This doesn’t have anything to do with anything, I’m just looking through pictures I have on my phone.
Always remember to pack your Sox before a trip.
Door of the Passion Facade.
Words from the Liturgy are written in various languages, including Catalan, Spanish, and Latin.
The small square covered in numbers is a Magic Square, placed there by Joseph Subirachs, sculptor of the figures on the Passion Facade. Adding the numbers in any direction yields the same number every time, in this case 33, the number of years Jesus lived.
I initially took the picture because I thought it was some weird Da Vinci code thang, but I guess it’s just symbolic math, which is way worse than a centuries-old conspiracy covered up by the Catholic Church.
La Sagrada Familia Master Post
Part 2: Interior
Oh, just soak it in.
Gaudi intended for the inside to mimic branches and trees, sort of like the spires on the outside of the cathedral. Gaudi also extensively used evolving geometric shapes for the pillars and other inside bits. Almost none of the interior designs are flat in anyway, being made up of curves mimicking nature’s lack of straight lines.
The two pictures at the bottom show windows into the chapel area.
La Sagrada Familia Master Post
Part One: The Exterior
La Sagrada Familia Is one of the most-recognized landmarks in all of Barcelona. Construction began 1883 under the watch of Antoni Gaudi, whose work I’ve shown before. Construction has not finished and is not expected to finish until 2026, 100 years after Gaudis’ death.
Let’s start with those spires. The original design calls for 18 of these bad boys, 12 for the Apostles, 4 for the Evangelists, one for the Virgin Mary, and the final and tallest representing Jesus Christ. At the moment there are only 8. The Christ Spire is supposed to reach up 560 feet, or 170 meters. This length is actually a meter less than the height of Montjuic, because according to Gaudi his work should not surpass God’s. Nonetheless, upon the completion of the spires La Sagrada Familia will be the tallest church in the world.
Let’s look at these facades. The place will have 3 grand ones, the Nativity Facade, the Passion Facade, and the Glory Facade. The first constructed was the Nativity Facade, which is why it resembles classical sculpture the most. Gaudi’s design called for every one of these thangs to be painted as lifelike as possible. This side faces the rising sun to represent the birth of Christ.
Now, that turtle is a brother to a tortoise, upon both which rest a pillar. Gaudi used animals as symbolism quite often in his work, as evidenced by anyone who’s been to Park Guell. Anyway, these two represent land and sea as symbols of unchanging time. In the same vein there are chameleons on either side of this facade representing change.
The cubist-looking one is the Passion Facade. The gaunt, angular design was meant to look bare, as if it were a skeleton stripped bare. It was designed to cause fear and anguish in observers. It depicts scenes from the Passion of Christ. Construction was started in the 50s, and in the late 80s sculpting of the details and scenes took place, headed by Joseph Maria Subirachs.
Carrer del Bisbe Irurita
Bridge constructed by Joan Rubio in the Flamboyant style, an offshoot of Gothic architecture. However, the authenticity of it’s Gothic roots are controversial, as it was claimed to be redone during the 1929 International Exhibition.
I just took a picture of it because it reminded me of the Bridge of Sighs in Venice.