I was not able to get a full picture of the Sagrada Familia as there were too many obstructions in the way. Unfortunately, all of my views are partial. This has been a very difficult post to write, as there is so much to say about this magnificent building.
Gaudi dedicated the last years of his career almost exclusively to the Sagrada Familia creating a synthesis of all the solutions and styles he had tried until then. The building is a combination of Gothic and curvilinear Art Nouveau forms.
During Gaudi's life only the crypt, apse and part of the Nativity facade were completed. After his death various architects took over the construction. It is still not completed, but we saw a dramatic change this time compared to our other visits. Furthermore, last week the final piece of the central tower was put in place.
Gaudi's original design calls for a total of 18 spires, representing in ascending order of height the twelve Apostles, the four Evangelists, the Virgin Mary, and tallest of all, Jesus Christ. When we visited 17 had been completed and as I said earlier, the 18th was put in place last week.
The church is designed to have three grand facades: the Nativity facade to the east, the Passion facade to the west, and the Glory facade to the south - this last one is incomplete.
We entered through the Nativity facade, which was constructed between 1893 and 1936. Dedicated to the birth of Jesus, it is decorated with scenes reminiscent of elements of life.
Characteristic of Gaudi's naturalistic style, the sculptures are ornately arranged and decorated with scenes and images from nature, each a symbol in its own manner.
The gate through which we entered is an example of this naturalistic style.
The interior is stunning and so massive, that I was only able to take shots of specific areas.
The church plan is that of a Latin cross with five aisles. The central nave vaults reach 45 metres while the side nave vaults reach 30 metres. The transept has three aisles. The columns are on a 7.5 metres grid. However, the columns of the apse do not adhere to the grid, requiring a section of columns of the ambulatory to transition to the grid thus creating a horseshoe pattern to the layout of those columns.
The central vault reaches 60 metres. The apse is capped by a hyperboloid vault reaching 75 metres. Gaudi intended that a visitor standing at the main entrance be able to see the vaults of the nave, crossing and apse, thus the graduated increase in vault loft.
The columns of the interior are a unique Gaudi design. Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms.
Essentially none of the interior surfaces are flat; the ornamentation is comprehensive and rich, consisting in large part of abstract shapes which combine smooth curves and jagged joints. Even detail-level work such as the iron railings for balconies and stairways are full of curvaceous elaboration.
Above the High Altar the dramatic bronze Cricifixion of Christ hangs from a luminous canopy that seems to float in this vast central space. It's the work of sculptor Carles Mani i Roig. It feels very modern inside this forest of columns.
It does dominate the space
At the back of the church, presiding over it and at 9 m high on the railing of the balcony of the Jube, sits the patron saint of Catalonia St George. The bronze sculpture was made by Subirachs.
One of the most striking aspects of the church are the stained glass windows, a real testament to Gaudi's artistic brilliance who meticulously designed each piece to harmonise with the overall architectural visions. These windows serve not only as decorative elements but also as narrative devices, conveying biblical stories and themes through colour and form. The deliberate use of light filters through the glass creates a dynamic atmosphere that evolves throughout the day.
The use of natural motifs, such as flora and fauna enhances the connection between the divine and the earthly. Each window features unique designs that reflect specific moments in the life of Christ, merging artistry with spirituality. They are classified into different themes:
Creation, representing the Genesis story with vibrant greens and blues;
Redemption, using warm colours to symbolise love and sacrifice; Transformation, featuring golden hues that evoke a sense of hope and renewal.
These windows are not merely ornamental; they encapsulate the essence of Gaudi's artistic philosophy by blending nature, spirituality and inovation.
The rose window of the Resurrection - life and light vanquishing over death and darkness.
The spiral staircases with their floating appearance lead to the roof so that one can enjoy the views of the city
There is just so much to see here it's impossible to record it all
There are gaps in the floor of the apse, providing a view into the crypt below, where we were able to look down to the crypt, the oldest part of the church. This is where Gaudi was buried on June 12 1926 after a majestic farewell from the residents of Barcelona, who filled the streets of the city in recognition of his work.
We walked past the Shroud Man and the Cross of Hope
The organ, built by one of the most remowned organ builders in history, Cavaille-Coll, dating from 1896, is to be found in one of the chapels of the crypt.
and then the sun came out and hit the stained glass and everything changed, the church was filled with vibrant colours and ethereal light - it really was magical. The whole church felt alive, the floor glowed, the ceiling looked like it was floating.
And then it was time to go out, to the other side from where we had come in, the Passion facade.
the doors
The Passion facade was built according to the design that Gaudi created in 1917. The construction began in 1954, and the steeples, built over the elliptical plan, were finished in 1976. It is especially striking for its spare, gaunt tormented characters, including emaciated figures of Christ being scourged at the pillar and Christ on the Cross. These controversial designs are the work of Josep Maria Subirachs.
In contrast to the highly decorated Nativity facade, the Passion facade is austere, plain and simple, with ample bare stone, and is carved with harsh straight lines to resemble the bones of a skeleton. Dedicated to the Passion of Christ, the suffering of Jesus during his crucifixion, the facade was intended to portray the sins of humans. Gaudi intended for this facade to strike fear into the onlooker. He wanted to 'break' arcs and 'cut' columns, and to use the effect of chiaroscuro to further show the severity and brutality of Christ's sacrifice.
Facing the setting sun, indicative and symbolic of the death of Christ, the Passion Facade is supported by six large and inclined columns, designed to resemble strained muscles. Above there is a pyramidal pediment, made up of 18 bone-shaped columns, which culminate in a large cross with a crown of thorns.
The scenes sculpted into the facade may be divided into three levels, which ascend in an S form and reproduce the stations of the Cross. The lowest level depicts scenes from Jesus' last night before the crucifixion, including the Last Supper, Kiss of Judas, and the trial of Jesus.
The middle level portrays the Calvary, or Golgotha of Christ and includes The Three Marys, Saint Longinus, Saint Veronica and a hollow-faced illusion of Christ on the Veil of Veronica. In the third and final level the Death, Burial and the Resurrection of Christ can be seen. A bronze figure situated on a bridge creating a link between the steeples of Saint Bartholomew and Saint Thomas represents the Ascension of Jesus.
The facade contains a magic square based on the magic square in the 1514 print Melocolia I. The square is rotated and one number in each row and column is reduced by one, so the rows and columns add up to 33 instead of the standard 34 for a 4x4 magic square.
Looking at some of the sculptures in detail:
Having spent some time inside and outside the church it was time to visit the school. This building with its undulating surfaces was designed by Gaudi as the temporary school for the workers' children. It was built in 1909. It has a rectangular ground plan of 10 by 20 metres, and contained three classrooms, a festibule and a chapel. It was built of exposed brick, in three overlapping layers, following the traditional Catalan method.
The walls and roof have an undulating shape, giving the structure a sense of lightness and strength.
The building's constructive simplicity, geometry, functionality and formal beauty have made what was meant to be an ephemeral structure a hallmark of modern architecture.
In 2002, the building was moved and rebuilt in its current location in order to continue construction on the Sagrada Familia.
The vestibule
As I mentioned in the beginning of this post, the church is meant to have three facades. The largest and most striking of the facades will be the Glory Facade, on which construction began in 2002. It will be the principal facade and will offer access to the central nave. Dedicated to the Celestial Glory of Jesus, it represents the road to God: Death, Final Judgement and Gloty, while Hell is left for those who deviate from God's will.
We eventually left the Sagrada Familia, had a look around the Christmas market that was set up by the front entrance and then walked to the metro station.
