1920s Eusa was engaged in 83 projects. For the following decades the figures are as follows: 1930s: 128, 1940s: 128, 1950s: 101, 1960s: 104, 1970s: 15, see the list in Tabuenca González 2016, pp. 435-444. After the early 1950s his work “carece de la creatividad de la época anterior”, Tabuenca González 2016, p. 187
↑ entire list in Tabuenca González 2016, pp. 435-444
↑ the Vasco Navarra project adhered to the holistic Gesamtkunstwerk concept and included also interior design down to minor detail Tabuenca González 2016, p. 47
↑ e.g. for Rafael Aizpún and Sebastián Goicoechea, Tabuenca González 2016, p. 47-48
↑ the original design was centred upon an 83-metre-high tower, which would make it the highest point in the city, Javier Rodrigo, Fascist Italy in the Spanish Civil War, 1936-1939, London 2021, ISBN 9781000378054, p. 203
↑ details in Andrés Caballero Lobera, La basílica del Puy de Víctor Eusa, una obra en el legado religioso de O. Bartning y de D. Böhm, [in:] En Blanco 21 (2016), pp. 73-78
↑ his father administered estates of the local Liberal politician, while his father-in-law served as councilor in the Pamplona town hall elected on the liberal ticket, Tabuenca González 2016, p. 141
↑ Pablo Larraz Andía, Víctor Sierra-Sesúmaga Ariznabarreta, Requetés: de las trincheras al olvido, Madrid 2011, ISBN 9788499700465, p. 812
↑ in his unedited manusctript, written in 1967, Eusa wrote: „marcada francamente la situación de cada uno, intervengo como Enlace con el General Mola en la preparación del Movimiento”, referred after Tabuenca González 2016, p. 141
↑ Javier Ugarte Tellería, El carlismo en la guerra del 36. La formación de un cuasi-estado nacional-corporativo y foral en la zona vasco-navarra, [in:] Historia contemporánea 38 (2009), p. 66
↑ Presentación del libro sobre simbología franquista en Navarra, [in:] Plazaberri service 26.02.16, available here. So far, calle Victor Eusa still exists, see here
↑ Juan Carlos Peñas Bernaldo de Quirós, El Carlismo, la República y la Guerra Civil (1936-1937). De la conspiración a la unificación, Madrid 1996, ISBN 9788487863523, p. 64
↑ e.g. the business manager of Caja de Ahorros in Navarre was the Carlist politician José Martínez Berasaín; Eusa signed over 50 contracts with Caja. Eusa's appointment to Navarrese arquitecto provincial was related to influence of conde de Rodezno, former Carlist leader in the region, Tabuenca González 2016, p. 179
Aurora office building
Further reading
José Javier Azanza López, Construcción de Villa Teresa por Víctor Eusa, [in:] José Javier Azanza López, Emigración, urbanismo y arquitectura en Huarte: la familia Ros, Villa Teresa y Víctor Eusa, Huarte 2005, ISBN 8492278757, pp.215–260
Oriol Bohigas, Arquitectura española de la segunda república, Barcelona 1970
Andres Caballero Lopera, The intervention of Victor Eusa in the 2nd Ensanche of Pamplona: the artistic transformation of a technical model, [in:] 24th ISUF International Conference. Book of Papers, Valencia 2017, ISBN 9788490485743, pp.881–889
Andrés Caballero Lopera, Víctor Eusa – arquitécto: Pamplona 1894-1990 [Phd thesis Universidad del País Vasco], San Sebastián 2016
Carlos Docal, Primer arquitectura moderna en y de Navarra (1900-1950) [PhD thesis Universidad de Navarra], Pamplona 2009
Juan Daniel Fullaondo, Víctor Eusa, [in:] Nueva Forma 68 (1971), pp.6–30
Francisco de Inza, La obra de Víctor Eusa, [in:] Arquitectura 137 (1970), pp.2–23
Jesus Leache, Victor Tabuenca, Victor Eusa arquitecto, Pamplona 1989
José Ignacio Linazasoro, Víctor Eusa, [in:] Nueva Forma 90-91 (1973), pp.2–37
Raquel Santos Calpe, Creatividad viva: Del expresionismo poético de Víctor Eusa al rigor constructivo de Moneo y Mangado, [in:] Revista del Ministerio de Fomento 509 (2002), pp.190–195
Fernando Tabuenca, La arquitectura de Víctor Eusa, [in:] Composición Arquitectónica 4 (1989), pp.1–12
Fernando Tabuenca, La arquitectura de Víctor Eusa, [in:] Arquitectura 31 (1999), pp.26–35
Fernando Tabuenca González, La arquitectura de Víctor Eusa [PhD thesis Universidad Politécnica de Madrid], Marid 2016
Navarre, officially the Chartered Community of Navarre, is a landlocked foral autonomous community and province in northern Spain, bordering the Basque Autonomous Community, La Rioja, and Aragon in Spain and Nouvelle-Aquitaine in France. The capital city is Pamplona. The present-day province makes up the majority of the territory of the medieval Kingdom of Navarre, a long-standing Pyrenean kingdom that occupied lands on both sides of the western Pyrenees, with its northernmost part, Lower Navarre, located in the southwest corner of France.
Pamplona, historically also known as Pampeluna in English, is the capital city of the Chartered Community of Navarre, in Spain.
Jaime del Burgo Torres was a Spanish official, writer and a Carlist activist. He is noted mostly as a historian; his works focus on Navarre and the Carlist wars. As a public servant he is known as longtime head of Navarrese library network, regional Ministry of Information delegate and a governmental and self-governmental tourist official. As a Carlist he is acknowledged as moving spirit behind the Navarrese Requeté in the 1930s and as representative of the Carloctavista faction during early Francoism. He also wrote novels, poems and dramas.
Luis Arellano Dihinx (1906–1969) was a Spanish Carlist and Francoist politician. He is recognized as one of the leaders of the so-called Juanistas, a faction within Carlism pressing recognition of the Alfonsist claimant Don Juan de Borbón as a legitimate Carlist heir to the throne.
Carlism was the dominant political movement in elections in Navarre during the period between the Third Carlist War and the Primo de Rivera dictatorship. The movement, defeated in 1876, during the Restauración period recalibrated its focus from military action to political means and media campaigns. Accommodating themselves to political framework of the Alfonsine monarchy, party leaders considered elections, and especially elections to Cortes Generales, primary vehicle of political mobilization. Navarre turned out to be the Carlist electoral stronghold; it elected 35% of all Carlist deputies voted into the parliament during almost 50 years of the monarchical liberal democracy. Though the phenomenon remained marginal from the national Spanish perspective, political prowess of Carlism in the province was key to sustain its potential until the movement regained momentum during the Second Spanish Republic.
Joaquín Baleztena Azcárate was a Spanish Carlist politician. During three consecutive terms between 1919–1923 he served as a Traditionalist member of the Cortes. In two separate strings of 1931–1942 and 1951–1957 he headed the regional party organization in Navarre; he remained one of key nationwide Carlist politicians from the late 1910s till the early 1970s. In 1937–1939 he was a member of the Falange Española Tradicionalista y de las JONS executive, Consejo Nacional.
Tomás Domínguez Arévalo, 6th Count of Rodezno, 12th Marquis of San Martin (1882–1952) was a Spanish Carlist and Francoist politician. He is known mostly as the first Francoist Minister of Justice (1938–1939). He is also recognised for his key role in negotiating Carlist access to the coup of July 1936 and in emergence of carlo-francoism, the branch of Carlism which actively engaged in the Francoist regime.
José Benigno Sánchez Marco (1865-1949) was a Spanish Traditionalist politician, associated mostly with a branch known as Integrism and operating as Partido Católico Nacional, though active also within the mainstream Carlism. He is recognized as one of the longest-serving Integrist deputies to the Cortes, his 4 consecutive terms lasting between 1905 and 1916. He also presided over a number of Navarrese Catholic and landowners’ organizations.
José Ángel Zubiaur Alegre (1918–2012) was a Spanish right-wing politician. Throughout most of his life he remained active as a Carlist militant and held some positions in the regional Navarrese party executive. In the 1970s he left the movement and contributed to birth of a Navarrista party, Unión del Pueblo Navarro. His career climaxed during the Cortes term in 1967–1971, when he strove to liberalize the regime and gained nationwide recognition. In 1948–1951 and 1983–1987 he served also in the regional Navarrese self-government.
Jesús Elías Francisco Elizalde Sainz de Robles (1907–1980) was a Spanish Carlist politician. He served in the Cortes in two separate strings: during the Second Republic in 1936 and during Francoism in 1954-1958. In 1938-1939 he was a member of Junta Política of Falange Española Tradicionalista, and in 1954-1958 he was a member of FET's Consejo Nacional. In 1942-1944 he headed the regional Carlist Navarrese organization. Politically he sided with the Carlist branch which opted for conciliatory policy towards the Franco regime and leaned towards a monarchist dynastical alliance.
Blas Morte Sodornil (1849-1921) was a Spanish entrepreneur, a regional high self-government official and a Carlist politician. He is known mostly as vice-president and de facto acting president of Diputación Foral, the Navarrese regional self-government, holding the post during two successive terms between 1913 and 1917. In the early 1920s he headed the Carlist regional organization in Navarre and was nearly appointed the party nationwide leader. In business he rose from owner of a petty stonemasonry workshop to businessman with international connections, active in the construction, wood, trade, sugar and agriculture industry.
Victoriano José Martínez Berasáin (1886–1960) was a Spanish Carlist politician, noted particularly in his native Navarre. He is best known for his role during anti-Republican conspiracy of early 1936 and during the first months of the Civil War, when he headed the regional wartime Carlist executive. In 1937–1938 he was the provincial leader of Falange Española Tradicionalista; in 1939 he served as vice-president of Diputación Foral de Navarra. During two successive terms of 1955–1960 he was holding a seat in the Cortes. He is also acknowledged as an amateur photographer.
Amadeo Marco Ilincheta (1900-1987) was a Spanish Traditionalist politician, until 1942 active within the Carlist movement and afterwards in the Francoist structures. He is best known as the iconic Navarrese personality of the Franco era, principally as a longtime member of the regional self-government, Diputación Foral. He served as representative of the Aoiz-Sangüesa district in 1931 and then continuously during 6 successive terms in 1940–1979; during a few strings he was acting president of the Diputation. In 1943-1954 and in 1967-1977 he held a seat in the Francoist Cortes. In 1942-1954 he was a member of the Falange Española Tradicionalista executive, Consejo Nacional. Since 1927 he intermittently served as the mayor of Navascués.
Mariano Zufía Urrizalqui (1920-2005), Basque: Mariano Zufia Urrizalki, was a Spanish politician and a Navarrese public official. In 1966-1973 he served in the Pamplonese city council, in two separate strings as a deputy mayor. In 1974-1979 he was member of the Navarrese advisory body Consejo Foral, while in 1979-1983 he held a seat in the regional Parlamento Foral. In 1982-1992 he was president of Cámara de Comptos, the Navarrese institution responsible for tax collection and the self-government-controlled public sector finances. He ran for the Cortes in 1971, 1977 and 1979, but failed. Politically he supported the Carlist cause, until the 1960s within its mainstream Traditionalist current, and afterwards as member of the progressist carlohuguista faction. In 1977-1979 he headed Euskadiko Karlista Alderdia, the vasco-navarrese branch of Partido Carlista; in 1979-1983 he was the nationwide leader of PC.
Miguel Irigaray Gorría (1850–1903) was a Spanish Carlist politician from Navarre. His career climaxed during three terms in Congreso de los Diputados, the lower chamber of the Cortes; in 1896–1898, 1901–1903 and 1903 ; his bids of 1886, 1891, 1893 and 1898 were unsuccessful. During his service he was recognized principally as an ardent opponent of governmental secularization policy, who in numerous parliamentarian addresses spoke in favor of the Church – especially religious orders – and who demanded that the constitutionally guaranteed religious liberty be abolished.
The Church of La Milagrosa is a building located in the Segundo Ensanche development area of Pamplona, built in 1928 and inaugurated in 1930, designed by the architect Víctor Eusa Razquin. It is part of the convent made for the Congregation of the Mission, which members are known as Paules locally, and therefore the church is also known with the names Padres Paúles or Misioneros Paúles.
The Seminary of Pamplona is the catholic seminary of that city, opened in 1931 and designed by the architect Víctor Eusa Razquin.
Joaquín Beunza Redín (1872-1936) was a Spanish Carlist politician. His career climaxed in 1931–1933, when during one term he served as deputy to the Cortes; in 1909-1917 he was also member of Diputación Foral, the Navarrese self-government, and in 1901-1906 he formed part of the Pamplonese city council. He is best known for long-time efforts to preserve and broaden separate Navarrese legal establishments; he represented Pamplona in talks with Madrid during 1917-1919 negotiations on so-called reintegración foral, in 1924–1927 on so-called cupo and Convenio Económico, in 1930–1931 on Basque-Navarrese autonomy and in 1936 on separate Navarrese Carta Foral.
Esteban Ezcurra Arraiza (1888–1964) was a Spanish landholder and local public servant. During a few separate strings between 1920 and 1960 he served as mayor of Echauri and in the late 1940s as member of the Navarrese auxiliary advisory body, Consejo Foral Administrativo. In the mid-1930s he took part in Carlist conspiracy and preparations to the July 1936 coup d'état. He is best known as commander of the regional rearguard branch of the Carlist militia requeté, and was active in particular in early months of the Spanish Civil War. In historiography he is counted among chief architects of wartime Nationalist terror in Navarre and is portrayed as the person who managed the Carlist repression network in the region.
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