The Plaza Bolognesi is a roundabout located in the Lima District and the Breña District, in the capital of Peru. It is located at the intersection of Brasil Avenue, Arica Avenue, Alfonso Ugarte Avenue, Guzmán Blanco Avenue, and 9 December Avenue. It is named in honor of a national hero, Colonel Francisco Bolognesi, who participated in the Battle of Arica during the War of the Pacific. It is used exclusively for the Ceremony of the Flag, which is celebrated every June 7, on Peruvian Flag Day. It was inaugurated on November 6, 1905. Description The edges of the plaza are formed by radial cut blocks, repeating the same architectural patterns on their façades. Their original design had a matching set of republican style buildings, characterized by being painted entirely in blue. However, these are found today to be deteriorated and overcrowded. In the center stands an obelisk crowned with a sculpture of the hero standing in a triumphant manner, lifting the flag of Peru in one hand and holding a revolver in the other. It is a work by the Peruvian sculptor Artemio Ocaña, made of bronze with material from three tons of artillery shells. This sculpture is not related to the original monument, which was changed in 1954 during the government of Manuel A. Odría. Sculpture The original sculpture, a work by the Spanish sculptor Agustín Querol, depicted Bolognesi clinging to a flagpole with his head bowed, about to collapse, at the same moment that he was killed in battle. From the beginning, this representation sparked criticisms, like those of the famous Manuel González Prada, who thought that the sculpture did not show Bolognesi in a position worthy of a hero. None of the successive governments dared to change the sculpture, until finally it happened during the government of President Manuel A. Odría (whose second vice president was Federico Bolognesi Bolognesi, grandson of the hero of Arica). Peruvian sculptor Artemio Ocaña was commissioned to make the new sculpture. According to the opinion of the authorities at the time, this replacement was necessary, since in Querol's work, the hero "seemed drunk." This change produced many critiques by those who considered the old Querol sculpture a beautiful work of art which was arbitrarily withdrawn by a dictatorship and replaced by another of lower quality. One of those critics was the then young journalist Mario Vargas Llosa, who did not hesitate to