From July 16th, 1977, the province of Artemisa, prevails to lodge the mortuary enclosure of the fallen heroes in the attack to the Moncada and Carlos Manuel de Céspedes Barracks, on July 26th, 1953.

At the request of the relatives of the martyrs, the territorial government at that time, approved the construction of the Mausoleum that was in charge of the architects Augusto Rivero, Marcial Diaz and Dolores Espinosa. The Commander in Chief Fidel Castro participated in the inauguration.

The niches with the remains of the combatants, were placed in semi-cliffed walls in the form of a slope, crossed by the light, the city noise and sometimes the rain in singular waterfalls.

A tunnel guides the entrance to the enclosure, followed by six steps of crystallized mud whose black ceiling represents the reality that lived Cuba after the coup d’etat carried out by Batista. Already in the first step, the visitors can appreciate how the people manifested against the government of the time.

The second step pays tribute to the places where the people of Artemisa were trained and assembled. The Marcha de las Antorchas (March of the Torches), on the occasion of the centenary of the José Martí´s birth, occupies the third space, while the fourth and fifth sections indicate the action of the 26th of July Movement.

The sixth step shows the giant figure of Martí, intellectual author of the assault on the Moncada Barracks.

In 1987 the site was declared a National Monument. On January 17, 2000, after being subjected to capital repair, a new pantheon was created. There, rests the remains of those who intervened in the actions of July 26 and enjoyed the triumph of the Revolution.

Almost 40 years after its founding, the Mausoleum to the Martyrs of Artemisa remains the most distinctive site of the city, which became the capital of the province six years ago.

The visitor who arrives here cannot refrain from visiting this symbolic site, where the bodies of the generation that made the triumph of the Cuban Revolution in 1959 rest eternally.

by: Victor Manuel Blanco