5. Common Grave Path
We take the Common Grave Path -the main east-west axis of the cemetery, perpendicular to the Costa Path- and turn to the east towards the Common Grave. Here we find some of the most interesting tombs of the cemetery.
The first important work is the pantheon of the Foundation J. Nicolás de Escoriaza (1905), formed by a high trunk-pyramidal base, crowned with a slender Angel of the Final Judgement made in Carrara marble. A little bit ahead, on the right side, we find the vault of the family Palomar-Cebrián (built around 1895), one of the scarce existing examples in the cemetery made in iron. This material was in fashion at the end of the 19th century, since it is near indestructible and perfect for funerary art. After a century, its deterioration is evident.
Going along the same route, on the left side, we find Praying Angel, vault of the Family Matute Pérez (1898). The sculptor Dionisio Lasuén made a kneeled down guardian angel before a tomb ornated with ivy leaves, the symbol of rebirth. It is a delicate work which highlights the beautiful features of the face and the outward appearance of wings and folds.
At the same side, we find the vault of the Laín family (1921), a Romanesque revival work built with solid ashlars of clear stone with carved capitals, tympanum with a Jaca-style chess-shape banner, and a projected cornice with rolled medallions.
We cross Costa Path and go along to the east where we find four very interesting family vaults. On the left, the Pantheon of Gerardo Mermejo (1915) has one of the most sublime ornamentations and stoneworks of the cemetery: ringed columns covered with shrouds, capitals with ivy leaves, rose garlands, wreaths, shrouds tighten with ribbons, and hanging candelabra with shrouds. A guardian angel stays sit on a tomb, a worthy work of the sculptor Carlos Palao. Opposite, there is the family vault of the businessman and politician Juan Bruil (1880), with a simple structure and elevation flanked by columns and crowned by a small tympanum. This space includes the bust-portrait of Bruil, made in marble by, maybe the best Spanish Neoclassic sculptor, the local artist Ponciano Ponzano. A work made in pure Neoclassic style. Going down a little bit, we find the huge Maynar Family Vault (1890), planned by the architect Félix Navarro. The size and robustness of the group and its graceful cupola can be highlighted. From an architectural point of view, this is one of the most outstanding works of Zaragoza´s cemetery. On the opposite side we find the vault of Portoles family (1912), a rectangular-shape shrine with walls covered with splendid and finely made bas-reliefs in bronze modelled by Carlos Palao, using topics such Christ´s resurrection and inhumation. Sculptural and ornamental elements of funerary symbology are the protagonists of the facade.
From here, we go along the same path till the Common Grave. Now, we will take a look at some other interesting works.
On the right side, the Familly Vault of Eustasio Morón (1922) is representative of a Classic Rome burial, with a sculpturing portrait of the dead person. Ahead and opposite to it, the Pardo-Alcala Family Vault (1931) is inspired by Egyptian shapes. A woman sit in front of the half-open gate of the eternal life. Taking a slight detour to block 65, we find the pantheon of the bullfighter Jaime Ballesteros "Herrerín", dead in tragic circumstances in 1914. The bust-portrait of the bullfighter is made in stone and place on a pedestal. On the tomb, there is a statue of a sit woman crying for his death. Next to it but on the path, we find the family vault of another bullfighter, Florentino Ballester "Ballesteros", his bust in bronze and the tomb covered by his cape and hat.
Finally, the path extends forming a wide open space -the Common Grave Square- in which cypresses, pines and rosemary surround the sculptural group formed by the Common Grave Commemorative Monument (1919). Two men hold the dead body of another to bury him. This work was awarded the Second Medal of the National Exposition of Fine Art and is a referent of Zaragoza Cemetery thanks to its clever composition and formal treatment of the three naked bodies made in stone with a bigger size than usual. His author, José Bueno, is one of the main Aragonese sculptors of the 20th century. The work was made by popular subscription and includes a long epitaph written by Juan Moneva. There are not many places in which a sculpture reaches a full integration with its surroundings.
We come back for the same route and take the first paved path to the right, northbound to path "A". We also can take any of the two following earth paths with the same direction and gaze at interesting family vaults from the first decades of the 20th century.