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This 1-2 hours tour begins in the Reception courtyard, facing Reception.
Looking right, and then from right to left, is the guardhouse and generator, followed by gift store, Casa Cusin, public bathrooms (toilets), Reception with Internet Café. To the left of Reception is a Squash Court (1990), once a milking shed, followed by a games room (ping-pong, pool- billiards, darts), (1990). The narrow corridor leads to the kitchens, staff dining room, laundry and carpenter’s workshop. Opposite Reception, is the Yapahuasi (Gift-house, Quechua) with guestrooms and family suites, 11-16. Its corridor was added to a previous corridor in 1990, filled in to make guestrooms in 1970. The Moorish-style blue tiles were copied from Cusin’s original tiles by Manuel Vega in 2003 Today’s Reception court cobblestones once clattered to the sound of horses, stabled in Yapahuasi. Each weekend, Sñra Piedad presents renowned Zuleta embroidery while Luz Maria Anrango, daughter of famous weaver Miguel Anrango, presents her crafts nearby.
Pass through the open iron gates and, to the left, walk past triple suite guestroom 18. To the right, beyond the patio (2003) divide, are blue entrance doors to the main house. One can enjoy a patio lunch of soup, sandwiches, coffee, cappuccinos, tea or drinks. Public bathrooms are available to the right.
MAIN HOUSE
Once in the main house: straight ahead, on a church altar, is San Pablo (Paul). On the stairway is Santa Barbarita, 18 th century, and a Flemish tapestry, perhaps depicting the 1571 battle of Lepanto. To your right, is Salon Bolivar and the diningroom and, left, past the bottom of the stairs, is the bar. The 1895 telephone, left of the bar entrance, was Cusin’s only shared line in 1990. Before a modern exchange was installed, San Pablo’s autocratic switchboard operator refused to connect foreign calls. After the burning of a New Year’s Eve effigy of her, she moved to Queens, New York City.
THE BAR
Facing the fireplace, from left to right, is a Peruvian manta (cloak or carry-all) from Titicaca, two Guatamalan huipiles (woman’s blouses); one from Chichicastanango, and over the fireplace, another from Solala, and at the far end, a Bolivian poncho (Titicaca). The white ‘masks’ are papier maché fiesta mask-molds from Riobamba. In 1991, Tigua artists from Quilatoa, South of Quito, created the bar painting of 19 th century north American artist Frederic Church’s imagined journey from Cusin (right) to Chimborazo (left). To the left of the exit are two bird prints by Paul Greenfield (Birds of Ecuador). To your right is brochure of Cusin, 1988.
Fabric, or textile, indicates wealth and social, military and religious rank. A manta, or aksu, was made by a woman on a back-strap loom. The loom represents a mountain, sacred and with human features. The dyed wool is intricately spun and woven; a complex engineering process Some of the finest examples of backstrap weaving can be found in Chincheros, Peru. After two strips have been completed, each the width of the room, they are sown together, worn over the shoulders, and fixed with a silver pin (tupu). The wearer represents the sacred mountain, and the manta is a landscape with mythical symbols.
SALON BOLIVAR
In 1990, the rugless Salon Bolivar was illuminated by a broken ceiling-lamp, and threadbare curtains were nailed to the ceiling. Above the fireplace is a Quito School of Art depiction of the Virgin Mary. Worshipping the mountains and never having seen a cope, the local artists thought that the Spanish also worshipped mountains. Cusco School paintings from the 17 th century portray Mary’s head atop a mountain.
In the alcove to the left of the fireplace is a painting attributed to Troya, a 19 th century Ecuadorian artist. The lampshade is from Havana, Cuba. The right-hand corner print is a copy of a 18 th century map of northwest South America. The bay window chairs are 19 th century antique reproductions, recently crafted in San Antonio de Ibarra. The large, borderless 17 th century Flemish textile depicts a wedding scene; foreground, a father looks down on the bride and groom as if from heaven. The two paintings on either side of the textile are of the late 18 th century.
The chandelier and wall sconces were made in 1991 by Chuck Baker, a premier North American tinsmith. The late 19 th century Dominican chasuables, from an Ibarra monastery, are of a collection seen throughout the property.
DINING ROOM
After entering the dining room, left, is a Riobamba cotton poncho, ca. 1920, under which is a characterful, Ecuadorian antique side-table (cedro).
Right of the kitchen door is ‘ La Dame A L’Orgue’, a reproduction Cluny textile, Paris (15 th century) and a purple Dominican chasuable (early 20th th century). The four 19 th century French prints depict the noble ‘Ecuadorian savage’. Over the fireplace is reproduction, ‘ La Dame A La Licorne’.
The painting to the far left is a reproduction of a 17 th century San Rafael (?), Cusco Circle. The dining niche, with a Moroccan lamp, was built for Christmas 2002, as was the patio beyond the doors. To the right side of the niche is a reproduction, Cusco Circle painting of San Gabriel, 17 th century. Both gold frames were made in the nearby woodcarving town of San Antonio de Ibarra. Opposite the fireplace is a large reproduction textile from the Gobelin workshop, 18 th century. To the right, Judith triumphantly holds the head of Holofernes; by an unknown late 19 th century artist.
The chandeliers were made in 1991 by Chuck Baker ( Indiana). The dining room chairs were made by Rolando Simon (1993) and the wooden coasters are from the nearby San Antonio de Ibarra.
You are welcome to explore the upstairs corridors where furnishings include a 19 th century pine wardrobe (gestrooms 3-9). Prints, framed in Quito, are from the Metropolitan Museum gift store, New York.
CENTRAL PATIO COTTAGE
After leaving the main house, Cusin’s original mid-17 th century residence faces you. Proceed down the steps and walk straight ahead. To your left is triple suite 18, and to the right is double suite 17.
The patio’s cobblestone courtyard, covered with cement in 1990, had only the two bougainvillea and a heavily cut jasmine (see postcard in the bar). After disintegrating stucco was removed from the lower walls, a large stone base was revealed. The extensive stone base supports immensely thick adobe walls which, had they been built directly on the ancient, moist and black lake-bed soil, would have disintegrated. The stones had been removed from a pre-Columbian tower, now the base of nearby Lourdes church.
In the lefthand corner is guestroom 19 (once a chapel), opposite family suite 20. The large leafed plant is a gunnera, or umbrella plant, where night-croaking frogs bask in the morning sun. Some of the blue tiles are original, others are hand-painted by Abalado Vega. Walk on through the corridor to the main garden.
Straight ahead is perhaps the oldest cedró tree in the sierra, a witness of spectacular weddings from around the world. ‘The bride arrives by horse and carriage and walks toward the cedró tree on a path of rose petals where her family and friends witness her marriage. The wedding party, led by Indian dancers and llamas, then proceeds to El Monasterio’. Immediately on your left is the door to the sala de Lectura, or Reading Room.
READING ROOM - SALA DE LECTURA
Upon entering are Dominican chasuables and dalmatics, colored to represent a holy season, (e.g., red/Whitsun, green/Trinity, black/Lent, white/Easter). Three of the four prints, right of the fireplace, are of the 19 th century Ecuadorian Sierra, see descriptions. Hugo Vega painted the Ecuadorian butterflies. Because 99% of network television diminishes, rather than uplifts society, the television has no antenna. Over 300 unusual movies, with popcorn, are available to guests (request Reception).
Tea is always available in the library. Fireplaces in either room can be lit on request.
MAIN GARDEN PATIO
Until 1970, the patio was limited to a corridor to where the wooden columns (1991) now stand. The patio benches are converted antique bed-heads and bed-ends. The three, antique crosses with mirrors on the white patio walls exemplify a further convergence of Indian and Spanish cultures. The Indians who worshipped trees saw the Spanish also worshipping ‘trees’(crosses). Unable to comprehend the dead body (of Christ), the Indians replaced it with a mirror (a Spanish import) and incorporated the cross into their sacred trees. The mirror symbolized the eye of the mountain, worshipped as a being.
Proceed down the steps and turn right past animal cages, made in 1970. To the far right is a picnic garden, once a lake. In the distance is a cottage with blue window –frames containing two suites and an exquisite single room (22, 23, 24). Beyond, and behind the trees, is a church-like Garden Cottage suite, 25, with roof terrace and private garden. Later, please explore that area and the extensive vegetable gardens.
At the first corner turn left and walk under a nogal (walnut) tree to a pond (with prolific fish) and the romantic Garden Cottage 10.
Continue along the garden paths and through the blue gates.
STABLES- ESTABLOS
To the far left after the bridge are Cusin’s stables consisting of eight horses, guinea-pigs, geese, hens, rabbits, pigs, and guinea-hens. You are welcome to wander around in the stables until 4:00 p.m.
EL MONASTERIO de CUSIN.
The bridge, festooned with flowers for a wedding, passes over a usually dry quebrada which after rainfall becomes a river. Pass through the Monastery gates, turn left and after the white wall arch, turn right and walk along the front garden to the Reception tower. Climb the steps and see to the left a tree-cross that inspired many of El Monasterio’s window frames. Straight ahead is a conference room where the new Constitution of Ecuador, Constitucion de Cusin, was signed. A decorated conference room is used for dances, especially for New Year’s Eve.
Many returning guests prefer to stay in El Monasterio.
EL MONASTERIO de CUSIN (guestrooms, 26-44)
El Monasterio is a self-contained, reflective site characterized by colorful gardens and mysterious cobblestone courtyards. Constructed for the purpose of conference and discussion of contemporary ideas instrumental in changing tomorrow’s world, El Monasterio is also a place for the celebration of life’s triumphs. The monastery, the ‘computer’ of the Middle Ages, was a meeting-ground for great minds and a place of inspiration for fervent creativity. The irony of building a monastery in the actual computer age was appealing, as was constructing an historic building in the ancient landscape of Imbabura appropriate.
Joshua Davis of New York, a graduate of Cornell School of Architecture and student of Aldo Rossi, designed El Monasterio. Construction of thirteen guestrooms, a bar and reception tower began in an empty field in early 1995, and was completed for a New Year’s Eve wedding. The conference room, Salon Cotacachi, the dining room, kitchen and rooms 39 and 40 (constructed by Manuel Sanchez) were completed for Christmas occupancy in 1996. Secundo Chumañia and a team of 34 constructed the buildings while Marcia Simon, General Manager 1990-1997, oversaw the changes. Mañuel Ayora painted the murals and colored walls seen throughout the property. Leonardo Chumañia hand made antique reproduction beds, and the Andrango family of Agato wove the beautiful bedspreads. Mr. Millhouse worked together with Cusin’s gardeners; Manuel Calle and his crew, to landscape the gardens. Most of the plants originated in Cusin’s garden.
El Monasterio has 18 Andean craft furnished guestrooms, all with beamed ceilings and private bathrooms, and 15 with kiva-style log-burning fireplaces. El Monasterio features a dining room, salon, library, television with satellite reception and VCR, bar, main conference room (used also for celebration dances), five seminar rooms, three courtyards, four separate gardens, public restrooms and a water garden. Its two towers (one with a ‘secret passage’) give panoramic views of the surrounding land dominated by 15,000’ Imbabura mountain and Imbacocha (Lago San Pablo). |
SALON COTACACHI
Turn right into the Reception courtyard, go left and straight ahead to the steps of Salon Cotacacchi. The wall photographs are by Faith Stern, NYC. A striped textile is a Peruvian sierra bedcover, and the photograph is of Cusin’s first wedding, December, 1997. The 19 th and 20 th century ecclesiastical vestments are chasuables and dalmatics from Pujili and a recently closed Dominican monastery in Ibarra. Turn right though an arch with Moorish designs and into the Refectory.
REFECTORY- diningroom
In the far wall painting, Cusin’s staff serenades Joseph and Mary on their flight to Egypt (from Conceptas Monastery, Cuenca); Cusin’s manager, Cesar Arcos, plays squash in Heaven. The surrounding trees are tomate de arbol, the flowers are agapanthas and foxgloves. The surrounding frame was inspired by a similar one in San Francisco, Quito. Artist: Manuel Ayara. Three Cusco Circle paintings, Peru, frames made in San Antonio de Ibarra. Furniture was made by Rolando Simon (1997). The refectory has been used as a wedding chapel, for Christmas Eve and New Year’s Eve dinners, fiestas and a variety of government, bank, foundation and education conferences.
Proceed outside, down the stone steps and across the lawn, to the far corner wall where paintings (2004) by Manuel and Max Araya, depict hell and heaven. Pass by a depiction of hell to the monastery’s bar.
THE BAR
Note the original wooden model and, on the left-hand corner wall, the original ground plan of El Monasterio (Joshua Davis, 1995), and photographs of the then empty field and Sr. and Sra. Pijal counting their money from the sale of their land, ceded to them from Cusin in 1964. The rug, a copy of a Spanish Colonial chuspa was made in Guano, ca. 1990, a rug-making village north of Riobamba.
Exiting through the bar’s far door. On the near right, in an outside niche, is Saint Fiacre, the celebrated 16 th century French gardener monk; its surrounding painting is by Abolado Vega.
To your left is El Monasterio’s televison room, with satellite-dish reception.
Straight-ahead is a palm courtyard of seven guestrooms with reproduction antique Ibarra beds. Proceed across the fountain courtyard, along a narrow corridor. Immediately left are stone steps to a parapet .
THE PARAPET
To the distant left is 16,000 ft. Cotacachi, a female mountain, the mistress of Imbabura. Cotacachi’s lake, Cuicocha, has magnificent views and the lake-walk takes about five hours – with a picnic and guide.
Beyond Cotacachi mountain, along a twisting road, is the cloudforest lodge of El Refugio; at 6,000 ft., a 3-day/2-night trip of multiple eco-systems and a profusion of wildlife. $120 p.p., min. 3 guests.
Closer is the mound of an ancient caldera, Lechero, capped by the remnants of an early fortress and a twisted tree worshipped especially during the festival of San Juan, every summer solstice, June 21. The 90- minute walk through San Pablo village to Lechero (named after a tree with white sap) is well worth the effort.
Looking right and up the slope from Lechero is the most sacred (male) mountain in the northern Andes, 15,000 ft Imbabura (to the volcanic plug and back to Cusin, takes about eight hours of hard climbing). In the forefront are the two white towers of Lourdes church, built by Cusin, ca. 1650, and damaged during an earthquake in 1987. San Pablo plans to commence restoration of Lourdes church in 2005.
To the right of Imbabura, through the saddle, is the lower mountain and lakes of Cubilche. Guests can arrange guided horseback rides or walks for: 2-day/1-night (Esperanza, Casa Aida), $100 p.p., or 3-day/2-nights (Casa Aida and Hacienda La Merced Baja), $200 p.p. Please refer to Reception.
In the far grounds of El Monasterio are three leased homes. Further right, at the bottom of the Eucalyptus trees is Cusin’s water garden project.
Beyond the yellow house of the famous Montes Rose Plantation, is the Mojanda mountain range, with the 9 th century pyramids of Cochasqui, lakes, the Fuyafuya volcanic plug; a magnificent half-day climb, and the restaurants of Casa Mojanda and Las Palmeras Inn (reserve at Reception). Please continue your explorations.
Zoe Pollock, 7/04. Cynthia Butler, 2/05.
Notes:
The Moorish occupation of Spain, 711- 1492 A.D., created a cultural convergence, a magnificent legacy of architecture (e.g. Alhambra), gardening, astronomy, literature, urban planning and vocabulary (e.g. ojalla!).
A French expedition to Ecuador in 1728, led by Count Jean Marie Condamine, was to establish a logical measuring system, now the metric system. In an Age of Reason, the British Imperial measuring system was unreasonable and imperial. Books: The Mapmaker’s Wife. El Proceso con las Estrells by Florence Trystram.
Judith rescued her Hebrew city from a siege by seducing, then murdering their Assyrian king, Helofernes. This story has been captured by many artists, including Michaelangelo, Caravaggio and Gustav Klimpt.
For plant identification and pictures please see the catalogue in Salon Bolivar.
Paintings on the walls of churches is a Peruvian tradition, unusual in Ecuador. El Monasterio’s wall- painting was inspired by a church in Andahuaylillas, near Cusco.
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