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by JLBG Along the centuries, houses were built around, and later over the arena. It was only in 1987, when the decision was taken to destroy unhealthy blocks of houses, that the arena was discovered. This is why it is not in good condition. Leave a Comment
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by MARTINA if you go in september don't forget to visit the camp is where most of the activities of cartaginensis and romans develop you can eating dancing and enjoy the beautiful dresses they wear, and there you can dream you are in a city from 2000 years ago Leave a Comment Address: close to carrefour shopping center
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by MARTINA two of the most outstanding events are LA SEMANA SANTA (easter) with one of the most beautiful processions in SPAIN the second one event is CARTAGINESES Y ROMANOS is a recreation of the past battles between people of cartago and romans many people dress in one or another costume and it is built a camp that is like the OLD CARTAGO-NOVA, It is in September easter in cartagena is unique, you will see other easters but no one like this , the silence and uniformity in the parades don´t have equal and the beauty of the tronos is incredible, you don´t have to be religous, it´s only plastic beauty. Leave a Comment Address: the streets of cartagena
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 Matador and bull by double-d10 A Bullfight or “Corrida de toros” is an interesting mix of ballet and sport, manly and risky, but very graceful. First is a parade of women in horse drawn carriages, followed by the band parade. Then the Matadors and Peones parade in. The first bull is let in and the Peones and Matadors begin to tire it. The first tercia begins with the Picador, a mounted lancer on horse back. He uses his lance to weaken the bull's neck and back by stabing it as it charges. Following the Picador, Banderilleros take their turn against the bull on foot using Banderillas, 2 foot long decorated sticks with barbs on one end, to stick into the bull's back as they bull charges by. The Suerte begins with the matador taking the Muleta, the smaller red cape, and his sword to continue to tire the bull. They dance for a few minutes until the matador senses it is time to end it. Blood streams down the bulls flanks from the lance and Banderilla wounds. The final moments of the bull are intimate with the matador. The matador often touches the bull as it charges by only inches away. The matador will end the dance with a deliberate thrust of his sword between the shoulder blades of the bull and into its heart. Once the bull is felled, a Peone will use a dagger to ensure the bull is dead. A Matador may be awarded nothing, a single ear, 2 ears, or both ears and the tail. After a successful kill, the Matador tours the ring as the spectators throw flowers, hats and wineskins into the ring as a token of acknowledgement. The entire “fight” should take 2O minutes or less. Normally 6 bulls will be “fought,” but on special occasions, 8 may be used. Each Matador will normally “fight” 2 bulls. The Matador is evaluated on his artistry and ability to “dance” with the animal. The Matadors are more actors than athletes, but the act of the bullfight is still very physical. It is bloody and the animal is killed, so it is not for the squeamish, but it is worth seeing a bullfight at least once. If you find it is something that interests you, then all the better. Leave a Comment
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by Aitana The hull of the submarine designed and constructed by Isaac Peral is permanently exposed at the quay Alfonso XII, in the seafront. Isaac Peral (Cartagena, 1 June 1851 – Berlin, 22 May 1895) was a Spanish scientist, sailor and inventor. He invented a submarine for military use, being pioneer in the design of the hull, control systems and air systems. The Peral submarine was built in 1884. After some trials, the submarine was launched on 8th September 1888. It was 22 m, with a beam of 2.87 m and a draught of 2.76 m. It was able to displace 77 tonnes surfaced and 85 tonnes submerged. It could navigate ate 7.8 kn surfaced and 3 kn submerged. For the propulsion it was provided with two electric motors, 22 kW (30 hp) each. The energy was supplied by a battery of 613 elements. It had a torpedo launcher, three Schwarzkopf torpedoes, periscope and a sophisticated “apparatus of depth” which allowed the submarine to navigate submerged at the depth desired by the commandant, as well as the mechanisms required to navigate submerged towards the prefixed course. It was able to fire torpedoes under water while maintaining full propulsive power and control. Address: Muelle de Alfonso XII
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The Museum was projected by the great architect Rafael Moneo and constitutes a brilliant solution to the different in level between the Media Cavea of the Theater and the street level. The Museum entrance is in the Palace of Pascual de Riquelme, in front of the City Hall. In this building there are temporal exhibitions. The corridor “Theater History” crosses underneath the street and contains some findings in the area: pottery. Then there are two rooms dedicated to the “Theater architecture” and “Theater and society”. Escalators join these rooms which are at different levels. In these rooms there are some capitals, statues, steles, stone altars and also models of the theater. On the top level starts the Archaeological Corridor that crosses under the old church of Santa María la Vieja. From that, the Theater is acceded at the level of the Media Cavea. From there, both Summa Cavea (the highest stands) and Ima Cavea (lowest stands) are acceded. From Ima Cavea, the Orchestra, Proscaenium, Scenae frons and Basilica are acceded. I recommend a guided visit. We followed the visit and were very satisfied with the explanations of the guide about the history of both the theater and the museum.
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The Roman Theater was built at the end of the 1st century BC. After the decline of the Empire, Byzantines constructed over it their shops and the theater remained covered for centuries. The recovery of the Theater began in the decade of 1990. Now, the Theater has been completely excavated and a Museum has been built that connects the Theater with the Palace Pascual de Riquelme. Thus, the monument has been integrated in the urban area. The museum also embraces the old church of Santa María la Vieja which was superimposed on the theater.
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The new museum, in the quay Alfonso XII, was inaugurated in November 2008. The Project of the architect Guillermo Vázquez Consuegra had been exposed in the exhibition “On-site: nueva arquitectura española dedicada a los proyectos arquitectónicos contemporáneos españoles”, in 2006, at MOMA (New York). Also the name has changed, as the former one was “Museo y Centro Nacional de Investigaciones Arqueológicas Submarinas”. The museum keeps archaeological finds related with the sea traffic in the Mediterranean, since the Phoenician era, through Punic, Hellenistic and Roman periods. There are amphorae that were used for the transport of oil and wine; metallic materials; ivory, glass, etc. Relevant findings are the two Phoenician boats (7th century BC) that were found at the coast of Mazarrón. The boat Mazarrón I with a major part of its freight is exhibited in the Museum, whereas Mazarrón II is still at the sea bottom but a video is projected that shows the works of preservation of this boat (a part of the video is also available at the web of the museum). Also from the Phoenician era are two elephant tusks that were part of a Phoenician freight found at Cabo de Palos. Some of the pieces can be seen in the following link: http://www.mcu.es/principal/docs/novedades/2008/ARQVA_Piezas.pdf The guided visit is recommended for children; a bit disappointing for adults.
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by JLBG Nets on the quay and fishermen boats moored in the northern harbor. Fishing plays an important part in the economy of Cartagena and the markets are always well supplied with the freshest fish and sea food. Leave a Comment
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by JLBG The ancient cathedral, Santa Maria la vieja (Saint Mary the older) was built in 1250 by Alfonso X. It was early entirely destroyed during the 1936-39 civil war. There only remain some parts of the walls and the columns. Leave a Comment
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