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Una Pirámide Veracruzana Para La Estatua De La Libertad

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Una Pirámide Veracruzana Para La Estatua De La Libertad un faro que tenía la forma de una fellah o campesi- A u g u s t e B a r t h o l d i , na egipcia sujetando en alto una antorcha. Con una “L’Egypte apportant la lu- Una pirámide veracruzana altura de 40 metros, estaba planeado para ocupar mière à l’Asie”, 1869. pro- yecto de monumento para la entrada del recién inaugurado Canal de Suez. el Canal de Suez. Musée Pese a la airada respuesta de Bartholdi negando Bartholdi, Colmar. para la Estatua de la Libertad el hecho, es claro que un proyecto engendró al otro por allá de 1869 o 1870, máxime si comparamos los sucesivos modelos de terracota y las acuarelas que Leonardo López Luján hoy se localizan en el museo dedicado al escultor en su ciudad natal de Colmar. De manera incontrover- El Ángel de la Independencia, la Torre Eiffel, el Big Ben, la Puerta de Brandenburgo y tible, la campesina con túnica y velo imaginada para Suez se metamorfosea en la Libertas ataviada con la Estatua de la Libertad se han convertido no sólo en los emblemas de las ciudades stola y palla que más tarde fue erigida en terrenos de donde fueron erigidos, sino también en íconos de sus respectivos países. El estudio de Bedloe’s Island. Conceptualmente, tanto la aldeana egipcia como la diosa romana –con todo y sus su- estos monumentos nos remite a instantes cruciales en la historia de las naciones, al gerentes quiebres de cadera– enarbolan la luz civi- tiempo que nos revela los valores y las aspiraciones de sus constructores. lizadora propia del mundo moderno. Las dos hacen las veces de mayúsculos faros antropomorfizados, evocaciones remotas del coloso que figuraba al so- lar Helios, y que con un nimbo sobre la cabeza y F p una linterna en la mano daba la bienvenida a los ma- EM paslt a Ann Cyphers en los veinte años del K C. : A rinos en el puerto de Rodas. Ambas, la efigie de Suez í RAF y la de Nueva York, indicarían a los viajeros prove- og R p E nientes de tierras lejanas su pronta llegada, unos al R Mar Rojo y otros al sueño americano… En busca de una base idónea vo a cargo de la estructura de sustentación de la Y ¿qué decir de sus respectivos pedestales? En el estatua. Ahí, sobre las ruinas de Fort Wood, se ob- infructuoso proyecto para el khedive, Bartholdi fue serva un pedestal en forma de torre hexagonal, el muy cuidadoso al diseñar un pedestal desprovisto cual refleja un decidido gusto por lo medieval y de todo elemento superfluo que pudiera distraer la nos recuerda vagamente una pieza de ajedrez. atención hacia la imagen luminosa de la fellah. Tra- Con la muerte de Viollet-le-Duc, Bartholdi zó tan sólo los gráciles contornos de la entrada tra- pudo actuar con completa libertad y concebir un pezoidal y la cornisa recta de un templo faraónico, pedestal “sin multiplicación de detalles” que, en aludiendo así al glorioso pasado del continente afri- sus palabras, “destruirían las proporciones de la obra”. Este sentir se constata en una bella acuare- cano. En cambio, en el proyecto desarrollado para F p Laboulaye, Bartholdi siempre estuvo consciente de la que también se encuentra en el Musée Barthol- EM : C. K C. : A que él no sería quien concebiría el pedestal de su di. Elaborada hacia 1880, se compone de dos ho- í RAF N Libertas. En efecto, en 1875 se había estipulado og R p E con todas sus palabras que, si bien Francia regala- R z Lujá z E ría la estatua de 46 metros de altura y 100 tonela- Anónimo, “Frédéric-Augus- do Lóp do das de purísimo cobre de Noruega, los Estados te Bartholdi with a Statuet- NAR o te”, ca. 1865-1870. Musée E Unidos se unirían al esfuerzo celebratorio proyec- Bartholdi, Colmar. Foto: L Foto: tando el pedestal y haciéndose cargo de los costos y trabajos de erección de todo el monumento. Con todo, lo anterior no fue óbice para que los Un proyecto reciclado de la independencia de los Estados Unidos y para La Estatua de la Libertad de franceses hicieran sus propias propuestas, pues Auguste Bartholdi y el pe- En más de una ocasión, el escultor francés Frédé- estrechar los crecientes nexos entre ambas poten- sabían bien que el impacto visual de la estatua y Auguste Bartholdi, “La sta- destal de Richard Hunt eri- ric Auguste Bartholdi (1834-1904) fue acusado de cias. A decir del New York Times, la también llama- la apariencia final del conjunto dependerían tan- tue en place sur Bedloe’s Is- gidos sobre la estructura en haber engañado al jurista Édouard de Laboulaye y da Estatua de la Libertad no era más que una ver- to de la configuración como de la altura del pe- F land”, 1875. propuesta de forma de estrella de Fort p EM pedestal en forma de torre a sus demás paisanos de la Unión Franco-Ameri- sión maquillada de “Egipto llevando la luz a Asia”, Wood, Bedloe’s Island, Ba- destal. Por ejemplo, en un dibujo temprano que : C. K C. : hexagonal, posiblemente A cana cuando les presentó la maqueta de “La Liber- fallido proyecto que el propio Bartholdi había con- hía de Nueva York. data de 1875, Bartholdi presentó lo que pudieran í inspirada en una idea de RAF tad iluminando al Mundo”, escultura ciclópea que cebido en 1867 y puesto a consideración de Ismail ser las ideas de su maestro Eugène Viollet-le-Duc, og R Eugène Viollet-le-duc. Mu- p E serviría de regalo para conmemorar el centenario Pashá, el khedive o virrey de Egipto. Se trataba de el influyente arquitecto que en un principio estu- R sée Bartholdi, Colmar. 78 / ArqueologíA MexicAnA unA piráMide verAcruzAnA pArA lA estAtuA de lA libertAd / 79 un faro que tenía la forma de una fellah o campesi- A u g u s t e B a r t h o l d i , na egipcia sujetando en alto una antorcha. Con una “L’Egypte apportant la lu- Una pirámide veracruzana altura de 40 metros, estaba planeado para ocupar mière à l’Asie”, 1869. pro- yecto de monumento para la entrada del recién inaugurado Canal de Suez. el Canal de Suez. Musée Pese a la airada respuesta de Bartholdi negando Bartholdi, Colmar. para la Estatua de la Libertad el hecho, es claro que un proyecto engendró al otro por allá de 1869 o 1870, máxime si comparamos los sucesivos modelos de terracota y las acuarelas que Leonardo López Luján hoy se localizan en el museo dedicado al escultor en su ciudad natal de Colmar. De manera incontrover- El Ángel de la Independencia, la Torre Eiffel, el Big Ben, la Puerta de Brandenburgo y tible, la campesina con túnica y velo imaginada para Suez se metamorfosea en la Libertas ataviada con la Estatua de la Libertad se han convertido no sólo en los emblemas de las ciudades stola y palla que más tarde fue erigida en terrenos de donde fueron erigidos, sino también en íconos de sus respectivos países. El estudio de Bedloe’s Island. Conceptualmente, tanto la aldeana egipcia como la diosa romana –con todo y sus su- estos monumentos nos remite a instantes cruciales en la historia de las naciones, al gerentes quiebres de cadera– enarbolan la luz civi- tiempo que nos revela los valores y las aspiraciones de sus constructores. lizadora propia del mundo moderno. Las dos hacen las veces de mayúsculos faros antropomorfizados, evocaciones remotas del coloso que figuraba al so- lar Helios, y que con un nimbo sobre la cabeza y F p una linterna en la mano daba la bienvenida a los ma- EM paslt a Ann Cyphers en los veinte años del K C. : A rinos en el puerto de Rodas. Ambas, la efigie de Suez í RAF y la de Nueva York, indicarían a los viajeros prove- og R p E nientes de tierras lejanas su pronta llegada, unos al R Mar Rojo y otros al sueño americano… En busca de una base idónea vo a cargo de la estructura de sustentación de la Y ¿qué decir de sus respectivos pedestales? En el estatua. Ahí, sobre las ruinas de Fort Wood, se ob- infructuoso proyecto para el khedive, Bartholdi fue serva un pedestal en forma de torre hexagonal, el muy cuidadoso al diseñar un pedestal desprovisto cual refleja un decidido gusto por lo medieval y de todo elemento superfluo que pudiera distraer la nos recuerda vagamente una pieza de ajedrez. atención hacia la imagen luminosa de la fellah. Tra- Con la muerte de Viollet-le-Duc, Bartholdi zó tan sólo los gráciles contornos de la entrada tra- pudo actuar con completa libertad y concebir un pezoidal y la cornisa recta de un templo faraónico, pedestal “sin multiplicación de detalles” que, en aludiendo así al glorioso pasado del continente afri- sus palabras, “destruirían las proporciones de la obra”. Este sentir se constata en una bella acuare- cano. En cambio, en el proyecto desarrollado para F p Laboulaye, Bartholdi siempre estuvo consciente de la que también se encuentra en el Musée Barthol- EM : C. K C. : A que él no sería quien concebiría el pedestal de su di. Elaborada hacia 1880, se compone de dos ho- í RAF N Libertas. En efecto, en 1875 se había estipulado og R p E con todas sus palabras que, si bien Francia regala- R z Lujá z E ría la estatua de 46 metros de altura y 100 tonela- Anónimo, “Frédéric-Augus- do Lóp do das de purísimo cobre de Noruega, los Estados te Bartholdi with a Statuet- NAR o te”, ca.
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