During the assault on the Presidential Palace in 1957 to execute the bloody dictator Fulgencio Batista, his wife Marta Fernández Miranda (1923-2006) promised in desperation to erect a statue of Christ that could be seen from any corner of the city, if her husband would be able to survive the attack remaining alive. The same day the attack was repulsed, and Batista could continue with his presidency. Thus, the first lady launched a campaign to raise funds that were necessary to keep her promise. Finally, she could collect about 200.000 pesos. The unpretending sketch of the Cuban artist Jilma Madera won the contest.

Jilma Madera explained her feelings in sculpting the statue of Christ later by these words: ‘‘I had built the figure of Christ, the man, but not the mystic one of Catholicism…although I have never professed the catholic religion; I have always admitted to be a Christian, but if people were truly Christian, I am sure everything would be better’’. 

The board members that coordinated the project, had contradicting ideas about the height of the statue. Some were standing up for the height of 35 meters, a height that was three meters more than the height of the famous Cristo Redentor (Christ the Redeemer) in Rio de Janeiro, Brazil. Finally, upon the strong opposition of Jilma Madera, they agreed in the height of 20 meters, as a higher statue would not look good like the Cristo Redentor that was erected on the summit of Corcovado that was 710 meters high above the see level.

Jilma Madera went to Italy to prepare the pieces of the marble statue that would be assembled later in Havana. The marble blocks were extracted from the Apuanos Alps close to Carrera. Each piece was sculptured by her in Rome later. She had sculpted a plaster model of three meters high for this purpose. She stayed for more than one year in Italy to oversee every detail of the construction process and to direct the workers.

Jilma held herself very responsible of the artistic work. She paid for the marble blocks out her own pocket, with the prize money she had won. She bore even the cost of her travel to Italy, and paid insurance for each of the marble blocks for her own. She did not forget also to receive the blessing of Pope Pius XII for each block of marble. Finally, all marble pieces, protected in wooden crates, were shipped from the port of Marina in Carrera, Italy in 1958.

The process of assembling the pieces of the marble statue began with a manpower of 17 men and a crane. First a deep hole was dug, wide enough to accommodate the base of the statue. A steel frame with a central steel beam was inserted on the base, as high as the head of the statue. Each part of the statue was tied to the central structure by steel wires and screw shackles and the empty space inside of the statue was filled with concrete after being sure that each level of the statue was aligned correctly.

The assembly of the statue completed in 3 months and the colossal statue was unveiled by the President Fulgencio Batista on December 25, 1958, on Christmas Day, when the Catholic World commemorates the birth of Jesus Christ. The statue was blessed by Cardinal Manuel Arteaga Betancourt, however against his will, because he had a bad relationship with the dictator Fulgencio Batista. The First Lady couldn’t share her happiness with other people sufficiently, as she had to rush with Fulgencio Batista to Dominican Republic in the early hours of January 1, 1959 due to the irrepressible advance of the Rebel Army to Havana.

In 1961 the pylon that was used to lighten the area around the statue, was toppled by a strong wind and pierced the back of the head of the statue. Jilma was afraid that the rain water would penetrate the statue and corrode the steel framework. Fortunately, she had brought an additional block of marble with her from Italy. The repair, directed by Jilma herself, lasted for five months. The same mishap occurred the following year again. The statue was restored for the second time in 1980s, but the restoration was guided by different institutions that did not take the technical details so much into account and did not beware of using incompatible material.

In 2012, it became necessary to carry out a through restoration of the marble statue, as its entire surface was covered with salt deposits and reddish stains, and it occurred large gaps in the mortar between the marble blocks, particularly in the elbow, the folds of the clothes and the face of the statue. Additionally, the head and the right elbow of the statue had been damaged physically by the pylon that was used to lighten the area, again in 1986. The collapse of the statue by an earthquake or strong wind was not very unlikely. A board, headed by the chemical engineer Carlos Bauta, was commissioned to carry out the restoration. The investor Oficina del Historiador de La Habana (Office of the Historian of the City of Havana was represented by the architect Nitzy García in the board. The multidisciplinary team that was responsible for the restoration process, received the National Restoration Award 2013, as it succeeded in fullfilling the multiple and complex technical and artistic tasks excellently. The statue was declared National Monument in 2017.

The majestic marble statue is placed on the hilltop overlooking the Bay of Havana. Except the pedestal that is 3 meters (10 feet) high, the statue has a height of 20 meters (66 feet). The statue is erected on a platform that is 51 meters (167 feet) high above the sea level.

During its construction 600, tons of white Carrera marble were used, and when it was assembled together, its weight reached about 320 tons. The statue is consisting of 670 pieces, aligned in 12 horizontal levels.

The huge Christ statue can be seen from diverse points of the city, not only because of its great dimensions, but also because of the contrast between the white marble statue and the gray rocks around it. Jesus of Nazareth is represented standing and looking towards the city. With the left hand near to his chest, he holds his right hand high in an attitude of blessing.

Jim Madera did not use any model to sculpt it, but she was succssfull to reflect the ideal masculine beauty in her mind by sculpting oblique eyes and voluminous lips. Maybe she wanted to refer to the racial miscegenation of the island. However, there is a general belief that Jilma Madera did not took any prototype of a man as model, but maybe she was inspired by a special man with whom she was sentimentally linked.

The eyes of the statue were left empty peculiarly to give the impression, as if he looks at everybody from all angles. The statue wears flip-flops like Jilma. Some objects were buried by Jilma under the base of the monument, such as newspapers and coins. In contrary to its peers in Brazil, Bolivia, Portugal and Angola, the statue doesn’t welcome people with open arms. Like the Virgen de la Caridad del Cobre, the Christ of Havana has a cultural value more than its religious one. During the unveiling ceremony of the statue, Jima Madera laid emphasize on this subject: “I made it to be remembered and not to be worshiped, as it is made of marble.” In other words, the visitors of the artwork of Jilma Madera don’t go to there to worhip Jesus Christ, but rather to enjoy the spectacular view of Havana. From the panaromic viewpoint at the site of the statue, you can enjoy one of the most beautiful and impressive views, particularly of Old Havana. On the other hand, the best view of the statue is from the Old City, particularly in the evening when it is floodlit.

It is a peaceful place. Some locals sit and drink  beer or fresh coconut juice, some talk.