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Expiatory Temple of the Sagrada Familia
Introduction
The Expiatory Temple of the Sagrada Familia (in Catalan: Temple Expiatori de la Sagrada Família), known simply as the Sagrada Familia, is a Catholic basilica in Barcelona (Spain), designed by the architect Antoni Gaudí. Started in 1882, it is still under construction. It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture. It is the most visited monument in Spain,[1] and is the most visited church in Europe after St. Peter's Basilica in the Vatican.[2] On October 30, 2025 it became the tallest "Church (building)") in the world.[3].
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in the last years of his career, where he reached the culmination of his naturalistic style, in which he achieved a synthesis of all the solutions and styles tested until then. Gaudí achieved a perfect harmony in the interrelation between structural and ornamental elements, between plastic and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole.[4].
Since 1915, Gaudí dedicated himself practically exclusively to the Sagrada Familia, which represents the synthesis of the architect's entire architectural evolution. After the construction of the crypt and the apse, still in neo-Gothic style, the rest of the temple was conceived in an organic style, which imitates the shapes of nature, where regulated geometric shapes abound. The interior was to resemble a forest, with a set of inclined, helical-shaped arborescent columns that create a structure that is both simple and resistant. Gaudí applied all his findings previously experienced in works such as Park Güell or the crypt of Colonia Güell to the Sagrada Familia and managed to create a temple that was structurally perfect as well as harmonious and aesthetic.
The Sagrada Familia has a Latin cross plan, with five central naves and a transept with three naves, and an apse with seven chapels. It boasts three facades dedicated to the Birth, Passion and Glory of Jesus and, when completed, it will have eighteen towers: four on each portal, making a total of twelve for the apostles; four on the cruise "Cruise (architecture)"), invoking the evangelists; one on the apse, dedicated to the Virgin "Mary (mother of Jesus)"); and the central dome tower, in honor of Jesus, which will reach heights. The temple will have two sacristies next to the apse and three large chapels: that of the Assumption, in the apse; and those of Baptism and Penance, next to the main façade. Likewise, it will be surrounded by a cloister designed for processions and to isolate the temple from the outside. Gaudí applied a high symbolic content to the Sagrada Familia, both in architecture and sculpture, since he dedicated religious meaning to each part of the temple.
Expiatory Temple of the Sagrada Familia
Introduction
The Expiatory Temple of the Sagrada Familia (in Catalan: Temple Expiatori de la Sagrada Família), known simply as the Sagrada Familia, is a Catholic basilica in Barcelona (Spain), designed by the architect Antoni Gaudí. Started in 1882, it is still under construction. It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture. It is the most visited monument in Spain,[1] and is the most visited church in Europe after St. Peter's Basilica in the Vatican.[2] On October 30, 2025 it became the tallest "Church (building)") in the world.[3].
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in the last years of his career, where he reached the culmination of his naturalistic style, in which he achieved a synthesis of all the solutions and styles tested until then. Gaudí achieved a perfect harmony in the interrelation between structural and ornamental elements, between plastic and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole.[4].
Since 1915, Gaudí dedicated himself practically exclusively to the Sagrada Familia, which represents the synthesis of the architect's entire architectural evolution. After the construction of the crypt and the apse, still in neo-Gothic style, the rest of the temple was conceived in an organic style, which imitates the shapes of nature, where regulated geometric shapes abound. The interior was to resemble a forest, with a set of inclined, helical-shaped arborescent columns that create a structure that is both simple and resistant. Gaudí applied all his findings previously experienced in works such as Park Güell or the crypt of Colonia Güell to the Sagrada Familia and managed to create a temple that was structurally perfect as well as harmonious and aesthetic.
The Sagrada Familia has a Latin cross plan, with five central naves and a transept with three naves, and an apse with seven chapels. It boasts three facades dedicated to the Birth, Passion and Glory of Jesus and, when completed, it will have eighteen towers: four on each portal, making a total of twelve for the apostles; four on the cruise "Cruise (architecture)"), invoking the evangelists; one on the apse, dedicated to the Virgin "Mary (mother of Jesus)"); and the central dome tower, in honor of Jesus, which will reach heights. The temple will have two sacristies next to the apse and three large chapels: that of the Assumption, in the apse; and those of Baptism and Penance, next to the main façade. Likewise, it will be surrounded by a cloister designed for processions and to isolate the temple from the outside. Gaudí applied a high symbolic content to the Sagrada Familia, both in architecture and sculpture, since he dedicated religious meaning to each part of the temple.
During Gaudí's life, only the crypt, the apse and, partially, the Nativity façade were completed, of which Gaudí only saw the tower of Saint Barnabas crowned. Upon his death, his assistant, Domingo Sugrañes, took charge of the construction; Subsequently, it has been under the direction of various architects, with Jordi Faulí i Oller being the director of the works since 2012. Artists such as Llorenç and Joan Matamala, Carles Mani, Jaume Busquets, Joaquim Ros i Bofarull, Etsuro Sotoo and Josep Maria Subirachs worked on the sculptural decoration, the latter being the author of the decoration of the Passion façade.
The work that Gaudí did, that is, the Nativity façade and the crypt, was included in 2005 by UNESCO in the World Heritage site Works of Antoni Gaudí.[5] It is a monument declared in the register of Cultural Assets of National Interest of the Catalan heritage and in the register of Assets of Cultural Interest "Bien de Interés Cultural (Spain)") of the Spanish heritage with the code RI-51-0003813.[6] It is also, since 2007, one of the 12 Treasures of Spain.[7] Also, in 2007, it was chosen one of the Seven Wonders of Catalonia.[8] The temple was declared a minor basilica on November 7, 2010 by Pope Benedict XVI.[9] That year, the newly built nave "Nave (architecture)") The main part of the temple received the City of Barcelona Prize for Architecture and Urbanism.[10][11] The Sagrada Familia is also popularly known as the "Cathedral of the Poor", because of the homonymous painting by the modernist painter Joaquín Mir.[12].
History
Contenido
La idea de construir un templo expiatorio "Expiación (religión)") dedicado a la Sagrada Familia fue del librero Josep Maria Bocabella, inspirado por el sacerdote Josep Manyanet —canonizado en 2004—, fundador de las congregaciones religiosas Congregación de Hijos de la Sagrada Familia y Congregación de Misioneras Hijas de la Sagrada Familia de Nazaret, encargadas de promover el culto a la Sagrada Familia y fomentar la educación cristiana de niños y jóvenes.[14] En 1869, Manyanet publicó El espíritu de la Sagrada Familia, donde lanzaba la idea de un templo en Barcelona dedicado a su culto.[15] Para tal fin, Bocabella fundó en 1866 la Asociación Espiritual de Devotos de San José, con el objetivo de recaudar fondos. En 1871, Bocabella visitó al papa Pío IX en Roma y, en el seno de ese viaje, visitó el santuario de Loreto (Ancona), que se supone guarda la que fue la casa de José y María "María (madre de Jesús)") en Nazaret, templo que le sirvió de inspiración para la proyectada iglesia barcelonesa.[15].
En 1881, Bocabella compró un solar para la construcción del templo en un lugar conocido como El Poblet, cerca del Camp de l'Arpa, en San Martín de Provensals —por aquel entonces un municipio independiente que sería agregado a Barcelona en 1897—,[16] entre las calles Provenza, Mallorca, Marina y Cerdeña. Este terreno estaba incluido en el Plan Cerdá de Ensanche de Barcelona. El solar, de ,[17] era un poco más grande que las manzanas normales del Ensanche —normalmente de —, porque en el Plan Cerdá estaba reservado para un hipódromo, que finalmente no se construyó.[16] Costó 172 000 pesetas de la época.[18].
Para la difusión de su labor, la Asociación de Devotos editó desde 1867 una revista, llamada inicialmente El Propagador de la Devoción a San José,[nota 1] dirigida por el sacerdote mercedario José María Rodríguez Bori;[19] en 1948 pasó a llamarse Templo y, desde 1981, Temple (en catalán). Desde 1895, la gestión del proyecto corrió a cargo de la Junta Constructora del Templo Expiatorio de la Sagrada Familia,[nota 2] una fundación canónica creada para promover la construcción del templo a través de donativos e iniciativas privadas. Su presidente nato es el arzobispo de Barcelona, actualmente Juan José Omella. En 2001, la Junta recibió el premio Creu de Sant Jordi que otorga la Generalidad de Cataluña.[21].
Desde sus inicios, la Sagrada Familia se sufragó con limosnas y donativos, lo que originó que en diversas ocasiones las obras se ralentizasen o incluso parasen debido a la falta de aportaciones. En 1891, por ejemplo, un importante donativo, de algo más de medio millón de pesetas —abonado en mensualidades entre 1891 y 1898—, proveniente de la última voluntad de la viuda Isabel Bolet, permitió iniciar la construcción de la fachada del Nacimiento.[22] De igual manera, en 1905, en otro momento en que las obras estaban casi paradas, el poeta Joan Maragall escribió un artículo titulado Una gracia de caridad, para llamar a la opinión pública a colaborar con la construcción del templo.[23].
El proyecto fue encargado en primer lugar al arquitecto diocesano Francisco de Paula del Villar y Lozano, quien tras varios proyectos sucesivos ideó un conjunto neogótico y desechó la idea de Bocabella de hacer una réplica del santuario de Loreto.[24] El proyecto de Villar consistía en una iglesia de tres naves "Nave (arquitectura)"), de ,[25] con los elementos típicos del gótico, como los ventanales alveolados, los contrafuertes exteriores y un alto campanario en forma de aguja, que habría llegado a los de altura.[26].
La primera piedra se colocó el 19 de marzo de 1882 (día de san José), con la presencia del entonces obispo de Barcelona, José María Urquinaona. Gaudí asistió a la ceremonia,[27] ya que había trabajado como ayudante de Villar en algún proyecto;[nota 3] en ese momento, no se podía imaginar que él pasaría a ser el arquitecto de dicha obra.[29] Para conmemorar el hecho, se colocó un pilar en la puerta de entrada de la calle Mallorca con la fecha, el escudo pontificio y una cruz.[30] Las obras no se iniciaron hasta el 25 de agosto de 1883 y fueron adjudicadas al contratista Macari Planella i Roura.[31].
En 1883, Villar renunció por desavenencias con Bocabella, quien contaba con el asesoramiento del célebre arquitecto Joan Martorell.[32][nota 4] El proyecto se ofreció al propio Martorell, pero, al rehusar este, fue ofrecido a un joven Gaudí de treinta y un años. El arquitecto reusense se hizo cargo de las obras el 3 de noviembre de 1883.[34] Gaudí había sido ayudante de Martorell en varias construcciones,[nota 5] hecho que motivó la recomendación del recién licenciado arquitecto, que aún no había ejecutado grandes obras. Al hacerse cargo Gaudí del proyecto, lo modificó por entero —salvo la parte ya construida de la cripta— y le imprimió su estilo peculiar. Sin embargo, no pudo cambiar la orientación del edificio, al estar ya realizados los cimientos. Gaudí habría preferido situar el eje del edificio diagonalmente a la manzana, para situar el ábside orientado hacia levante y para disponer de mayor longitud en planta.[29].
Durante los restantes cuarenta y tres años de su vida trabajó intensamente en la obra, los últimos quince de forma exclusiva. Además, los últimos ocho meses antes de fallecer, vivió en el taller del templo.[36] Esta dedicación tan intensa puede explicarse, además de por la magnitud de la obra, por el hecho de que Gaudí definía muchos aspectos a medida que la construcción avanzaba, en lugar de haberlos concretado previamente en sus planos e instrucciones. Por ello, su presencia personal en la obra era de gran importancia. Gaudí contó casi desde el inicio con la ayuda de dos de sus más fieles colaboradores, Francisco Berenguer y Juan Rubió.[37] Más tarde, hacia 1909, contó con la colaboración de Josep Maria Jujol. A la muerte de Berenguer, en 1914, pasó a ser su primer ayudante Domingo Sugrañes, hasta entonces segundo auxiliar; y, en 1918, entró Francesc Quintana como segundo.[38].
Gaudí estimaba que la construcción duraría siglos. Por ello, propuso a la Junta Constructora construir en vertical en vez de horizontalmente, por lo que levantó y terminó la fachada del ábside, primero, y del Nacimiento, después, al objeto de que la generación que había comenzado la obra viese algo acabado y, simultáneamente, esa fachada terminada pudiera servir de estímulo a futuras generaciones para continuar el templo. Su propuesta fue aceptada.[39].
El templo fue creciendo lentamente y Gaudí fue cambiando el proyecto sobre la marcha, un proyecto que fue evolucionando paulatinamente a la construcción según se perfilaban las ideas del arquitecto, que plasmaba en maquetas que realizaba en su taller. Consciente de la magnitud de la obra, Gaudí puso más empeño en su concepción que en su realización. El poeta Joan Maragall, amigo del arquitecto, comentó en 1900 que «yo comprendo que el hombre que más ha puesto de su vida en la construcción de este templo no desee verlo concluido» (artículo titulado El templo que nace, publicado en el Diario de Barcelona). Para Maragall, el templo era más un símbolo que un edificio, el proyecto redentor de una ciudad que expresa una aspiración colectiva de desarrollo moral, «la construcción que redime de todas las destrucciones». Para Maragall, la Sagrada Familia es «poesía de la arquitectura», «el templo que no concluye, que está en formación perenne, [...] el templo que aguarda constantemente sus altares».[41].
Entre 1908 y 1909, Gaudí construyó en los terrenos destinados a la fachada de la Gloria las Escuelas de la Sagrada Familia, destinadas a proporcionar educación a los hijos de los obreros y a niños vecinos del templo. Fueron inauguradas el 15 de noviembre de 1909 por el obispo de Barcelona, Juan José Laguarda y Fenollera.[42] Su realización conllevó un coste de 9000 pesetas, que sufragó el propio Gaudí.[43].
El 11 de diciembre de 1921 se puso la primera piedra de la nave del templo —concretamente la de la base de la columna dedicada a Tarragona—, con una ceremonia de bendición oficiada por el arzobispo de Tarragona y metropolitano de Cataluña, Francisco Vidal y Barraquer.[44].
En 1923, aún en vida de Gaudí, en el boletín de la Asociación de Arquitectos de Cataluña se publicaron los cálculos de la estructura de las naves firmados por su ayudante, Sugrañes. En esos cálculos se han basado los que han continuado la construcción, aunque ha sido preciso adaptarlos para cumplir la normativa vigente en la actualidad.[45].
Gaudí, consciente de que la construcción del templo la llevarían a cabo generaciones posteriores,[nota 6] intentó definir el proyecto sobre planos, pero, sabiendo que no le daría tiempo en vida, realizó en detalle varias maquetas en yeso a escala 1:10 y 1:25 de las partes más significativas, con la esperanza de que fuesen empleadas como modelos en el resto del edificio. Gaudí proyectó en unas maquetas tridimensionales la nave central, la sacristía y la fachada de la Gloria. La maqueta de la nave principal debía servir de modelo para el resto de las naves y la maqueta de la sacristía debía ser el modelo para las torres centrales.[47].
Durante la vida de Gaudí solo se hizo la cripta, el ábside y la fachada del Nacimiento parcialmente, ya que solo se culminó una de las cuatro torres —el arquitecto solo llegó a ver coronada la torre de san Bernabé—. Contó con la colaboración de varios artistas: en escultura, Carles Mani, Llorenç Matamala y Joan Matamala; en dibujo, Ricard Opisso, que trabajó como auxiliar de oficina desarrollando planos y realizando perfiles de figuras o motivos a escala.[48] A su muerte en 1926, arrollado por un tranvía, se hizo cargo de las obras su ayudante, Domingo Sugrañes (durante los años 1926-1936), el cual finalizó las tres torres que quedaban en la fachada del Nacimiento.[49].
El 20 de julio de 1936, dos días después del golpe de Estado que originó la Guerra Civil, anarquistas de la FAI incendiaron la cripta, por lo que se destruyó en su mayor parte el taller en el que Gaudí había trabajado, donde se encontraban sus esbozos, maquetas y modelos. Unos días después del destrozo, el arquitecto Lluís Bonet i Garí solicitó que se rescataran los fragmentos rotos de las maquetas, que fueron guardados. Entre estos, otros que quedaron enterrados y que se recuperaron posteriormente y las fotografías conservadas de las maquetas originales, a partir de 1940 Lluís Bonet, Isidre Puig i Boada y Francesc Quintana restauraron y reconstruyeron los modelos, elaboraron sus planos y construyeron una nueva réplica de la maqueta de la nave principal a escala 1:10, que hoy se puede contemplar en el museo de la basílica.[49].
Cuando, en 1944, se decidió continuar la construcción de la Sagrada Familia, tuvo que definirse en primer lugar cómo debía procederse para edificar el templo de la forma más fiel a las ideas de Gaudí. Al frente de esta gigantesca tarea estuvieron los arquitectos Bonet, Quintana y Puig Boada —y, entre 1983 y 1985, Francesc Cardoner—, mientras que de la obra escultórica se encargaron Jaume Busquets, Joaquim Ros i Bofarull, Josep Maria Camps i Arnau y diversos escultores más. Las obras se reanudaron el 30 de junio de 1948, con una pequeña ceremonia consistente en la celebración de una misa en la cripta y un acto presidido por los miembros de la Junta Constructora en el ventanal del crucero, el primero en ser abordado en esta nueva fase.[51] El impulso definitivo se produjo en 1953, gracias a la publicación de una carta pastoral del obispo de Barcelona, Gregorio Modrego, en que expresaba su deseo de acelerar las obras; al año siguiente, la Junta Constructora decidió levantar la segunda fachada, la de la Pasión, sufragada gracias a donativos, colectas anuales y el inicio de la entrada de visitantes a las obras. Las torres de la fachada fueron culminadas en 1976.[52] El conjunto principal de las figuras escultóricas de la nueva fachada le fue encargado en 1987 a Josep Maria Subirachs. Igualmente, el escultor japonés Etsuro Sotoo colaboró en algunas esculturas de la fachada del Nacimiento, las cestas de frutas de los ventanales exteriores y la restauración de las esculturas de la puerta del Rosario. Desde 1987 hasta 2012, las obras estuvieron bajo la dirección de Jordi Bonet i Armengol, fecha en que fue sustituido por Jordi Faulí i Oller.[53] En 1987 se iniciaron las obras de las naves del templo; en el año 2000 se cubrió la nave central y, en 2010, acabó de cubrirse todo el templo.[54].
Uno de los puntos que ha suscitado mayor controversia en torno a la Sagrada Familia es su ubicación en el entramado urbanístico de Barcelona: cuando comenzaron las obras se encontraba en pleno campo, pero pronto fue integrada en el rápido desarrollo producido en la ciudad a principios del siglo . En 1916, Gaudí realizó un proyecto para englobar la Sagrada Familia dentro del Plan Romeu-Porcel, el proyecto urbanístico heredero del Plan Jaussely, un nuevo proyecto de enlaces que debía conectar el Ensanche del Plan Cerdá con los nuevos municipios agregados: concibió situar el templo dentro de una zona ajardinada en forma de estrella octogonal, que habría proporcionado una visión óptima del templo desde todas las zonas circundantes. Finalmente, debido al coste de los terrenos, redujo el proyecto a una estrella de cuatro puntas, que permitía una amplia visión desde todos los vértices.[55] Sin embargo, el plan de Gaudí finalmente no se llevó a cabo: en 1975, el Ayuntamiento de Barcelona realizó un estudio urbanístico que preveía habilitar una zona en forma de cruz en torno a la Sagrada Familia, con cuatro plazas ajardinadas en cada punta del templo;[56] aun así, en la actualidad solo existen dos de estas plazas y la creación de las nuevas supondría el derribo de varios edificios, por lo que aún se estudia la solución ideal para enmarcar la Sagrada Familia en su entorno. En diciembre de 2013, el Ayuntamiento publicó un informe con varias propuestas de urbanización del entorno del templo, elaborado por la firma Estudi Massip-Bosch Arquitectes, en el que se ofrecían ocho posibles soluciones: dejarlo tal como está; hacer una avenida de de ancho hasta la avenida Diagonal "Avenida Diagonal (Barcelona)"), que afectaría parcialmente a dos manzanas de edificios; hacer la misma avenida pero más estrecha; hacer una avenida de ancho estrecho hasta la calle Valencia, que solo afectaría a una manzana de viviendas; hacer una avenida hasta la Diagonal más ancha, derribando por completo las dos manzanas; eliminar por completo la primera manzana, creando una plaza similar a las dos adyacentes a las fachadas del Nacimiento y de la Pasión; la estrella de cuatro puntas esbozada por Gaudí; y, por último, una variante de la anterior en menor tamaño. La decisión final deberá realizarse en consenso entre el Ayuntamiento, la junta constructora y los vecinos afectados.[57].
La Sagrada Familia ha tenido varios eventos destacados: en 1921 se celebró el Año Jubilar de San José con procesiones, peregrinaciones y misas, y se cantó el Aleluya de Händel por mil cantantes de orfeones venidos de toda Cataluña, dirigidos por Lluís Millet.[58] En 1952, con motivo del XXXV Congreso Eucarístico Internacional celebrado en Barcelona, se inauguraron la escalinata monumental y la iluminación artística de la fachada del Nacimiento, se celebraron comuniones multitudinarias, se hizo una plegaria de las naciones por la paz del mundo y se representó el auto sacramental El pleito matrimonial del cuerpo y el alma, de Pedro Calderón de la Barca.[59].
Numerosas personalidades han visitado la Sagrada Familia: los papas Juan Pablo II (1982) y Benedicto XVI (2010); los reyes de España, Alfonso XIII (1904) y Juan Carlos I (2002); el entonces príncipe japonés Akihito (1985); el presidente de Francia, François Mitterrand (1992); el presidente de China, Jiang Zemin (1996); el presidente de Portugal, Jorge Sampaio (2002), etc.[60].
Entre los años 1940 y 1980, una parte del solar sin construir del templo estuvo dedicado a la práctica del baloncesto para los jóvenes del barrio. En 1940, se fundó la Unión Deportiva Sagrada Familia —posteriormente U.D. Gaudí—, que tuvo su primera pista en la calle de Marina tocando a Mallorca (1942-1949) y luego se trasladó a la calle de Cerdeña (1949-1955), a la calle de Mallorca (1955-1965) y a la calle de Marina (1965-1987). En 1987, se clausuró la pista para situar el nuevo acceso al museo del templo.[61].
En 1981 se abrió la plaza de Gaudí frente a la Sagrada Familia, con un proyecto de jardines de Nicolás María Rubió Tudurí, donde destaca el estanque, en cuyas aguas queda reflejado el templo.[62] Al año siguiente, con motivo del centenario de la colocación de la primera piedra, el templo recibió la visita del papa Juan Pablo II.[63] Igualmente, el 18 de marzo de 2007 se conmemoró el 125 aniversario de la colocación de la primera piedra del templo con una fiesta, conciertos y bailes de sardana (La Santa Espina "La Santa Espina (sardana)")) envolviendo el templo.[64] La Sagrada Familia es escenario habitual de numerosos actos culturales y encuentros religiosos.
El arquitecto jefe Jordi Faulí anunció en octubre de 2015 que la construcción estaba completa en un 70 % y había entrado en su fase final de levantar seis campanarios.[65] La entrada de visitantes financia el presupuesto anual de construcción.
El 20 de agosto de 2017 se celebró en la Sagrada Familia una misa solemne en memoria de los fallecidos en el atentado de la Rambla del 17 de agosto, con la presencia de los reyes Felipe VI y Letizia, el presidente de España Mariano Rajoy, el presidente de Portugal Marcelo Rebelo de Sousa, el presidente de la Generalidad Carles Puigdemont, la alcaldesa de Barcelona Ada Colau y otras autoridades.[66].
En 2018 se zanjó una disputa existente desde hacía tiempo entre el templo y el Ayuntamiento de Barcelona: aunque, cuando se iniciaron las obras del templo, la Junta Constructora pidió una licencia de obras al ayuntamiento de San Martín de Provensals —por entonces un municipio independiente—, tras la anexión del mismo a Barcelona en 1897 no se volvió a formalizar una nueva licencia en el consistorio barcelonés. El 18 de octubre de 2018 se anunció un acuerdo entre ambas partes por el que se regulaba la licencia del proyecto y se anunciaba la elaboración de un plan urbanístico de mejora del entorno, así como un proyecto para que la estación de metro de Sagrada Familia tuviese un acceso directo al mismo templo. En dicho acuerdo, la Junta Constructora acordó efectuar una compensación de 36 millones de euros por las molestias originadas por el turismo al entorno vecinal, que se destinarían a realizar mejoras en el entorno y en los transportes.[67].
La obra escultórica de Josep Maria Subirachs en la fachada de la Pasión fue declarada el 11 de febrero de 2019 Bien Cultural de Interés Nacional, según la catalogación efectuada por la Generalidad de Cataluña, que señaló que es un «episodio excepcional en la escultura contemporánea que ha convertido a su autor en un referente esencial del arte catalán».[68][69].
En marzo de 2020, las obras de la Sagrada Familia se pararon a causa de la pandemia por COVID-19.[70] También se paralizaron las visitas al templo, que fueron retomadas el 4 de julio tras tomarse las medidas adecuadas para evitar contagios. Las primeras visitas se ofrecieron de forma gratuita a los profesionales sanitarios que lucharon contra la pandemia.[71] Por otro lado, el 26 de julio se ofreció una misa por las víctimas del coronavirus.[72] En enero de 2021 se retomaron las obras.[73].
En 2025, el Ayuntamiento de Barcelona anunció su intención de ampliar la plaza de Gaudí hasta conectar con la fachada del Nacimiento, eliminando el carril de circulación que, pese a todo, estaba inutilizado desde los atentados de Cataluña de 2017 por motivos de seguridad.[74] Ese año, el 31 de julio, al alcanzar la obra de la torre de Jesucristo los de altura, la Sagrada Familia se convirtió en el edificio más alto de Barcelona —superando a la torre Mapfre y el Hotel Arts—, pese a no haber alcanzado aún su altura máxima, que será de .[75].
• - Inicios de la construcción del templo.
• - 1884.
• - 1892.
• - 1897.
• - 1900.
• - 1906.
• - 1908.
• - 1915.
ecclesiastical history
The first mass was celebrated on March 19, 1885 in the chapel of San José in the crypt.[77] The temple was initially a parish possession of San Martín de Provensals - from 1907, with Gil Parés, a friend of Gaudí, as custodian chaplain -, until it was erected as a parish in 1930.[78] Its first parish priest was Marià Bertran, whom They succeeded: Lluís Puig (1948), Joan Clerch (1955), Joan Pellisa (1975), Lluís Bonet i Armengol (1993) and Josep Maria Turull (2018).[79] It is currently the seat of the archpriestship of the Sagrada Familia, which includes the churches of the Holy Spirit, Immaculate Heart of Mary, Our Lady of the Rosary, San Olegario Obispo and Santo Thomas Aquinas.[80].
On November 7, 2010, the temple of the Sagrada Familia was dedicated to religious worship by Pope Benedict XVI, in an event attended by the kings of Spain, Juan Carlos I and Doña Sofía, together with the archbishop of Barcelona, Lluís Martínez Sistach, and various authorities including the president of the Generalitat, José Montilla, the president of the Congress, José Bono, and the mayor of Barcelona, Jordi Hereu. In this ceremony, the pope declared the Sagrada Familia a minor basilica, being the ninth church in the Catalan capital to receive this distinction.[note 7].
As of July 9, 2017, Sunday masses, which until then were celebrated in the crypt, began to be celebrated in the main nave of the temple, by decision of Archbishop Juan José Omella.[82].
On October 21, 2017, a beatification was celebrated in the temple, that of one hundred and nine Claretian martyrs murdered in 1936. The ceremony was presided over by Cardinals Angelo Amato, prefect of the Congregation for the Causes of Saints, and Juan José Omella, archbishop of Barcelona.[83].
In 2018, after the retirement of Lluís Bonet i Armengol,[note 8] Josep Maria Turull was appointed parish priest of the basilica of the Sagrada Familia, the first to hold office for the basilica as a whole and not just for the crypt as had been the case until then.[84].
the temple
Cuando Gaudí empezó a dirigir la construcción del templo solo estaba empezada la cripta, en la que modificó los capiteles, que pasaron de ser de estilo corintio a otro estilo inspirado en motivos vegetales. Gaudí evolucionó desde el primer proyecto neogótico hacia su estilo particular naturalista, orgánico, inspirado en la naturaleza. El arquitecto opinaba que el gótico era imperfecto, porque sus formas rectas, su sistema de pilares y arbotantes, no reflejaba las leyes de la naturaleza, que según él es propensa a las formas geométricas regladas, como son el paraboloide hiperbólico, el hiperboloide, el helicoide "Hélice (geometría)") y el conoide "Cono (geometría)").[85].
Las superficies regladas son formas generadas por una recta, denominada generatriz, al desplazarse sobre una línea o varias, denominadas directrices. Gaudí las halló en abundancia en la naturaleza, como por ejemplo en juncos, cañas o huesos; decía que no existe mejor estructura que un tronco de árbol o un esqueleto humano. Estas formas son a la vez funcionales y estéticas, y Gaudí las empleó con gran sabiduría, adaptando el lenguaje de la naturaleza a las formas estructurales de la arquitectura. El arquitecto asimilaba la forma helicoidal al movimiento y, la hiperboloidal, a la luz. Decía lo siguiente sobre las superficies regladas: «los paraboloides, hiperboloides y helicoides, variando constantemente la incidencia de la luz, tienen una riqueza propia de matices, que hacen innecesaria la ornamentación y hasta el modelaje».[86].
Gaudí fue modificando su concepción del templo a lo largo de los años, ya que las interrupciones de las obras por falta de recursos económicos le dieron tiempo para buscar nuevas soluciones estructurales. Asimismo, aprovechó su experimentación en otros proyectos para incorporar a la Sagrada Familia sus innovaciones más exitosas: la cripta de la Colonia Güell, así como las galerías y viaductos del parque Güell, le sirvieron para adoptar nuevas soluciones arquitectónicas basadas en hiperboloides y paraboloides, así como en columnas helicoidales. Igualmente, las torres de la Sagrada Familia estaban inspiradas en un proyecto no realizado para unas Misiones Católicas Franciscanas en Tánger (1892), encargado por el marqués de Comillas.[87].
Para Gaudí, elementos clave en su forma de concebir la estructura eran el arco parabólico y el arco catenario, también llamado funicular de fuerzas, que utilizó como elemento más adecuado para soportar las presiones. Mediante la simulación de distintos polifuniculares experimentales determinó la forma óptima de la estructura para soportar las presiones de los arcos "Arco (arquitectura)") y las bóvedas, primero en la cripta de la Colonia Güell y después en la Sagrada Familia. Desarrolló un modelo a escala de cordeles entretejidos de los que suspendían pequeños sacos de perdigones que simulaban los pesos; así, determinaba el funicular de fuerzas y la forma de la estructura. Por tanto, a partir del estado de cargas, simulados con los saquitos de perdigones, determinó experimentalmente la forma idónea de la estructura —que él llamó «estereostática»—, que reproducía la estructura óptima para trabajar a tracción y que, invirtiéndola, se obtenía la estructura idónea para trabajar a compresión.[89].
Gaudí concibió el interior de la Sagrada Familia como si fuese la estructura de un bosque, con un conjunto de columnas "Columna (arquitectura)") arborescentes divididas en diversas ramas para sustentar una estructura de bóvedas de hiperboloides entrelazados. Inclinó las columnas para recibir mejor las presiones perpendiculares a su sección; además, les dio forma helicoidal de doble giro (dextrógiro y levógiro), como en las ramas y troncos de los árboles.[nota 9] Por el conjunto de elementos aplicados en las columnas —inclinación, forma helicoidal, ramificación en varias columnas más pequeñas— consiguió una sencilla forma de soportar el peso de las bóvedas sin necesidad de contrafuertes exteriores.[91].
Diseñó una planta "Planta (arquitectura)") de tipo basilical en cruz latina,[92] con el altar "Altar (religión)") mayor sobre la cripta, en un presbiterio "Presbiterio (arquitectura)") con deambulatorio rodeado de siete capillas absidiales; frente al altar, un transepto de tres naves, con los portales del Nacimiento y la Pasión; en sentido longitudinal el cuerpo central, de cinco naves, con el portal de la Gloria. La planta tiene unas dimensiones de y la zona edificada tendrá una superficie total de .[93] Su capacidad será de 14 000 personas.[94].
El conjunto incluirá además un claustro que circundará la iglesia, previsto para la realización de procesiones y para aislar el templo del exterior; en el centro del tramo correspondiente al ábside se hallará la capilla de la Asunción. Dispondrá además de dos sacristías en los lados de la fachada del ábside, así como las grandes capillas circulares del Bautismo y la Penitencia en los costados de la fachada de la Gloria. El nivel principal del templo está elevado sobre el nivel de la calle, lo que deja un sótano y un semisótano ocupados por el museo y los talleres.[95].
El templo tendrá dieciocho torres, cuatro en cada una de las tres fachadas haciendo un total de doce por los apóstoles, en el centro la torre cimborrio dedicada a Jesús —de de altura—, otras cuatro consagradas a los evangelistas alrededor de la torre cimborrio y, sobre el ábside, otro cimborrio dedicado a la Virgen. Tienen perfil parabólico y disponen de unas escaleras helicoidales que dejan la parte central hueca para situar allí unas campanas tubulares dispuestas como carillón.[96].
Junto al templo, Gaudí construyó varios edificios anexos: la casa del capellán —construida en 1887 y reformada entre 1906 y 1912—, sencilla construcción de ladrillo, a la que se adosaron diversos espacios destinados a despacho de Gaudí, un taller de maquetas y un laboratorio de fotografía; y las Escuelas de la Sagrada Familia (1909), pequeño edificio destinado a escuela para los hijos de los obreros que trabajaban en la obra.[97].
Gaudí concibió una compleja iconografía que basó exclusivamente en su condición de templo católico y en el culto religioso, para lo que adaptó todos los elementos arquitectónicos a los ritos litúrgicos. Para ello, se inspiró principalmente en El Año Litúrgico de Prosper Guéranger,[98] recopilación de todos los cultos y festividades religiosas producidos al cabo del año, así como en el Misal Romano y el Ceremonial de obispos.[99] Para Gaudí, la Sagrada Familia era un himno de alabanza a Dios, en que cada piedra era una estrofa. El exterior del templo representa a la Iglesia, a través de los apóstoles, los evangelistas, la Virgen y Jesús, cuya torre principal simboliza el triunfo de la Iglesia; el interior alude a la Iglesia universal y, el crucero, a la Jerusalén Celestial, símbolo místico de la paz.[100].
Gaudí diseñó personalmente muchas de las esculturas de la Sagrada Familia, a las que aplicó un curioso método de trabajo ideado por él: en primer lugar, hacía un profundo estudio anatómico de la figura, centrándose en las articulaciones —para lo que estudió detenidamente la estructura del esqueleto humano—; a veces, se servía de muñecos confeccionados con alambre para probar la postura adecuada de la figura a esculpir. En segundo lugar, realizaba fotografías de los modelos, utilizando un sistema de espejos que proporcionaban múltiples perspectivas. A continuación, hacía moldes en yeso de las figuras, tanto de personas como de animales —en una ocasión tuvo que izar un burro para que no se moviese—. Sobre estos moldes hacía correcciones en las proporciones para conseguir una perfecta visión de la figura dependiendo de su ubicación en el templo, más grandes cuanto más elevadas. Por último, se esculpía en piedra.[101][nota 10].
The crypt
Begun in 1882 according to the project of Francisco del Villar, when Gaudí took charge of the works on November 3, 1883, he transformed the pillars by adding capitals with naturalistic motifs; He also raised the vault and surrounded the crypt with a pit to have direct lighting and ventilation. On the other hand, he moved the main altar to the place planned for the main staircase, corresponding to the center of the transept, which he thus left free, placing two spiral staircases on the sides in its place.[104] Gaudí's first plans for the Sagrada Familia were for the chapel of Saint Joseph, built between 1884 and 1885, the date of the celebration of the first mass. The work on the crypt continued until 1891.[105].
Located a depth from street level,[106] the crypt has a semicircular shape, length by width.[107] The ambulatory is made up of seven chapels dedicated to the Holy Family of Jesus: Saint Joseph, the Sacred Heart, the Immaculate Conception, Saint Joachim "Joachim (saint)"), Saint Anne "Anne (mother of Mary)"), the chapel of Saint John the Baptist and Saint John the Evangelist and the chapel of Saint Isabel "Isabel (saint)") and Saint Zacarias "Zacarias (father of John the Baptist)").[108] They are arranged in the shape of a rotunda, in front of which five other chapels are located in a straight line: the central one dedicated to the Holy Family - which houses the altar -, flanked by the chapels of Our Lady of Mount Carmel - where Gaudí is buried -, of Jesus Christ, of Our Lady of Montserrat and of the Saint Christ—where Josep Maria Bocabella was buried, until his tomb was desecrated in 1936—.[109] In the space located under the spiral stairs on the sides there are two sacristies.[110].
The vaults of the crypt are of Gothic style, each of them - in a total of 22 - with a central key "Key (architecture)") decorated with anagrams or images of angels and other motifs; It is worth highlighting the keystone of the central vault, with a polychrome relief "Relief (art)") dedicated to the Annunciation, the work of Joan Flotats.[111][note 11] This central vault is the highest and protrudes on the upper floor two meters above the ground, at the height of the presbytery "Presbytery (architecture)"), where some windows allow you to see the crypt from above and provide light to the space below. It is supported by lunettes supported by arches on ten pillars in bundles of columns.[113].
The altar is presided over by a relief altarpiece of the Holy Family, initially made for the oratory of the Batlló house and later placed here.[114] The image of the family of Nazareth was sculpted by Josep Llimona, while the Holy Christ and the candelabras were modeled by Carles Mani; the frame was designed by Gaudí himself.[115] Several of the original sculptures were destroyed in 1936, such as that of Saint Joseph, by Maximí Sala;[116] those of the Sacred Heart and the , by Josep Llimona;[117] and that of the who presided over the main altar, by Joan Matamala. Before 1936, only the by Josep Llimona is preserved. Of the current ones, the image of the is the work of Jaume Busquets;[118] the images of the , and the are by Josep Maria Camps i Arnau.[119].
The apse
The apse occupies the head of the temple, between the Nativity and Passion façades. The chapel of the Assumption will be located in the center of the cloister that surrounds it and will have two sacristies on the sides, of which one has been built at the moment. Gaudí dedicated the apse complex to the Virgin Mary, of whom he was a great devotee. The project contains seven apsidal chapels dedicated to the seven sorrows and joys of Saint Joseph, according to the wishes of the founder Bocabella.[129] These chapels are separated on the outside by eight buttresses with spiers, which reach heights. Each chapel contains three stained glass windows in its upper part, delimited by two other buttresses with lower spiers. [130] Of Gothic inspiration, as it is located above the crypt, it follows the same structure. Its construction took place from 1890 to 1893, although the vaults of the chapels and the ambulatory were not completed until the beginning of the century.[130].
The apse contains a profuse sculptural decoration where the statues dedicated to holy founders of religious orders stand out: on the buttresses are located (from Birth to Passion) Saint Clare, Saint Bruno, Saint Bernard of Clairvaux, Saint Benedict of Nursia, Saint Scholastica "Scholastica (saint)") and Saint Anthony Abbot; In the window of the façade of the transept there are Saint Francis of Assisi and Saint Teresa of Jesus (Birth and Passion respectively).[note 12] There are also the anagrams of Jesus (the initial of his name surrounded by a crown of thorns), of the Virgin (her initial with the crown of Queen of Heaven and Earth) and Saint Joseph (her initial accompanied by daffodils, flowers that evoke purity and chastity). The pinnacles of the buttresses are topped with sculptures of spikes and buds of flora from the environment - when it was built it was a field -, arranged like a bouquet of flowers offered to the Virgin. In addition, on the upper part of the buttresses there are gargoyles "Gargoyle (architecture)") in the shape of animals (snake, chameleon, snail, lizard, lizard, frog and salamander),[139] the work of Llorenç Matamala.[140] In the inner part of the apse there are fifty-six sculptures of angel corbels, distributed among the seven chapels, work of Jaume Cases.[132].
The high railings of the apse chapels bear floral decoration of the antiphon of the Small Office of the Blessed Virgin Mary: cedar, palm, cypress, cinnamon, rose, olive and balsam. Likewise, the terminals of the pediments of the apse are finished with a sculptural decoration that symbolizes the fruits of the Virgin Mary: rose hips, cinnamon, dates, olives and grapes.
• - O Sapientia: wisdom, with a lion and a lamb as a union of strength and meekness;.
• - O Adonai: Hebrew invocation of God (ducal crown and scepter);
• - O Radix Jesse: rod of Jesse;.
• - : key as a sign of dominance;.
Birth Facade
Being dedicated to the joyful event of the birth of Jesus, this façade presents an ecstatic decoration where all the elements are evocative of life. It focuses on the most human and familiar facet of Jesus, with a wide profusion of popular elements, such as tools and domestic animals. Oriented to the east (northeast), it receives the dawn sun, which reinforces the idea of life and joy linked to birth, in contrast to the Passion façade, which represents the death of Christ and therefore receives the light of sunset; Gaudí carefully studied the symbolism of all the spaces of the temple.[155] The façade is divided into three archivolts, which present three porticos dedicated to the theological virtues: de la Esperanza "Hope (virtue)") on the left, de la Fe "Faith (virtue)") on the right and de la Caridad "Charity (virtue)") in the center.[156] It culminates with the bell towers dedicated to Saint Matthias, Saint Jude Thaddeus, Saint Simon and Saint Barnabas. It was built between 1893 and 1936.[157].
The original sculpture is by Llorenç Matamala and Joan Matamala,[note 14] with the help of Carles Mani, author of wax molds of various figures on the façade,[160] and Joan Salvadó i Voltas, author of the first version of the Annunciation, destroyed in the Civil War - which included a shepherd figure with Gaudí's physiognomy;[161] later Jaume Busquets, Joaquim worked on it Ros i Bofarull and Etsuro Sotoo, the last one who worked on the façade, which was completed in 2016.[162].
The three archivolts have rampants supported by two columns on the inside and on the cloisters on the outside. and that of Mary, between the portico of Charity and that of Faith. At the base of the columns a turtle is represented - one of land and one of sea - as a symbol of what is unalterable in time, while the capitals are in the shape of palm leaves, from which clusters of dates covered in snow emerge - for winter, the date of the nativity of Jesus -, which support two angels with trumpets that announce the birth of Christ. In contrast to the turtles, chameleons were placed on both sides of the façade, symbols of change.[164] Made of sandstone from Montjuïc "Montjuïc (Barcelona)"),[165] in Gaudí's original project this façade had to be polychrome, with paint of different colors on the archivolts of the three porticos; Thus, all the statues would have been painted, both those of human figures and those of flora and fauna and other objects.[note 15] However, to date this decoration has not been carried out.[167].
The three porches have four doors - the central one is double - designed by Etsuro Sotoo, made of polychrome bronze and glass, decorated with vegetation, insects and small animals, as an evocation of the place where Jesus was born: the door of Charity is decorated with ivy - a symbol of obedience - and pumpkin flowers - a symbol of marriage; that of Faith contains wild roses without thorns, following the example of Saint Francis of Assisi, who removed the thorns from roses; and, that of Hope, presents some reeds "Cane (vegetable)"), like those of the river that the Holy Family crossed in their flight to Egypt. (larva)"), etc. The first of these doors, those of the Charity portal, were placed between July and December 2014; that of the portico of Hope was installed in July 2015; and that of the portal of Faith was placed on November 30, 2015.[169][170] On the door of Charity you can also see the Latin inscriptions and , while the roses on the two doors draw the initials J and M (José and María).[171].
Passion Facade
The Passion façade began to be built in 1956—after the excavation work carried out in 1954—according to the drawings and explanations that Gaudí had left. The towers were finished in 1976 and, since then, work was done on the sculptural decoration, which was completed in 2018 with the installation of the triumphal cross and the Empty Sepulchre group.[189] Gaudí designed this façade during a convalescence from Maltese fever in Puigcerdà, in 1911, although the final sketch was drawn in 1917.[190] Dedicated to the Passion of Jesus, it aims to reflect the suffering of Christ in his crucifixion, as redemption for man's sins. For this reason, he conceived a more austere and simplified façade, without ornamentation, where the nakedness of the stone stood out, resembling a skeleton reduced to the simple lines of its bones.[191] Only the sculptural groups of the passion cycle of Jesus appear, the work of Josep Maria Subirachs, who devised a simple and schematic group, with angular shapes that cause a greater dramatic effect. Subirachs produced his work between 1987 and 2009.[192][note 19][note 20].
Gaudí himself described his conception of the Passion façade in the following way:
Facing the west (southwest), the façade is supported by six large inclined columns, which resemble redwood trunks,[198] on which is located a large pediment or upper porch of pyramidal shape "Pyramid (geometry)") made up of eighteen bone-shaped columns and topped by a large cross.[199][200] The towers are dedicated to the apostles Santiago the Minor, Saint Thomas, Saint Philip and Saint Bartholomew.[201].
The Passion façade has three portals equally dedicated to Faith, Hope and Charity, where the bronze doors created by Subirachs stand out. The central portal—of Charity—has two doors dedicated to the Gospel, with the evangelical texts that narrate the last days of Jesus, separated by a mullion with the Greek letters alpha and omega, as a symbol of the beginning and the end. The doors are tall by wide, and weigh 6,500 kilos. The one on the left presents the passages related to the Passion from the Gospel of Matthew and the one on the right, from that of John. Altogether, they have a total of about 10,000 letters, some of which are highlighted with gilded bronze, such as the phrase "What is truth?", which Pilate answered to Jesus when he stated that he came to "bear witness to the truth" (John 18, 38).[202]
In front of the Gospel doors is the column of The Flagellation, which replaces the cross initially planned by Gaudí; For this reason, Subirachs divided the column into four blocks, which symbolize the four parts of the cross. It is five meters high and is made of travertine marble. Other notable details of the column are: the knot, which symbolizes the torture suffered by Jesus; the fossil, found in the marble block according to Subirachs, and which is shaped like a palm tree, a symbol of martyrdom; and the reed that the soldiers gave to Jesus instead of the royal scepter, as a symbol of the scorn suffered by the Redeemer. The three steps symbolize the three days that elapsed until the resurrection.[203] This was the first sculpture to be installed on the Passion façade and is signed .[204].
Facade of Glory
The Gloria façade will be the largest and most monumental. It is the main façade, which gives access to the central nave. The works began in 2002. Dedicated to the heavenly glory of Jesus, it represents the ascension path to God: death, the final judgment and glory, as well as hell, for anyone who deviates from the dictates of God.[241] Gaudí sketched only the general lines of this façade, since he was aware that it would not be done by him in life, but by those who continued his work:
To access the portico of Glory there will be a large staircase with a terrace where the Monument to Fire and Water will be located, the first represented with a large pot with fire - representing the column of fire that guided the chosen people - and the second with a water fountain, with a high jet that will be divided into four waterfalls, as a symbol of the rivers of the earthly paradise and the sources of living water of the Apocalypse.[243].
The staircase will create an underground passage on Mallorca Street, which would represent hell and vice, and would be decorated with demons, idols, false gods, schisms, heresies and other representations of evil.[244] Purgatory will also feature, as well as death, represented in tombs located on the floor of the porch. Representing the condemnation to work suffered by man after the original sin, representations of various trades will appear in a portal on the main façade: tailor "Tailor (trade)"), shoemaker "Shoemaker (profession)"), bricklayer, baker, blacksmith, potter, carpenter, etc. Through work and cultivating virtue, man can achieve Glory, through redemption and through the intermediation of the Holy Spirit. Thus, the portico will have seven large columns dedicated to the seven gifts of the Holy Spirit; At its bases the seven capital sins will appear and, on the capitals, the seven virtues "Seven Virtues (catechism)"):[245].
• - Gifts: Piety, Fortitude, Intelligence, Wisdom, Counsel, Science, Fear of God.
Likewise, there are seven doors dedicated to the sacraments "Sacrament (Catholicism)") and to the requests of the Lord's Prayer:[246].
• - Baptism: «Our Father who art in heaven, hallowed be Your Name».
• - Extreme unction: "Your Kingdom come."
• - Priestly Order: "Thy will be done, on Earth as it is in Heaven."
• - Eucharist: «Give us today our daily bread».
• - Confirmation: "Forgive us our trespasses, just as we forgive those who trespass against us."
• - Marriage: "Do not lead us into temptation."
• - Penance: "And deliver us from evil."
The first and last, of Baptism and Penance, will coincide with the two side chapels of the Glory façade, which will intersect with the cloister. The Beatitudes and the corporal and spiritual Works of Mercy will also appear on the façade. Likewise, Adam and Eve will be represented, as the origin of the human being; Saint Joseph in his work as a carpenter; Faith, Hope and Charity, represented by the Ark of the Covenant, Noah's Ark and the House of Nazareth; the Virgin Mary, surrounded by angels, saints, prophets, patriarchs, apostles, martyrs, priests, confessors, virgins and widows; and Jesus in the Final Judgment, with the Holy Spirit in the form of a rose window and God the Father, forming the august Trinity.[247].
The towers
Gaudí designed a temple with great verticality, so that it would be visible from any point in Barcelona and stand out from the rest of the buildings. To this end, he provided the Holy Family with eighteen towers: twelve for the apostles, four for the evangelists and the domes of Jesus and the Virgin Mary.[note 25] They have different heights, in an ascending direction: the towers of the Nativity, the outer ones and the central ones; those of the Passion, the outer ones and the central ones; those of Glory, the exterior and the central ones; those of the evangelists, that of the Virgin, ;[note 26] and that of Jesus, .[257].
The Nativity towers have a square base that becomes circular at mid-height, where a balcony and a pedestal are located with the figure of the apostle as a transition element. They are supported by twelve sandstone ribs, which form long vertical openings between which are some inclined pieces of stone, which serve both to prevent the entry of water and to distribute the sound of the bells.[157] On the other hand, those of the Passion have an elliptical section.[201] For their part, the towers of the evangelists will be formed by eight segments of intersected paraboloids; that of Mary, fourteen segments; and, that of Jesus, twelve. Gaudí said that "the shape of the towers, vertical and parabolic, is the union of gravity with light."[258].
The tops of the towers have different solutions depending on their typology: those of the apostles are topped by pinnacles of polychrome Venetian mosaic with shields with the cross and white spheres, which symbolize the episcopal miter; The episcopal ring and crosier also appear, as well as the initial letter of each apostle.[259] Likewise, there are various inscriptions such as Hosanna, Excelsis and the trisagion Sanctus, Sanctus, Sanctus, repeated three times by the Holy Trinity: that of the Father in yellow, for the light; that of the Son in red, symbol of martyrdom; and, that of the Holy Spirit, orange, a synthesis of the other two.[260] Apparently, for the pinnacles of the towers Gaudí was inspired by the stems of a plant called cat's claws (sedum nicaeensis).[261] Likewise, the shape that represents the ring is inspired by mineral elements such as pyrite, fluorite or galena.[262] Each tower is inscribed with the name in Latin and the word Apostolus along with a sculpture of the apostle he represents. Likewise, each apostle is related to a zodiacal constellation, according to the correspondence established by Bede the Venerable in the century: Saint Peter would be Aries "Aries (constellation)"), Saint Andrew Taurus "Taurus (constellation)"), and so on.[263].
The towers act as a bell tower and will contain a total of eighty-four bells, common and tubular: on the Nativity façade, tubular percussion bells; in that of the Passion, tubular bells of resonant organ; and, in the Gloria, bells tuned with the notes E, G, C. Gaudí carried out complicated acoustic studies to achieve perfect sound.[264] Inside the towers there are spiral staircases inspired again by an organic element, a type of sea snail called a turret ().[261].
The cloister
The cloister surrounds almost the entire perimeter of the temple, only interrupted by the main façade, that of Glory, which is why it is U-shaped, measuring .[284] This original solution devised by Gaudí contrasts with the traditional arrangement of the cloister in the atrium of early Christian basilicas or located on one side of the church in medieval monasteries and cathedrals. He did this to isolate the temple from the outside—both acoustically and climatically—and encourage processional transit.[285] Like the rest of the project, it is located four meters above ground level and its total length will be .[286].
For the windows on the exterior walls, Gaudí devised three different typologies, to achieve a transition from the original neo-Gothic to the new naturalistic structure applied in his later years: the first level, under the cantory, is neo-Gothic; the second, on the cantories, presents an elliptical hyperboloid surrounded by four circular ones, on a frieze of elongated openings; The third, which corresponds to the central nave, also has an elliptical hyperboloid surrounded by two hyperboloids of revolution, also on four elongated openings, with the inscription Gloriam appearing in the center.[287].
Between the windows of the side naves there are Solomonic columns with the inscriptions aurum, thus, myrrham (in Latin, gold, incense and myrrh) and oració, sacrifici, almoina (in Catalan, prayer, sacrifice and alms), and topped by the Greek letters α (alpha) and ω (omega).[288] Other inscriptions also alternate on the exterior walls, such as Jesus, Mary, Joseph; Sursum corda; Full gratitude; Ora pro nobis.[289].
The windows of the side naves end in a pediment, the apex of which is crowned by a basket of fruits (apples, figs, oranges "Orange (fruit)"), peaches, almonds, plums, pomegranates "Pomegranate (fruit)"), cherries, pears, persimmons, chestnuts and medlars), which symbolize the rain of fruits of the Holy Spirit that falls on men.[290] By For its part, the pinnacles of the central nave present the symbols of the Eucharist: grains of grapes crowned by a chalice and ears of wheat crowned by a host.[291] Various trades are also represented (carpenters, painters "Painter (profession)"), dyers, weavers "Fabric (textile)"), goldsmiths, blacksmiths, builders, potters, glaziers and coppersmiths), each symbolized by the objects that most represent them.[292] The fruits and crafts are the work of Etsuro Sotoo. In the mullion above each window there are Founding Saints (from Birth to Passion): Saint Jerome, Saint Ignatius of Loyola, Saint Joseph of Calasanz, Saint Vincent de Paul, Saint Philip Neri, Saint Joan of Lestonnac, Saint Joseph Manyanet, Saint Joseph Oriol, Saint John Bosco, Saint Joachim of Vedruna, Saint Anthony Mary Claret and Saint Peter Nolasco.[note 27].
The interior
Gaudí evolved from a first neo-Gothic project towards a personal, organic style, inspired by the forms of nature: to get rid of the Gothic buttresses he devised the use of columns in the shape of a tree trunk, which allow the weight of the roofs to be unloaded directly on the ground, a practical as well as aesthetic solution, since it turns the interior of the temple's naves into an organic space that resembles a forest.[307] In 1987, the foundations of the temple began. the ships; In 1997, the side vaults were completed and the central one was started, completed in 2000; With the vaults of the transept and the apse, in 2010 the entire temple was covered.[308].
Gaudí carried out the calculation of the main nave using graphic statics, which was published by his assistant Sugrañes in 1923. Starting in 1985, it was necessary to expand them and adapt them to current regulations, so a team of architects made up of Carles Buxadé, Joan Margarit, Josep Gómez, Ramón Ferrando and Ágata Buxadé calculated all the naves, conceiving a continuous structure of reinforced concrete from the foundations to the vaults.[310].
The temple has a Latin cross plan, with five naves "Nave (architecture)") in length and a transept of three naves; The central nave has a width of , and the lateral ones, making a total of ; transept width, . The height is in the vaults of the central nave and in the lateral ones, while those of the transept reach .[311] Gaudí structured the entire floor based on a fundamental module of , which for him was the measure of the ideal "man-tree", the perfect proportion given by nature. The Greeks already established a standard measurement of the human body where the head would be 1/7 or 1/8 of the total; Thus, 7.5 is the average between both. We thus see that the length of the temple is (), that of the transept 60 (), the width of the temple 45 (), that of the transept 30 (), and that the total height of the building - in the tower of Jesus - is ().[note 28][312].
The side naves contain the cantories for the choirs. The apse is lobed #Arco_lobulado "Arch (architecture)"), with an ambulatory around the presbytery "Presbytery (architecture)"). It has seven chapels, of which the one of the Blessed Sacrament is used as an oratory: it has an altar made of Montserrat stone, on which there is a silver tabernacle surrounded by an aura of light and, above it, a copy of the relief of the Holy Family made by Josep Llimona that is in the crypt. The tabernacle is the work of Joaquim Capdevila and presents a relief of vertical lines that resemble ears of wheat, along with a cross and the phrase "I am life"; Inside the lid there is a sacred shape that in turn represents the world, surrounded by smaller ones with a cross in the center, on a golden background.[313].
The temple contains a total of 36 columns, ranging in height, with bases of starry polygons on various sides depending on their location: six (side naves), eight (central nave), ten (towers of the Evangelists), twelve (tower of Jesus). The construction materials vary from Montjuïc stone "Montjuic (Barcelona)") to granite, basalt or porphyry for the coverings, on a reinforced concrete structure.[314] They have a double-turning helical shape (right-handed and left-handed), similar to the growth of some trees or shrubs: a possible source of inspiration would be species such as the abelia () or the oleander ().[315] These columns fork at the height of the capital—in an ellipsoid shape, similar to the nodes of tree trunks—and branch again at a higher height, so they certainly resemble trees.[316].
Construction team
During Gaudí's time, many of his disciples and assistants collaborated with the architect, such as Francisco Berenguer, Josep Maria Jujol, Josep Francesc Ràfols, Cèsar Martinell, Joan Bergós, Francesc Folguera, José Canaleta and Juan Rubió. Upon his death, another of his disciples, Domingo Sugrañes, took charge of the works, completing the construction of the three towers of the Nativity façade that were pending.[342].
After a period in which the works were stopped, in 1944 they were resumed by a team composed of Francesc Quintana, Isidre Puig i Boada, Lluís Bonet i Garí and Francesc Cardoner, who assumed direction in 1983. This team was mainly in charge of the construction of the Passion façade, for which it followed the plans and models left by Gaudí, trying to follow as faithfully as possible the personal style and unique of the modernist architect.[342].
In 1985, Jordi Bonet i Armengol was appointed director, with a team that included Carles Buxadé, Joan Margarit, Jordi Faulí i Oller, Josep Gómez, Mark Burry and Jordi Coll i Grifoll"). innovations, especially in the use of new materials such as concrete and in the application of new technologies, such as CAD design and 3D projections. This modernization of working methods was mainly due to the New Zealand architect Mark Burry, the first to use computer-aided design in the Sagrada Familia.[344].
Since 2009, a good part of the temple works have been outsourced to a space located in the town of Galera (Gayá), where prefabricated post-tensioned stone modules are built that are subsequently placed in the temple, thereby achieving great savings in time and production costs.[345].
In 2012, Jordi Faulí i Oller replaced Bonet as director of the works, commissioned by the Board of Trustees of the Sagrada Familia Construction Board.[53].
In 2025, the faculty management of the temple received the National Building Prize awarded by the General Council of Technical Architecture of Spain (CGATE).[346].
Direction of works:[347].
• - 1882-1883 Francisco de Paula del Villar y Lozano.
• - 1883-1926 Antoni Gaudí.
• - 1926-1936 Domingo Sugrañes.
• - 1944-1966 Francesc Quintana.
• - 1966-1974 Isidre Puig i Boada.
• - 1974-1983 Lluís Bonet i Garí.
• - 1983-1985 Francesc Cardoner.
• - 1985-2012 Jordi Bonet i Armengol.
• - 2012-Current Jordi Faulí i Oller.
• - Francisco de Paula del Villar y Lozano.
• - Antoni Gaudí.
• - Francisco Berenguer.
• - Sunday Sugrañes.
• - Jordi Bonet i Armengol.
• - Jordi Faulí i Oller.
The Museum
The Sagrada Familia has a space set up as a museum, located in the basement of the temple, in the lower part corresponding to the transept, where the workshops were formerly located. Inaugurated on June 29, 1961, it shows Gaudí's original plans and drawings, models of the temple and various objects related to the project, among which the liturgical furniture designed by Gaudí stands out. Also noteworthy is the inverted polyfunicular model of string and weights to calculate the structure of the building and design the shape of the church of Colonia Güell at a 1/15 scale, on which Gaudí based many of the structural solutions of the Sagrada Familia.[348].
The museum also has a room dedicated to the architect's collaborators, as well as an audiovisual room. In addition to the samples referring to the Sagrada Familia, various objects, plans, drawings and photographs of Gaudí's various works are also on display, as well as biographical testimonies of the architect. Temporary exhibitions dedicated to different aspects of Gaudin's project are also held.[348].
On the other hand, the space formed by the Sagrada Familia Schools, which were moved in 2002 to one side of the Passion façade, act as an exhibition space, with a reconstruction of a school classroom and Gaudí's studio.[348].
The schools
On the corner between Sardeña and Mallorca streets, next to the Passion façade, is the building of the Sagrada Familia Schools, built between 1908 and 1909 by Gaudí to provide education to the children of the temple workers, as well as other children in the neighborhood. Gaudí conceived a simple and efficient construction, with all its components adapted to maximum rationalization and cost reduction. The materials had to be the best adapted to their function and both the shape and dimensions of the building had to be precise to offer minimum cost and low construction effort.[349].
The building has a rectangular plan and height. It consisted of three classrooms, a hall and a chapel, with toilets in a body added to the building.[350] The construction was carried out with exposed brick, in three superimposed layers, following the traditional technique of the Catalan vault. The pavement was made of Portland cement on a layer of limestone.[349] The shapes of the building are wavy, which gives the structure a feeling of lightness but at the same time great resistance.[351] The structure is based on three beams arranged vertically inside, which support another horizontal beam located in the center, forming I-shaped profiles that support wooden boards on which the brick roof rises. The different inclinations create the conoid geometric shapes "Cone (geometry)"), which confer a series of concave and convex curves. The load-bearing walls are also curvilinear in plan, with a progressive inclination from the roof to the floor, made with bricks placed vertically in joint breaks.[352].
The schools were severely damaged on July 20, 1936, at the beginning of the Civil War. Part of the facades collapsed, the central girder and some pillars were deformed and the wooden roof fell. In September of that same year, the Council of the New Unified School commissioned Francesc Quintana to rebuild it, the works of which were completed in July 1937.[353] In 2002, the building was moved from its original location, on the land of the Gloria facade, to the current location, on the corner between Sardinia and Mallorca.[43].
Repercussion
Throughout its history, the temple has been the object of various criticisms and controversies, both artistic and urban, as well as political, economic, religious and social. One of the most recurrent has been its connection with Catalan nationalism, since it has been a frequent place of meeting and vindication of nationalist acts.[354] In the artistic field, the Gaudinian project had defenders and detractors from its beginning: among the first were associations such as the Lliga Regionalista, the Lliga Espiritual de la Mare de Déu de Montserrat and the Círculo Artístico de San Lucas, along with personalities such as José Torras and Bages, Joan Maragall, Josep Carner, Joan Llimona, José Pijoán or Joaquín Folch y Torres, as well as the newspaper La Veu de Catalunya; Among the latter, was the group of Noucentista architects, the style that succeeded and displaced modernism, headed by its theorist, Eugeni d'Ors, as well as the art critic Feliu Elias and the satirical magazine L'Esquella de la Torratxa.[355].
On the other hand, since the restart of the works in the 1940s, an intense debate arose about whether it was appropriate to continue the works or not, his detractors alleging that Gaudí had not left enough indications and its continuation would distort his project; On the other hand, the defenders of continuing the work were based on the multiple indications left by the architect to his assistants and disciples, as well as the drawings, models and photographs that left evidence of the project outlined by Gaudí, not to mention its multiple manifestations, recognizing that the project would be the work of several generations.[357].
The definitive push for the continuation of the works was decided by the ecclesiastical hierarchy within the celebration in 1952 of the XXXV International Eucharistic Congress.[358] However, the critical voices were not silenced: in 1959, the architect Oriol Bohigas gave a conference entitled Problems in the continuation of the Sagrada Familia, in which he stated that "the continuation of a temple with the characteristics of that of the Sagrada Familia is a social and urban error».[358].
On the other hand, on January 9, 1965, a group of architects, intellectuals, critics and professionals from various fields published a letter-manifesto in La Vanguardia questioning the continuity of the works; among the signatories were: Le Corbusier, Bruno Zevi, Giulio Carlo Argan, Nikolaus Pevsner, Gio Ponti, Roberto Pane, Gillo Dorfles, Camilo José Cela, Alexandre Cirici, Oriol Bohigas, José Antonio Coderch, Nicolás María Rubió Tudurí, Ricardo Bofill, Antoni Tàpies, Salvador Espriu, Joan Miró, Joan Brossa and Josep Maria Subirachs —who Paradoxically, he would later be the sculptor of the temple -, in addition to the College of Architects of Catalonia, the Promotion of Decorative Arts association and the Barcelona School of Architecture.[359] However, there was a broad popular response in defense of the continuity of the project, which translated into record revenue for the promotion of the works.[360][361].
Likewise, in 1971, a new manifesto signed by 123 architects against the continuation of the temple was published in the press, calling for the stoppage of the works, the transfer of the building to the State or the municipality, the restoration of Gaudin's work and the calling of an international competition to evaluate the future of the project.[362] Also, in 1976, an entire seventy-page edition of the magazine CAU was dedicated to it. (Construction-Architecture-Urbanism, no. 40) to evaluate and censor everything built since Gaudí's death.[363].
Another debate arose in 1987 with the choice of Subirachs to create the sculptural group on the Passion façade, as he was a sculptor with an avant-garde and abstract style that was far from the initial style of the temple, which was more realistic. On July 10, 1990, there was a demonstration in front of the temple against Subirachs' work, organized by the magazine Àrtics, which did not find much popular support.[364] Faced with criticism of being one of the signatories of the 1965 manifesto, Subirachs alleged that "I disagreed with the way it was finished. When I accepted the assignment it was because they respected this condition of doing it with a free style. "I have not changed my mind, but the works board has changed."[365]
In 2009, a new manifesto titled Gaudí on Red Alert was published, sponsored by the Promotion of Decorative Arts, which denounced the interventions in various works by Gaudí declared World Heritage Sites. The signatories declared that “the works of the continuation have given rise, over the years, to a systematic continuation of grievances. Today it is no longer known, nor is it made known to anyone, where the author's work begins and where it ends.
A new controversy arose over the works on the Barcelona Sants-La Sagrera high-speed tunnel, which ran along Mallorca Street, next to the foundations of the main façade of the Sagrada Familia, and which could endanger the integrity of the complex. Although in front of two of the temple's façades there are already metro stations at a very short distance and depth, the construction of the tunnel involved a campaign of rejection, in which neighborhood associations, Barcelona City Council, the Generalitat of Catalonia and the Ministry of Public Works intervened. Technicians from several universities supported this campaign. The completion of the works in 2011 without incident put an end to the controversy.[367][368].
Over time, the majority of public opinion has been in favor of the temple, today one of the indisputable emblems of Barcelona. Proof of this is the change of opinion of the architect Óscar Tusquets, one of the signatories of the 1965 manifesto, who in 2011 published an article in El País entitled How could we be so wrong?, in which he recognized the success in the continuity of the works. Or, on the other hand, the change of attitude of the city council, originally indifferent if not reluctant to the construction of the temple, and which changed its mind with the awarding of the City of Barcelona Prize for Architecture to the Sagrada Familia in 2010.[369][370].
In recent times, criticism has focused on excessive tourism and the damage derived from the influx of public for the residents of the area. Regarding the execution of the works, in 2016 the Sagrada Familia Neighborhood Association filed a complaint for non-compliance with urban planning regulations, considering that the columns of the Gloria façade invade between 20 and the sidewalk of Mallorca Street.[371].
• - Wikimedia Commons hosts a multimedia gallery about Expiatory Temple of the Holy Family.
• - Wikinews has news related to Expiatory Temple of the Holy Family.
• - Official website.
• - Works by Antoni Gaudí The UNESCO Collection on Google Arts and Culture.
[3] ↑ Associated Press (30 de octubre de 2025). «Four feet higher and rising: Barcelona’s Sagrada Familia becomes world’s tallest church» [Cuatro pies (121 cm) más alta y subiendo: La Sagrada Familia de Barcelona se convierte en la iglesia más alta del mundo]. The Guardian (en inglés).: https://www.theguardian.com/world/2025/oct/30/barcelona-sagrada-familia-world-tallest-church
[20] ↑ Antonio Oliva Sala (julio-agosto 2012). Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora del Templo Expiatorio de la Sagrada Familia. p. 9-12.
[51] ↑ Templo (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. julio-agosto 1948.
[52] ↑ Jordi Faulí (marzo 2022). Un nou estel brilla a la ciutat. Especial torre de la Mare de Deú (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora del Templo Expiatorio de la Sagrada Familia. p. 22.
[64] ↑ «El Patronato de la Sagrada Familia presenta el programa de los 125 años del inicio del templo». Consultado el 9 de enero de 2013.: http://www.3cat24.cat/noticia/180322/
[149] ↑ «Corporación Gaudí de Triana celebra inicio de obras de Capilla Nuestra Señora de los Ángeles». Consultado el 21 de abril de 2017.: http://www.gaudichile.cl/category/noticias/
[257] ↑ a b Jordi Coll i Grifoll (septiembre-octubre 2012). Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. p. 9.
[258] ↑ Faulí, 2014, p. 141.
[259] ↑ Gómez Gimeno, 2006, p. 111.
[260] ↑ Puig i Boada, 1986, p. 146.
[261] ↑ a b Fargas, 2009, p. 10.
[262] ↑ Curti y Regàs, 2025, p. 69.
[263] ↑ Fargas, 2009, p. 56.
[264] ↑ Gómez Gimeno, 2006, p. 112.
[265] ↑ Faulí, 2014, p. 18.
[266] ↑ Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. octubre de 2019. p. 7.
[267] ↑ Sotoo, 2010, p. 174.
[268] ↑ Fargas, 2009, p. 62.
[269] ↑ Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. julio-setiembre 2017. p. 10-11.
[270] ↑ Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. diciembre 2020. p. 22-25.
[271] ↑ a b Jordi Faulí i Oller (noviembre-diciembre 2012). Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. p. 5.
[273] ↑ Jordi Faulí i Oller (julio 2018). Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. pp. 9-10.
[340] ↑ Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. marzo-abril 2011.
[341] ↑ Faulí, 2014, p. 126.
[342] ↑ a b Faulí, 2014, p. 62.
[343] ↑ Faulí, 2014, pp. 62-63.
[344] ↑ Van Hensbergen, 2016, p. 217.
[345] ↑ Ramon Espel i Rosell (julio-agosto 2014). Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. pp. 4-5.
During Gaudí's life, only the crypt, the apse and, partially, the Nativity façade were completed, of which Gaudí only saw the tower of Saint Barnabas crowned. Upon his death, his assistant, Domingo Sugrañes, took charge of the construction; Subsequently, it has been under the direction of various architects, with Jordi Faulí i Oller being the director of the works since 2012. Artists such as Llorenç and Joan Matamala, Carles Mani, Jaume Busquets, Joaquim Ros i Bofarull, Etsuro Sotoo and Josep Maria Subirachs worked on the sculptural decoration, the latter being the author of the decoration of the Passion façade.
The work that Gaudí did, that is, the Nativity façade and the crypt, was included in 2005 by UNESCO in the World Heritage site Works of Antoni Gaudí.[5] It is a monument declared in the register of Cultural Assets of National Interest of the Catalan heritage and in the register of Assets of Cultural Interest "Bien de Interés Cultural (Spain)") of the Spanish heritage with the code RI-51-0003813.[6] It is also, since 2007, one of the 12 Treasures of Spain.[7] Also, in 2007, it was chosen one of the Seven Wonders of Catalonia.[8] The temple was declared a minor basilica on November 7, 2010 by Pope Benedict XVI.[9] That year, the newly built nave "Nave (architecture)") The main part of the temple received the City of Barcelona Prize for Architecture and Urbanism.[10][11] The Sagrada Familia is also popularly known as the "Cathedral of the Poor", because of the homonymous painting by the modernist painter Joaquín Mir.[12].
History
Contenido
La idea de construir un templo expiatorio "Expiación (religión)") dedicado a la Sagrada Familia fue del librero Josep Maria Bocabella, inspirado por el sacerdote Josep Manyanet —canonizado en 2004—, fundador de las congregaciones religiosas Congregación de Hijos de la Sagrada Familia y Congregación de Misioneras Hijas de la Sagrada Familia de Nazaret, encargadas de promover el culto a la Sagrada Familia y fomentar la educación cristiana de niños y jóvenes.[14] En 1869, Manyanet publicó El espíritu de la Sagrada Familia, donde lanzaba la idea de un templo en Barcelona dedicado a su culto.[15] Para tal fin, Bocabella fundó en 1866 la Asociación Espiritual de Devotos de San José, con el objetivo de recaudar fondos. En 1871, Bocabella visitó al papa Pío IX en Roma y, en el seno de ese viaje, visitó el santuario de Loreto (Ancona), que se supone guarda la que fue la casa de José y María "María (madre de Jesús)") en Nazaret, templo que le sirvió de inspiración para la proyectada iglesia barcelonesa.[15].
En 1881, Bocabella compró un solar para la construcción del templo en un lugar conocido como El Poblet, cerca del Camp de l'Arpa, en San Martín de Provensals —por aquel entonces un municipio independiente que sería agregado a Barcelona en 1897—,[16] entre las calles Provenza, Mallorca, Marina y Cerdeña. Este terreno estaba incluido en el Plan Cerdá de Ensanche de Barcelona. El solar, de ,[17] era un poco más grande que las manzanas normales del Ensanche —normalmente de —, porque en el Plan Cerdá estaba reservado para un hipódromo, que finalmente no se construyó.[16] Costó 172 000 pesetas de la época.[18].
Para la difusión de su labor, la Asociación de Devotos editó desde 1867 una revista, llamada inicialmente El Propagador de la Devoción a San José,[nota 1] dirigida por el sacerdote mercedario José María Rodríguez Bori;[19] en 1948 pasó a llamarse Templo y, desde 1981, Temple (en catalán). Desde 1895, la gestión del proyecto corrió a cargo de la Junta Constructora del Templo Expiatorio de la Sagrada Familia,[nota 2] una fundación canónica creada para promover la construcción del templo a través de donativos e iniciativas privadas. Su presidente nato es el arzobispo de Barcelona, actualmente Juan José Omella. En 2001, la Junta recibió el premio Creu de Sant Jordi que otorga la Generalidad de Cataluña.[21].
Desde sus inicios, la Sagrada Familia se sufragó con limosnas y donativos, lo que originó que en diversas ocasiones las obras se ralentizasen o incluso parasen debido a la falta de aportaciones. En 1891, por ejemplo, un importante donativo, de algo más de medio millón de pesetas —abonado en mensualidades entre 1891 y 1898—, proveniente de la última voluntad de la viuda Isabel Bolet, permitió iniciar la construcción de la fachada del Nacimiento.[22] De igual manera, en 1905, en otro momento en que las obras estaban casi paradas, el poeta Joan Maragall escribió un artículo titulado Una gracia de caridad, para llamar a la opinión pública a colaborar con la construcción del templo.[23].
El proyecto fue encargado en primer lugar al arquitecto diocesano Francisco de Paula del Villar y Lozano, quien tras varios proyectos sucesivos ideó un conjunto neogótico y desechó la idea de Bocabella de hacer una réplica del santuario de Loreto.[24] El proyecto de Villar consistía en una iglesia de tres naves "Nave (arquitectura)"), de ,[25] con los elementos típicos del gótico, como los ventanales alveolados, los contrafuertes exteriores y un alto campanario en forma de aguja, que habría llegado a los de altura.[26].
La primera piedra se colocó el 19 de marzo de 1882 (día de san José), con la presencia del entonces obispo de Barcelona, José María Urquinaona. Gaudí asistió a la ceremonia,[27] ya que había trabajado como ayudante de Villar en algún proyecto;[nota 3] en ese momento, no se podía imaginar que él pasaría a ser el arquitecto de dicha obra.[29] Para conmemorar el hecho, se colocó un pilar en la puerta de entrada de la calle Mallorca con la fecha, el escudo pontificio y una cruz.[30] Las obras no se iniciaron hasta el 25 de agosto de 1883 y fueron adjudicadas al contratista Macari Planella i Roura.[31].
En 1883, Villar renunció por desavenencias con Bocabella, quien contaba con el asesoramiento del célebre arquitecto Joan Martorell.[32][nota 4] El proyecto se ofreció al propio Martorell, pero, al rehusar este, fue ofrecido a un joven Gaudí de treinta y un años. El arquitecto reusense se hizo cargo de las obras el 3 de noviembre de 1883.[34] Gaudí había sido ayudante de Martorell en varias construcciones,[nota 5] hecho que motivó la recomendación del recién licenciado arquitecto, que aún no había ejecutado grandes obras. Al hacerse cargo Gaudí del proyecto, lo modificó por entero —salvo la parte ya construida de la cripta— y le imprimió su estilo peculiar. Sin embargo, no pudo cambiar la orientación del edificio, al estar ya realizados los cimientos. Gaudí habría preferido situar el eje del edificio diagonalmente a la manzana, para situar el ábside orientado hacia levante y para disponer de mayor longitud en planta.[29].
Durante los restantes cuarenta y tres años de su vida trabajó intensamente en la obra, los últimos quince de forma exclusiva. Además, los últimos ocho meses antes de fallecer, vivió en el taller del templo.[36] Esta dedicación tan intensa puede explicarse, además de por la magnitud de la obra, por el hecho de que Gaudí definía muchos aspectos a medida que la construcción avanzaba, en lugar de haberlos concretado previamente en sus planos e instrucciones. Por ello, su presencia personal en la obra era de gran importancia. Gaudí contó casi desde el inicio con la ayuda de dos de sus más fieles colaboradores, Francisco Berenguer y Juan Rubió.[37] Más tarde, hacia 1909, contó con la colaboración de Josep Maria Jujol. A la muerte de Berenguer, en 1914, pasó a ser su primer ayudante Domingo Sugrañes, hasta entonces segundo auxiliar; y, en 1918, entró Francesc Quintana como segundo.[38].
Gaudí estimaba que la construcción duraría siglos. Por ello, propuso a la Junta Constructora construir en vertical en vez de horizontalmente, por lo que levantó y terminó la fachada del ábside, primero, y del Nacimiento, después, al objeto de que la generación que había comenzado la obra viese algo acabado y, simultáneamente, esa fachada terminada pudiera servir de estímulo a futuras generaciones para continuar el templo. Su propuesta fue aceptada.[39].
El templo fue creciendo lentamente y Gaudí fue cambiando el proyecto sobre la marcha, un proyecto que fue evolucionando paulatinamente a la construcción según se perfilaban las ideas del arquitecto, que plasmaba en maquetas que realizaba en su taller. Consciente de la magnitud de la obra, Gaudí puso más empeño en su concepción que en su realización. El poeta Joan Maragall, amigo del arquitecto, comentó en 1900 que «yo comprendo que el hombre que más ha puesto de su vida en la construcción de este templo no desee verlo concluido» (artículo titulado El templo que nace, publicado en el Diario de Barcelona). Para Maragall, el templo era más un símbolo que un edificio, el proyecto redentor de una ciudad que expresa una aspiración colectiva de desarrollo moral, «la construcción que redime de todas las destrucciones». Para Maragall, la Sagrada Familia es «poesía de la arquitectura», «el templo que no concluye, que está en formación perenne, [...] el templo que aguarda constantemente sus altares».[41].
Entre 1908 y 1909, Gaudí construyó en los terrenos destinados a la fachada de la Gloria las Escuelas de la Sagrada Familia, destinadas a proporcionar educación a los hijos de los obreros y a niños vecinos del templo. Fueron inauguradas el 15 de noviembre de 1909 por el obispo de Barcelona, Juan José Laguarda y Fenollera.[42] Su realización conllevó un coste de 9000 pesetas, que sufragó el propio Gaudí.[43].
El 11 de diciembre de 1921 se puso la primera piedra de la nave del templo —concretamente la de la base de la columna dedicada a Tarragona—, con una ceremonia de bendición oficiada por el arzobispo de Tarragona y metropolitano de Cataluña, Francisco Vidal y Barraquer.[44].
En 1923, aún en vida de Gaudí, en el boletín de la Asociación de Arquitectos de Cataluña se publicaron los cálculos de la estructura de las naves firmados por su ayudante, Sugrañes. En esos cálculos se han basado los que han continuado la construcción, aunque ha sido preciso adaptarlos para cumplir la normativa vigente en la actualidad.[45].
Gaudí, consciente de que la construcción del templo la llevarían a cabo generaciones posteriores,[nota 6] intentó definir el proyecto sobre planos, pero, sabiendo que no le daría tiempo en vida, realizó en detalle varias maquetas en yeso a escala 1:10 y 1:25 de las partes más significativas, con la esperanza de que fuesen empleadas como modelos en el resto del edificio. Gaudí proyectó en unas maquetas tridimensionales la nave central, la sacristía y la fachada de la Gloria. La maqueta de la nave principal debía servir de modelo para el resto de las naves y la maqueta de la sacristía debía ser el modelo para las torres centrales.[47].
Durante la vida de Gaudí solo se hizo la cripta, el ábside y la fachada del Nacimiento parcialmente, ya que solo se culminó una de las cuatro torres —el arquitecto solo llegó a ver coronada la torre de san Bernabé—. Contó con la colaboración de varios artistas: en escultura, Carles Mani, Llorenç Matamala y Joan Matamala; en dibujo, Ricard Opisso, que trabajó como auxiliar de oficina desarrollando planos y realizando perfiles de figuras o motivos a escala.[48] A su muerte en 1926, arrollado por un tranvía, se hizo cargo de las obras su ayudante, Domingo Sugrañes (durante los años 1926-1936), el cual finalizó las tres torres que quedaban en la fachada del Nacimiento.[49].
El 20 de julio de 1936, dos días después del golpe de Estado que originó la Guerra Civil, anarquistas de la FAI incendiaron la cripta, por lo que se destruyó en su mayor parte el taller en el que Gaudí había trabajado, donde se encontraban sus esbozos, maquetas y modelos. Unos días después del destrozo, el arquitecto Lluís Bonet i Garí solicitó que se rescataran los fragmentos rotos de las maquetas, que fueron guardados. Entre estos, otros que quedaron enterrados y que se recuperaron posteriormente y las fotografías conservadas de las maquetas originales, a partir de 1940 Lluís Bonet, Isidre Puig i Boada y Francesc Quintana restauraron y reconstruyeron los modelos, elaboraron sus planos y construyeron una nueva réplica de la maqueta de la nave principal a escala 1:10, que hoy se puede contemplar en el museo de la basílica.[49].
Cuando, en 1944, se decidió continuar la construcción de la Sagrada Familia, tuvo que definirse en primer lugar cómo debía procederse para edificar el templo de la forma más fiel a las ideas de Gaudí. Al frente de esta gigantesca tarea estuvieron los arquitectos Bonet, Quintana y Puig Boada —y, entre 1983 y 1985, Francesc Cardoner—, mientras que de la obra escultórica se encargaron Jaume Busquets, Joaquim Ros i Bofarull, Josep Maria Camps i Arnau y diversos escultores más. Las obras se reanudaron el 30 de junio de 1948, con una pequeña ceremonia consistente en la celebración de una misa en la cripta y un acto presidido por los miembros de la Junta Constructora en el ventanal del crucero, el primero en ser abordado en esta nueva fase.[51] El impulso definitivo se produjo en 1953, gracias a la publicación de una carta pastoral del obispo de Barcelona, Gregorio Modrego, en que expresaba su deseo de acelerar las obras; al año siguiente, la Junta Constructora decidió levantar la segunda fachada, la de la Pasión, sufragada gracias a donativos, colectas anuales y el inicio de la entrada de visitantes a las obras. Las torres de la fachada fueron culminadas en 1976.[52] El conjunto principal de las figuras escultóricas de la nueva fachada le fue encargado en 1987 a Josep Maria Subirachs. Igualmente, el escultor japonés Etsuro Sotoo colaboró en algunas esculturas de la fachada del Nacimiento, las cestas de frutas de los ventanales exteriores y la restauración de las esculturas de la puerta del Rosario. Desde 1987 hasta 2012, las obras estuvieron bajo la dirección de Jordi Bonet i Armengol, fecha en que fue sustituido por Jordi Faulí i Oller.[53] En 1987 se iniciaron las obras de las naves del templo; en el año 2000 se cubrió la nave central y, en 2010, acabó de cubrirse todo el templo.[54].
Uno de los puntos que ha suscitado mayor controversia en torno a la Sagrada Familia es su ubicación en el entramado urbanístico de Barcelona: cuando comenzaron las obras se encontraba en pleno campo, pero pronto fue integrada en el rápido desarrollo producido en la ciudad a principios del siglo . En 1916, Gaudí realizó un proyecto para englobar la Sagrada Familia dentro del Plan Romeu-Porcel, el proyecto urbanístico heredero del Plan Jaussely, un nuevo proyecto de enlaces que debía conectar el Ensanche del Plan Cerdá con los nuevos municipios agregados: concibió situar el templo dentro de una zona ajardinada en forma de estrella octogonal, que habría proporcionado una visión óptima del templo desde todas las zonas circundantes. Finalmente, debido al coste de los terrenos, redujo el proyecto a una estrella de cuatro puntas, que permitía una amplia visión desde todos los vértices.[55] Sin embargo, el plan de Gaudí finalmente no se llevó a cabo: en 1975, el Ayuntamiento de Barcelona realizó un estudio urbanístico que preveía habilitar una zona en forma de cruz en torno a la Sagrada Familia, con cuatro plazas ajardinadas en cada punta del templo;[56] aun así, en la actualidad solo existen dos de estas plazas y la creación de las nuevas supondría el derribo de varios edificios, por lo que aún se estudia la solución ideal para enmarcar la Sagrada Familia en su entorno. En diciembre de 2013, el Ayuntamiento publicó un informe con varias propuestas de urbanización del entorno del templo, elaborado por la firma Estudi Massip-Bosch Arquitectes, en el que se ofrecían ocho posibles soluciones: dejarlo tal como está; hacer una avenida de de ancho hasta la avenida Diagonal "Avenida Diagonal (Barcelona)"), que afectaría parcialmente a dos manzanas de edificios; hacer la misma avenida pero más estrecha; hacer una avenida de ancho estrecho hasta la calle Valencia, que solo afectaría a una manzana de viviendas; hacer una avenida hasta la Diagonal más ancha, derribando por completo las dos manzanas; eliminar por completo la primera manzana, creando una plaza similar a las dos adyacentes a las fachadas del Nacimiento y de la Pasión; la estrella de cuatro puntas esbozada por Gaudí; y, por último, una variante de la anterior en menor tamaño. La decisión final deberá realizarse en consenso entre el Ayuntamiento, la junta constructora y los vecinos afectados.[57].
La Sagrada Familia ha tenido varios eventos destacados: en 1921 se celebró el Año Jubilar de San José con procesiones, peregrinaciones y misas, y se cantó el Aleluya de Händel por mil cantantes de orfeones venidos de toda Cataluña, dirigidos por Lluís Millet.[58] En 1952, con motivo del XXXV Congreso Eucarístico Internacional celebrado en Barcelona, se inauguraron la escalinata monumental y la iluminación artística de la fachada del Nacimiento, se celebraron comuniones multitudinarias, se hizo una plegaria de las naciones por la paz del mundo y se representó el auto sacramental El pleito matrimonial del cuerpo y el alma, de Pedro Calderón de la Barca.[59].
Numerosas personalidades han visitado la Sagrada Familia: los papas Juan Pablo II (1982) y Benedicto XVI (2010); los reyes de España, Alfonso XIII (1904) y Juan Carlos I (2002); el entonces príncipe japonés Akihito (1985); el presidente de Francia, François Mitterrand (1992); el presidente de China, Jiang Zemin (1996); el presidente de Portugal, Jorge Sampaio (2002), etc.[60].
Entre los años 1940 y 1980, una parte del solar sin construir del templo estuvo dedicado a la práctica del baloncesto para los jóvenes del barrio. En 1940, se fundó la Unión Deportiva Sagrada Familia —posteriormente U.D. Gaudí—, que tuvo su primera pista en la calle de Marina tocando a Mallorca (1942-1949) y luego se trasladó a la calle de Cerdeña (1949-1955), a la calle de Mallorca (1955-1965) y a la calle de Marina (1965-1987). En 1987, se clausuró la pista para situar el nuevo acceso al museo del templo.[61].
En 1981 se abrió la plaza de Gaudí frente a la Sagrada Familia, con un proyecto de jardines de Nicolás María Rubió Tudurí, donde destaca el estanque, en cuyas aguas queda reflejado el templo.[62] Al año siguiente, con motivo del centenario de la colocación de la primera piedra, el templo recibió la visita del papa Juan Pablo II.[63] Igualmente, el 18 de marzo de 2007 se conmemoró el 125 aniversario de la colocación de la primera piedra del templo con una fiesta, conciertos y bailes de sardana (La Santa Espina "La Santa Espina (sardana)")) envolviendo el templo.[64] La Sagrada Familia es escenario habitual de numerosos actos culturales y encuentros religiosos.
El arquitecto jefe Jordi Faulí anunció en octubre de 2015 que la construcción estaba completa en un 70 % y había entrado en su fase final de levantar seis campanarios.[65] La entrada de visitantes financia el presupuesto anual de construcción.
El 20 de agosto de 2017 se celebró en la Sagrada Familia una misa solemne en memoria de los fallecidos en el atentado de la Rambla del 17 de agosto, con la presencia de los reyes Felipe VI y Letizia, el presidente de España Mariano Rajoy, el presidente de Portugal Marcelo Rebelo de Sousa, el presidente de la Generalidad Carles Puigdemont, la alcaldesa de Barcelona Ada Colau y otras autoridades.[66].
En 2018 se zanjó una disputa existente desde hacía tiempo entre el templo y el Ayuntamiento de Barcelona: aunque, cuando se iniciaron las obras del templo, la Junta Constructora pidió una licencia de obras al ayuntamiento de San Martín de Provensals —por entonces un municipio independiente—, tras la anexión del mismo a Barcelona en 1897 no se volvió a formalizar una nueva licencia en el consistorio barcelonés. El 18 de octubre de 2018 se anunció un acuerdo entre ambas partes por el que se regulaba la licencia del proyecto y se anunciaba la elaboración de un plan urbanístico de mejora del entorno, así como un proyecto para que la estación de metro de Sagrada Familia tuviese un acceso directo al mismo templo. En dicho acuerdo, la Junta Constructora acordó efectuar una compensación de 36 millones de euros por las molestias originadas por el turismo al entorno vecinal, que se destinarían a realizar mejoras en el entorno y en los transportes.[67].
La obra escultórica de Josep Maria Subirachs en la fachada de la Pasión fue declarada el 11 de febrero de 2019 Bien Cultural de Interés Nacional, según la catalogación efectuada por la Generalidad de Cataluña, que señaló que es un «episodio excepcional en la escultura contemporánea que ha convertido a su autor en un referente esencial del arte catalán».[68][69].
En marzo de 2020, las obras de la Sagrada Familia se pararon a causa de la pandemia por COVID-19.[70] También se paralizaron las visitas al templo, que fueron retomadas el 4 de julio tras tomarse las medidas adecuadas para evitar contagios. Las primeras visitas se ofrecieron de forma gratuita a los profesionales sanitarios que lucharon contra la pandemia.[71] Por otro lado, el 26 de julio se ofreció una misa por las víctimas del coronavirus.[72] En enero de 2021 se retomaron las obras.[73].
En 2025, el Ayuntamiento de Barcelona anunció su intención de ampliar la plaza de Gaudí hasta conectar con la fachada del Nacimiento, eliminando el carril de circulación que, pese a todo, estaba inutilizado desde los atentados de Cataluña de 2017 por motivos de seguridad.[74] Ese año, el 31 de julio, al alcanzar la obra de la torre de Jesucristo los de altura, la Sagrada Familia se convirtió en el edificio más alto de Barcelona —superando a la torre Mapfre y el Hotel Arts—, pese a no haber alcanzado aún su altura máxima, que será de .[75].
• - Inicios de la construcción del templo.
• - 1884.
• - 1892.
• - 1897.
• - 1900.
• - 1906.
• - 1908.
• - 1915.
ecclesiastical history
The first mass was celebrated on March 19, 1885 in the chapel of San José in the crypt.[77] The temple was initially a parish possession of San Martín de Provensals - from 1907, with Gil Parés, a friend of Gaudí, as custodian chaplain -, until it was erected as a parish in 1930.[78] Its first parish priest was Marià Bertran, whom They succeeded: Lluís Puig (1948), Joan Clerch (1955), Joan Pellisa (1975), Lluís Bonet i Armengol (1993) and Josep Maria Turull (2018).[79] It is currently the seat of the archpriestship of the Sagrada Familia, which includes the churches of the Holy Spirit, Immaculate Heart of Mary, Our Lady of the Rosary, San Olegario Obispo and Santo Thomas Aquinas.[80].
On November 7, 2010, the temple of the Sagrada Familia was dedicated to religious worship by Pope Benedict XVI, in an event attended by the kings of Spain, Juan Carlos I and Doña Sofía, together with the archbishop of Barcelona, Lluís Martínez Sistach, and various authorities including the president of the Generalitat, José Montilla, the president of the Congress, José Bono, and the mayor of Barcelona, Jordi Hereu. In this ceremony, the pope declared the Sagrada Familia a minor basilica, being the ninth church in the Catalan capital to receive this distinction.[note 7].
As of July 9, 2017, Sunday masses, which until then were celebrated in the crypt, began to be celebrated in the main nave of the temple, by decision of Archbishop Juan José Omella.[82].
On October 21, 2017, a beatification was celebrated in the temple, that of one hundred and nine Claretian martyrs murdered in 1936. The ceremony was presided over by Cardinals Angelo Amato, prefect of the Congregation for the Causes of Saints, and Juan José Omella, archbishop of Barcelona.[83].
In 2018, after the retirement of Lluís Bonet i Armengol,[note 8] Josep Maria Turull was appointed parish priest of the basilica of the Sagrada Familia, the first to hold office for the basilica as a whole and not just for the crypt as had been the case until then.[84].
the temple
Cuando Gaudí empezó a dirigir la construcción del templo solo estaba empezada la cripta, en la que modificó los capiteles, que pasaron de ser de estilo corintio a otro estilo inspirado en motivos vegetales. Gaudí evolucionó desde el primer proyecto neogótico hacia su estilo particular naturalista, orgánico, inspirado en la naturaleza. El arquitecto opinaba que el gótico era imperfecto, porque sus formas rectas, su sistema de pilares y arbotantes, no reflejaba las leyes de la naturaleza, que según él es propensa a las formas geométricas regladas, como son el paraboloide hiperbólico, el hiperboloide, el helicoide "Hélice (geometría)") y el conoide "Cono (geometría)").[85].
Las superficies regladas son formas generadas por una recta, denominada generatriz, al desplazarse sobre una línea o varias, denominadas directrices. Gaudí las halló en abundancia en la naturaleza, como por ejemplo en juncos, cañas o huesos; decía que no existe mejor estructura que un tronco de árbol o un esqueleto humano. Estas formas son a la vez funcionales y estéticas, y Gaudí las empleó con gran sabiduría, adaptando el lenguaje de la naturaleza a las formas estructurales de la arquitectura. El arquitecto asimilaba la forma helicoidal al movimiento y, la hiperboloidal, a la luz. Decía lo siguiente sobre las superficies regladas: «los paraboloides, hiperboloides y helicoides, variando constantemente la incidencia de la luz, tienen una riqueza propia de matices, que hacen innecesaria la ornamentación y hasta el modelaje».[86].
Gaudí fue modificando su concepción del templo a lo largo de los años, ya que las interrupciones de las obras por falta de recursos económicos le dieron tiempo para buscar nuevas soluciones estructurales. Asimismo, aprovechó su experimentación en otros proyectos para incorporar a la Sagrada Familia sus innovaciones más exitosas: la cripta de la Colonia Güell, así como las galerías y viaductos del parque Güell, le sirvieron para adoptar nuevas soluciones arquitectónicas basadas en hiperboloides y paraboloides, así como en columnas helicoidales. Igualmente, las torres de la Sagrada Familia estaban inspiradas en un proyecto no realizado para unas Misiones Católicas Franciscanas en Tánger (1892), encargado por el marqués de Comillas.[87].
Para Gaudí, elementos clave en su forma de concebir la estructura eran el arco parabólico y el arco catenario, también llamado funicular de fuerzas, que utilizó como elemento más adecuado para soportar las presiones. Mediante la simulación de distintos polifuniculares experimentales determinó la forma óptima de la estructura para soportar las presiones de los arcos "Arco (arquitectura)") y las bóvedas, primero en la cripta de la Colonia Güell y después en la Sagrada Familia. Desarrolló un modelo a escala de cordeles entretejidos de los que suspendían pequeños sacos de perdigones que simulaban los pesos; así, determinaba el funicular de fuerzas y la forma de la estructura. Por tanto, a partir del estado de cargas, simulados con los saquitos de perdigones, determinó experimentalmente la forma idónea de la estructura —que él llamó «estereostática»—, que reproducía la estructura óptima para trabajar a tracción y que, invirtiéndola, se obtenía la estructura idónea para trabajar a compresión.[89].
Gaudí concibió el interior de la Sagrada Familia como si fuese la estructura de un bosque, con un conjunto de columnas "Columna (arquitectura)") arborescentes divididas en diversas ramas para sustentar una estructura de bóvedas de hiperboloides entrelazados. Inclinó las columnas para recibir mejor las presiones perpendiculares a su sección; además, les dio forma helicoidal de doble giro (dextrógiro y levógiro), como en las ramas y troncos de los árboles.[nota 9] Por el conjunto de elementos aplicados en las columnas —inclinación, forma helicoidal, ramificación en varias columnas más pequeñas— consiguió una sencilla forma de soportar el peso de las bóvedas sin necesidad de contrafuertes exteriores.[91].
Diseñó una planta "Planta (arquitectura)") de tipo basilical en cruz latina,[92] con el altar "Altar (religión)") mayor sobre la cripta, en un presbiterio "Presbiterio (arquitectura)") con deambulatorio rodeado de siete capillas absidiales; frente al altar, un transepto de tres naves, con los portales del Nacimiento y la Pasión; en sentido longitudinal el cuerpo central, de cinco naves, con el portal de la Gloria. La planta tiene unas dimensiones de y la zona edificada tendrá una superficie total de .[93] Su capacidad será de 14 000 personas.[94].
El conjunto incluirá además un claustro que circundará la iglesia, previsto para la realización de procesiones y para aislar el templo del exterior; en el centro del tramo correspondiente al ábside se hallará la capilla de la Asunción. Dispondrá además de dos sacristías en los lados de la fachada del ábside, así como las grandes capillas circulares del Bautismo y la Penitencia en los costados de la fachada de la Gloria. El nivel principal del templo está elevado sobre el nivel de la calle, lo que deja un sótano y un semisótano ocupados por el museo y los talleres.[95].
El templo tendrá dieciocho torres, cuatro en cada una de las tres fachadas haciendo un total de doce por los apóstoles, en el centro la torre cimborrio dedicada a Jesús —de de altura—, otras cuatro consagradas a los evangelistas alrededor de la torre cimborrio y, sobre el ábside, otro cimborrio dedicado a la Virgen. Tienen perfil parabólico y disponen de unas escaleras helicoidales que dejan la parte central hueca para situar allí unas campanas tubulares dispuestas como carillón.[96].
Junto al templo, Gaudí construyó varios edificios anexos: la casa del capellán —construida en 1887 y reformada entre 1906 y 1912—, sencilla construcción de ladrillo, a la que se adosaron diversos espacios destinados a despacho de Gaudí, un taller de maquetas y un laboratorio de fotografía; y las Escuelas de la Sagrada Familia (1909), pequeño edificio destinado a escuela para los hijos de los obreros que trabajaban en la obra.[97].
Gaudí concibió una compleja iconografía que basó exclusivamente en su condición de templo católico y en el culto religioso, para lo que adaptó todos los elementos arquitectónicos a los ritos litúrgicos. Para ello, se inspiró principalmente en El Año Litúrgico de Prosper Guéranger,[98] recopilación de todos los cultos y festividades religiosas producidos al cabo del año, así como en el Misal Romano y el Ceremonial de obispos.[99] Para Gaudí, la Sagrada Familia era un himno de alabanza a Dios, en que cada piedra era una estrofa. El exterior del templo representa a la Iglesia, a través de los apóstoles, los evangelistas, la Virgen y Jesús, cuya torre principal simboliza el triunfo de la Iglesia; el interior alude a la Iglesia universal y, el crucero, a la Jerusalén Celestial, símbolo místico de la paz.[100].
Gaudí diseñó personalmente muchas de las esculturas de la Sagrada Familia, a las que aplicó un curioso método de trabajo ideado por él: en primer lugar, hacía un profundo estudio anatómico de la figura, centrándose en las articulaciones —para lo que estudió detenidamente la estructura del esqueleto humano—; a veces, se servía de muñecos confeccionados con alambre para probar la postura adecuada de la figura a esculpir. En segundo lugar, realizaba fotografías de los modelos, utilizando un sistema de espejos que proporcionaban múltiples perspectivas. A continuación, hacía moldes en yeso de las figuras, tanto de personas como de animales —en una ocasión tuvo que izar un burro para que no se moviese—. Sobre estos moldes hacía correcciones en las proporciones para conseguir una perfecta visión de la figura dependiendo de su ubicación en el templo, más grandes cuanto más elevadas. Por último, se esculpía en piedra.[101][nota 10].
The crypt
Begun in 1882 according to the project of Francisco del Villar, when Gaudí took charge of the works on November 3, 1883, he transformed the pillars by adding capitals with naturalistic motifs; He also raised the vault and surrounded the crypt with a pit to have direct lighting and ventilation. On the other hand, he moved the main altar to the place planned for the main staircase, corresponding to the center of the transept, which he thus left free, placing two spiral staircases on the sides in its place.[104] Gaudí's first plans for the Sagrada Familia were for the chapel of Saint Joseph, built between 1884 and 1885, the date of the celebration of the first mass. The work on the crypt continued until 1891.[105].
Located a depth from street level,[106] the crypt has a semicircular shape, length by width.[107] The ambulatory is made up of seven chapels dedicated to the Holy Family of Jesus: Saint Joseph, the Sacred Heart, the Immaculate Conception, Saint Joachim "Joachim (saint)"), Saint Anne "Anne (mother of Mary)"), the chapel of Saint John the Baptist and Saint John the Evangelist and the chapel of Saint Isabel "Isabel (saint)") and Saint Zacarias "Zacarias (father of John the Baptist)").[108] They are arranged in the shape of a rotunda, in front of which five other chapels are located in a straight line: the central one dedicated to the Holy Family - which houses the altar -, flanked by the chapels of Our Lady of Mount Carmel - where Gaudí is buried -, of Jesus Christ, of Our Lady of Montserrat and of the Saint Christ—where Josep Maria Bocabella was buried, until his tomb was desecrated in 1936—.[109] In the space located under the spiral stairs on the sides there are two sacristies.[110].
The vaults of the crypt are of Gothic style, each of them - in a total of 22 - with a central key "Key (architecture)") decorated with anagrams or images of angels and other motifs; It is worth highlighting the keystone of the central vault, with a polychrome relief "Relief (art)") dedicated to the Annunciation, the work of Joan Flotats.[111][note 11] This central vault is the highest and protrudes on the upper floor two meters above the ground, at the height of the presbytery "Presbytery (architecture)"), where some windows allow you to see the crypt from above and provide light to the space below. It is supported by lunettes supported by arches on ten pillars in bundles of columns.[113].
The altar is presided over by a relief altarpiece of the Holy Family, initially made for the oratory of the Batlló house and later placed here.[114] The image of the family of Nazareth was sculpted by Josep Llimona, while the Holy Christ and the candelabras were modeled by Carles Mani; the frame was designed by Gaudí himself.[115] Several of the original sculptures were destroyed in 1936, such as that of Saint Joseph, by Maximí Sala;[116] those of the Sacred Heart and the , by Josep Llimona;[117] and that of the who presided over the main altar, by Joan Matamala. Before 1936, only the by Josep Llimona is preserved. Of the current ones, the image of the is the work of Jaume Busquets;[118] the images of the , and the are by Josep Maria Camps i Arnau.[119].
The apse
The apse occupies the head of the temple, between the Nativity and Passion façades. The chapel of the Assumption will be located in the center of the cloister that surrounds it and will have two sacristies on the sides, of which one has been built at the moment. Gaudí dedicated the apse complex to the Virgin Mary, of whom he was a great devotee. The project contains seven apsidal chapels dedicated to the seven sorrows and joys of Saint Joseph, according to the wishes of the founder Bocabella.[129] These chapels are separated on the outside by eight buttresses with spiers, which reach heights. Each chapel contains three stained glass windows in its upper part, delimited by two other buttresses with lower spiers. [130] Of Gothic inspiration, as it is located above the crypt, it follows the same structure. Its construction took place from 1890 to 1893, although the vaults of the chapels and the ambulatory were not completed until the beginning of the century.[130].
The apse contains a profuse sculptural decoration where the statues dedicated to holy founders of religious orders stand out: on the buttresses are located (from Birth to Passion) Saint Clare, Saint Bruno, Saint Bernard of Clairvaux, Saint Benedict of Nursia, Saint Scholastica "Scholastica (saint)") and Saint Anthony Abbot; In the window of the façade of the transept there are Saint Francis of Assisi and Saint Teresa of Jesus (Birth and Passion respectively).[note 12] There are also the anagrams of Jesus (the initial of his name surrounded by a crown of thorns), of the Virgin (her initial with the crown of Queen of Heaven and Earth) and Saint Joseph (her initial accompanied by daffodils, flowers that evoke purity and chastity). The pinnacles of the buttresses are topped with sculptures of spikes and buds of flora from the environment - when it was built it was a field -, arranged like a bouquet of flowers offered to the Virgin. In addition, on the upper part of the buttresses there are gargoyles "Gargoyle (architecture)") in the shape of animals (snake, chameleon, snail, lizard, lizard, frog and salamander),[139] the work of Llorenç Matamala.[140] In the inner part of the apse there are fifty-six sculptures of angel corbels, distributed among the seven chapels, work of Jaume Cases.[132].
The high railings of the apse chapels bear floral decoration of the antiphon of the Small Office of the Blessed Virgin Mary: cedar, palm, cypress, cinnamon, rose, olive and balsam. Likewise, the terminals of the pediments of the apse are finished with a sculptural decoration that symbolizes the fruits of the Virgin Mary: rose hips, cinnamon, dates, olives and grapes.
• - O Sapientia: wisdom, with a lion and a lamb as a union of strength and meekness;.
• - O Adonai: Hebrew invocation of God (ducal crown and scepter);
• - O Radix Jesse: rod of Jesse;.
• - : key as a sign of dominance;.
Birth Facade
Being dedicated to the joyful event of the birth of Jesus, this façade presents an ecstatic decoration where all the elements are evocative of life. It focuses on the most human and familiar facet of Jesus, with a wide profusion of popular elements, such as tools and domestic animals. Oriented to the east (northeast), it receives the dawn sun, which reinforces the idea of life and joy linked to birth, in contrast to the Passion façade, which represents the death of Christ and therefore receives the light of sunset; Gaudí carefully studied the symbolism of all the spaces of the temple.[155] The façade is divided into three archivolts, which present three porticos dedicated to the theological virtues: de la Esperanza "Hope (virtue)") on the left, de la Fe "Faith (virtue)") on the right and de la Caridad "Charity (virtue)") in the center.[156] It culminates with the bell towers dedicated to Saint Matthias, Saint Jude Thaddeus, Saint Simon and Saint Barnabas. It was built between 1893 and 1936.[157].
The original sculpture is by Llorenç Matamala and Joan Matamala,[note 14] with the help of Carles Mani, author of wax molds of various figures on the façade,[160] and Joan Salvadó i Voltas, author of the first version of the Annunciation, destroyed in the Civil War - which included a shepherd figure with Gaudí's physiognomy;[161] later Jaume Busquets, Joaquim worked on it Ros i Bofarull and Etsuro Sotoo, the last one who worked on the façade, which was completed in 2016.[162].
The three archivolts have rampants supported by two columns on the inside and on the cloisters on the outside. and that of Mary, between the portico of Charity and that of Faith. At the base of the columns a turtle is represented - one of land and one of sea - as a symbol of what is unalterable in time, while the capitals are in the shape of palm leaves, from which clusters of dates covered in snow emerge - for winter, the date of the nativity of Jesus -, which support two angels with trumpets that announce the birth of Christ. In contrast to the turtles, chameleons were placed on both sides of the façade, symbols of change.[164] Made of sandstone from Montjuïc "Montjuïc (Barcelona)"),[165] in Gaudí's original project this façade had to be polychrome, with paint of different colors on the archivolts of the three porticos; Thus, all the statues would have been painted, both those of human figures and those of flora and fauna and other objects.[note 15] However, to date this decoration has not been carried out.[167].
The three porches have four doors - the central one is double - designed by Etsuro Sotoo, made of polychrome bronze and glass, decorated with vegetation, insects and small animals, as an evocation of the place where Jesus was born: the door of Charity is decorated with ivy - a symbol of obedience - and pumpkin flowers - a symbol of marriage; that of Faith contains wild roses without thorns, following the example of Saint Francis of Assisi, who removed the thorns from roses; and, that of Hope, presents some reeds "Cane (vegetable)"), like those of the river that the Holy Family crossed in their flight to Egypt. (larva)"), etc. The first of these doors, those of the Charity portal, were placed between July and December 2014; that of the portico of Hope was installed in July 2015; and that of the portal of Faith was placed on November 30, 2015.[169][170] On the door of Charity you can also see the Latin inscriptions and , while the roses on the two doors draw the initials J and M (José and María).[171].
Passion Facade
The Passion façade began to be built in 1956—after the excavation work carried out in 1954—according to the drawings and explanations that Gaudí had left. The towers were finished in 1976 and, since then, work was done on the sculptural decoration, which was completed in 2018 with the installation of the triumphal cross and the Empty Sepulchre group.[189] Gaudí designed this façade during a convalescence from Maltese fever in Puigcerdà, in 1911, although the final sketch was drawn in 1917.[190] Dedicated to the Passion of Jesus, it aims to reflect the suffering of Christ in his crucifixion, as redemption for man's sins. For this reason, he conceived a more austere and simplified façade, without ornamentation, where the nakedness of the stone stood out, resembling a skeleton reduced to the simple lines of its bones.[191] Only the sculptural groups of the passion cycle of Jesus appear, the work of Josep Maria Subirachs, who devised a simple and schematic group, with angular shapes that cause a greater dramatic effect. Subirachs produced his work between 1987 and 2009.[192][note 19][note 20].
Gaudí himself described his conception of the Passion façade in the following way:
Facing the west (southwest), the façade is supported by six large inclined columns, which resemble redwood trunks,[198] on which is located a large pediment or upper porch of pyramidal shape "Pyramid (geometry)") made up of eighteen bone-shaped columns and topped by a large cross.[199][200] The towers are dedicated to the apostles Santiago the Minor, Saint Thomas, Saint Philip and Saint Bartholomew.[201].
The Passion façade has three portals equally dedicated to Faith, Hope and Charity, where the bronze doors created by Subirachs stand out. The central portal—of Charity—has two doors dedicated to the Gospel, with the evangelical texts that narrate the last days of Jesus, separated by a mullion with the Greek letters alpha and omega, as a symbol of the beginning and the end. The doors are tall by wide, and weigh 6,500 kilos. The one on the left presents the passages related to the Passion from the Gospel of Matthew and the one on the right, from that of John. Altogether, they have a total of about 10,000 letters, some of which are highlighted with gilded bronze, such as the phrase "What is truth?", which Pilate answered to Jesus when he stated that he came to "bear witness to the truth" (John 18, 38).[202]
In front of the Gospel doors is the column of The Flagellation, which replaces the cross initially planned by Gaudí; For this reason, Subirachs divided the column into four blocks, which symbolize the four parts of the cross. It is five meters high and is made of travertine marble. Other notable details of the column are: the knot, which symbolizes the torture suffered by Jesus; the fossil, found in the marble block according to Subirachs, and which is shaped like a palm tree, a symbol of martyrdom; and the reed that the soldiers gave to Jesus instead of the royal scepter, as a symbol of the scorn suffered by the Redeemer. The three steps symbolize the three days that elapsed until the resurrection.[203] This was the first sculpture to be installed on the Passion façade and is signed .[204].
Facade of Glory
The Gloria façade will be the largest and most monumental. It is the main façade, which gives access to the central nave. The works began in 2002. Dedicated to the heavenly glory of Jesus, it represents the ascension path to God: death, the final judgment and glory, as well as hell, for anyone who deviates from the dictates of God.[241] Gaudí sketched only the general lines of this façade, since he was aware that it would not be done by him in life, but by those who continued his work:
To access the portico of Glory there will be a large staircase with a terrace where the Monument to Fire and Water will be located, the first represented with a large pot with fire - representing the column of fire that guided the chosen people - and the second with a water fountain, with a high jet that will be divided into four waterfalls, as a symbol of the rivers of the earthly paradise and the sources of living water of the Apocalypse.[243].
The staircase will create an underground passage on Mallorca Street, which would represent hell and vice, and would be decorated with demons, idols, false gods, schisms, heresies and other representations of evil.[244] Purgatory will also feature, as well as death, represented in tombs located on the floor of the porch. Representing the condemnation to work suffered by man after the original sin, representations of various trades will appear in a portal on the main façade: tailor "Tailor (trade)"), shoemaker "Shoemaker (profession)"), bricklayer, baker, blacksmith, potter, carpenter, etc. Through work and cultivating virtue, man can achieve Glory, through redemption and through the intermediation of the Holy Spirit. Thus, the portico will have seven large columns dedicated to the seven gifts of the Holy Spirit; At its bases the seven capital sins will appear and, on the capitals, the seven virtues "Seven Virtues (catechism)"):[245].
• - Gifts: Piety, Fortitude, Intelligence, Wisdom, Counsel, Science, Fear of God.
Likewise, there are seven doors dedicated to the sacraments "Sacrament (Catholicism)") and to the requests of the Lord's Prayer:[246].
• - Baptism: «Our Father who art in heaven, hallowed be Your Name».
• - Extreme unction: "Your Kingdom come."
• - Priestly Order: "Thy will be done, on Earth as it is in Heaven."
• - Eucharist: «Give us today our daily bread».
• - Confirmation: "Forgive us our trespasses, just as we forgive those who trespass against us."
• - Marriage: "Do not lead us into temptation."
• - Penance: "And deliver us from evil."
The first and last, of Baptism and Penance, will coincide with the two side chapels of the Glory façade, which will intersect with the cloister. The Beatitudes and the corporal and spiritual Works of Mercy will also appear on the façade. Likewise, Adam and Eve will be represented, as the origin of the human being; Saint Joseph in his work as a carpenter; Faith, Hope and Charity, represented by the Ark of the Covenant, Noah's Ark and the House of Nazareth; the Virgin Mary, surrounded by angels, saints, prophets, patriarchs, apostles, martyrs, priests, confessors, virgins and widows; and Jesus in the Final Judgment, with the Holy Spirit in the form of a rose window and God the Father, forming the august Trinity.[247].
The towers
Gaudí designed a temple with great verticality, so that it would be visible from any point in Barcelona and stand out from the rest of the buildings. To this end, he provided the Holy Family with eighteen towers: twelve for the apostles, four for the evangelists and the domes of Jesus and the Virgin Mary.[note 25] They have different heights, in an ascending direction: the towers of the Nativity, the outer ones and the central ones; those of the Passion, the outer ones and the central ones; those of Glory, the exterior and the central ones; those of the evangelists, that of the Virgin, ;[note 26] and that of Jesus, .[257].
The Nativity towers have a square base that becomes circular at mid-height, where a balcony and a pedestal are located with the figure of the apostle as a transition element. They are supported by twelve sandstone ribs, which form long vertical openings between which are some inclined pieces of stone, which serve both to prevent the entry of water and to distribute the sound of the bells.[157] On the other hand, those of the Passion have an elliptical section.[201] For their part, the towers of the evangelists will be formed by eight segments of intersected paraboloids; that of Mary, fourteen segments; and, that of Jesus, twelve. Gaudí said that "the shape of the towers, vertical and parabolic, is the union of gravity with light."[258].
The tops of the towers have different solutions depending on their typology: those of the apostles are topped by pinnacles of polychrome Venetian mosaic with shields with the cross and white spheres, which symbolize the episcopal miter; The episcopal ring and crosier also appear, as well as the initial letter of each apostle.[259] Likewise, there are various inscriptions such as Hosanna, Excelsis and the trisagion Sanctus, Sanctus, Sanctus, repeated three times by the Holy Trinity: that of the Father in yellow, for the light; that of the Son in red, symbol of martyrdom; and, that of the Holy Spirit, orange, a synthesis of the other two.[260] Apparently, for the pinnacles of the towers Gaudí was inspired by the stems of a plant called cat's claws (sedum nicaeensis).[261] Likewise, the shape that represents the ring is inspired by mineral elements such as pyrite, fluorite or galena.[262] Each tower is inscribed with the name in Latin and the word Apostolus along with a sculpture of the apostle he represents. Likewise, each apostle is related to a zodiacal constellation, according to the correspondence established by Bede the Venerable in the century: Saint Peter would be Aries "Aries (constellation)"), Saint Andrew Taurus "Taurus (constellation)"), and so on.[263].
The towers act as a bell tower and will contain a total of eighty-four bells, common and tubular: on the Nativity façade, tubular percussion bells; in that of the Passion, tubular bells of resonant organ; and, in the Gloria, bells tuned with the notes E, G, C. Gaudí carried out complicated acoustic studies to achieve perfect sound.[264] Inside the towers there are spiral staircases inspired again by an organic element, a type of sea snail called a turret ().[261].
The cloister
The cloister surrounds almost the entire perimeter of the temple, only interrupted by the main façade, that of Glory, which is why it is U-shaped, measuring .[284] This original solution devised by Gaudí contrasts with the traditional arrangement of the cloister in the atrium of early Christian basilicas or located on one side of the church in medieval monasteries and cathedrals. He did this to isolate the temple from the outside—both acoustically and climatically—and encourage processional transit.[285] Like the rest of the project, it is located four meters above ground level and its total length will be .[286].
For the windows on the exterior walls, Gaudí devised three different typologies, to achieve a transition from the original neo-Gothic to the new naturalistic structure applied in his later years: the first level, under the cantory, is neo-Gothic; the second, on the cantories, presents an elliptical hyperboloid surrounded by four circular ones, on a frieze of elongated openings; The third, which corresponds to the central nave, also has an elliptical hyperboloid surrounded by two hyperboloids of revolution, also on four elongated openings, with the inscription Gloriam appearing in the center.[287].
Between the windows of the side naves there are Solomonic columns with the inscriptions aurum, thus, myrrham (in Latin, gold, incense and myrrh) and oració, sacrifici, almoina (in Catalan, prayer, sacrifice and alms), and topped by the Greek letters α (alpha) and ω (omega).[288] Other inscriptions also alternate on the exterior walls, such as Jesus, Mary, Joseph; Sursum corda; Full gratitude; Ora pro nobis.[289].
The windows of the side naves end in a pediment, the apex of which is crowned by a basket of fruits (apples, figs, oranges "Orange (fruit)"), peaches, almonds, plums, pomegranates "Pomegranate (fruit)"), cherries, pears, persimmons, chestnuts and medlars), which symbolize the rain of fruits of the Holy Spirit that falls on men.[290] By For its part, the pinnacles of the central nave present the symbols of the Eucharist: grains of grapes crowned by a chalice and ears of wheat crowned by a host.[291] Various trades are also represented (carpenters, painters "Painter (profession)"), dyers, weavers "Fabric (textile)"), goldsmiths, blacksmiths, builders, potters, glaziers and coppersmiths), each symbolized by the objects that most represent them.[292] The fruits and crafts are the work of Etsuro Sotoo. In the mullion above each window there are Founding Saints (from Birth to Passion): Saint Jerome, Saint Ignatius of Loyola, Saint Joseph of Calasanz, Saint Vincent de Paul, Saint Philip Neri, Saint Joan of Lestonnac, Saint Joseph Manyanet, Saint Joseph Oriol, Saint John Bosco, Saint Joachim of Vedruna, Saint Anthony Mary Claret and Saint Peter Nolasco.[note 27].
The interior
Gaudí evolved from a first neo-Gothic project towards a personal, organic style, inspired by the forms of nature: to get rid of the Gothic buttresses he devised the use of columns in the shape of a tree trunk, which allow the weight of the roofs to be unloaded directly on the ground, a practical as well as aesthetic solution, since it turns the interior of the temple's naves into an organic space that resembles a forest.[307] In 1987, the foundations of the temple began. the ships; In 1997, the side vaults were completed and the central one was started, completed in 2000; With the vaults of the transept and the apse, in 2010 the entire temple was covered.[308].
Gaudí carried out the calculation of the main nave using graphic statics, which was published by his assistant Sugrañes in 1923. Starting in 1985, it was necessary to expand them and adapt them to current regulations, so a team of architects made up of Carles Buxadé, Joan Margarit, Josep Gómez, Ramón Ferrando and Ágata Buxadé calculated all the naves, conceiving a continuous structure of reinforced concrete from the foundations to the vaults.[310].
The temple has a Latin cross plan, with five naves "Nave (architecture)") in length and a transept of three naves; The central nave has a width of , and the lateral ones, making a total of ; transept width, . The height is in the vaults of the central nave and in the lateral ones, while those of the transept reach .[311] Gaudí structured the entire floor based on a fundamental module of , which for him was the measure of the ideal "man-tree", the perfect proportion given by nature. The Greeks already established a standard measurement of the human body where the head would be 1/7 or 1/8 of the total; Thus, 7.5 is the average between both. We thus see that the length of the temple is (), that of the transept 60 (), the width of the temple 45 (), that of the transept 30 (), and that the total height of the building - in the tower of Jesus - is ().[note 28][312].
The side naves contain the cantories for the choirs. The apse is lobed #Arco_lobulado "Arch (architecture)"), with an ambulatory around the presbytery "Presbytery (architecture)"). It has seven chapels, of which the one of the Blessed Sacrament is used as an oratory: it has an altar made of Montserrat stone, on which there is a silver tabernacle surrounded by an aura of light and, above it, a copy of the relief of the Holy Family made by Josep Llimona that is in the crypt. The tabernacle is the work of Joaquim Capdevila and presents a relief of vertical lines that resemble ears of wheat, along with a cross and the phrase "I am life"; Inside the lid there is a sacred shape that in turn represents the world, surrounded by smaller ones with a cross in the center, on a golden background.[313].
The temple contains a total of 36 columns, ranging in height, with bases of starry polygons on various sides depending on their location: six (side naves), eight (central nave), ten (towers of the Evangelists), twelve (tower of Jesus). The construction materials vary from Montjuïc stone "Montjuic (Barcelona)") to granite, basalt or porphyry for the coverings, on a reinforced concrete structure.[314] They have a double-turning helical shape (right-handed and left-handed), similar to the growth of some trees or shrubs: a possible source of inspiration would be species such as the abelia () or the oleander ().[315] These columns fork at the height of the capital—in an ellipsoid shape, similar to the nodes of tree trunks—and branch again at a higher height, so they certainly resemble trees.[316].
Construction team
During Gaudí's time, many of his disciples and assistants collaborated with the architect, such as Francisco Berenguer, Josep Maria Jujol, Josep Francesc Ràfols, Cèsar Martinell, Joan Bergós, Francesc Folguera, José Canaleta and Juan Rubió. Upon his death, another of his disciples, Domingo Sugrañes, took charge of the works, completing the construction of the three towers of the Nativity façade that were pending.[342].
After a period in which the works were stopped, in 1944 they were resumed by a team composed of Francesc Quintana, Isidre Puig i Boada, Lluís Bonet i Garí and Francesc Cardoner, who assumed direction in 1983. This team was mainly in charge of the construction of the Passion façade, for which it followed the plans and models left by Gaudí, trying to follow as faithfully as possible the personal style and unique of the modernist architect.[342].
In 1985, Jordi Bonet i Armengol was appointed director, with a team that included Carles Buxadé, Joan Margarit, Jordi Faulí i Oller, Josep Gómez, Mark Burry and Jordi Coll i Grifoll"). innovations, especially in the use of new materials such as concrete and in the application of new technologies, such as CAD design and 3D projections. This modernization of working methods was mainly due to the New Zealand architect Mark Burry, the first to use computer-aided design in the Sagrada Familia.[344].
Since 2009, a good part of the temple works have been outsourced to a space located in the town of Galera (Gayá), where prefabricated post-tensioned stone modules are built that are subsequently placed in the temple, thereby achieving great savings in time and production costs.[345].
In 2012, Jordi Faulí i Oller replaced Bonet as director of the works, commissioned by the Board of Trustees of the Sagrada Familia Construction Board.[53].
In 2025, the faculty management of the temple received the National Building Prize awarded by the General Council of Technical Architecture of Spain (CGATE).[346].
Direction of works:[347].
• - 1882-1883 Francisco de Paula del Villar y Lozano.
• - 1883-1926 Antoni Gaudí.
• - 1926-1936 Domingo Sugrañes.
• - 1944-1966 Francesc Quintana.
• - 1966-1974 Isidre Puig i Boada.
• - 1974-1983 Lluís Bonet i Garí.
• - 1983-1985 Francesc Cardoner.
• - 1985-2012 Jordi Bonet i Armengol.
• - 2012-Current Jordi Faulí i Oller.
• - Francisco de Paula del Villar y Lozano.
• - Antoni Gaudí.
• - Francisco Berenguer.
• - Sunday Sugrañes.
• - Jordi Bonet i Armengol.
• - Jordi Faulí i Oller.
The Museum
The Sagrada Familia has a space set up as a museum, located in the basement of the temple, in the lower part corresponding to the transept, where the workshops were formerly located. Inaugurated on June 29, 1961, it shows Gaudí's original plans and drawings, models of the temple and various objects related to the project, among which the liturgical furniture designed by Gaudí stands out. Also noteworthy is the inverted polyfunicular model of string and weights to calculate the structure of the building and design the shape of the church of Colonia Güell at a 1/15 scale, on which Gaudí based many of the structural solutions of the Sagrada Familia.[348].
The museum also has a room dedicated to the architect's collaborators, as well as an audiovisual room. In addition to the samples referring to the Sagrada Familia, various objects, plans, drawings and photographs of Gaudí's various works are also on display, as well as biographical testimonies of the architect. Temporary exhibitions dedicated to different aspects of Gaudin's project are also held.[348].
On the other hand, the space formed by the Sagrada Familia Schools, which were moved in 2002 to one side of the Passion façade, act as an exhibition space, with a reconstruction of a school classroom and Gaudí's studio.[348].
The schools
On the corner between Sardeña and Mallorca streets, next to the Passion façade, is the building of the Sagrada Familia Schools, built between 1908 and 1909 by Gaudí to provide education to the children of the temple workers, as well as other children in the neighborhood. Gaudí conceived a simple and efficient construction, with all its components adapted to maximum rationalization and cost reduction. The materials had to be the best adapted to their function and both the shape and dimensions of the building had to be precise to offer minimum cost and low construction effort.[349].
The building has a rectangular plan and height. It consisted of three classrooms, a hall and a chapel, with toilets in a body added to the building.[350] The construction was carried out with exposed brick, in three superimposed layers, following the traditional technique of the Catalan vault. The pavement was made of Portland cement on a layer of limestone.[349] The shapes of the building are wavy, which gives the structure a feeling of lightness but at the same time great resistance.[351] The structure is based on three beams arranged vertically inside, which support another horizontal beam located in the center, forming I-shaped profiles that support wooden boards on which the brick roof rises. The different inclinations create the conoid geometric shapes "Cone (geometry)"), which confer a series of concave and convex curves. The load-bearing walls are also curvilinear in plan, with a progressive inclination from the roof to the floor, made with bricks placed vertically in joint breaks.[352].
The schools were severely damaged on July 20, 1936, at the beginning of the Civil War. Part of the facades collapsed, the central girder and some pillars were deformed and the wooden roof fell. In September of that same year, the Council of the New Unified School commissioned Francesc Quintana to rebuild it, the works of which were completed in July 1937.[353] In 2002, the building was moved from its original location, on the land of the Gloria facade, to the current location, on the corner between Sardinia and Mallorca.[43].
Repercussion
Throughout its history, the temple has been the object of various criticisms and controversies, both artistic and urban, as well as political, economic, religious and social. One of the most recurrent has been its connection with Catalan nationalism, since it has been a frequent place of meeting and vindication of nationalist acts.[354] In the artistic field, the Gaudinian project had defenders and detractors from its beginning: among the first were associations such as the Lliga Regionalista, the Lliga Espiritual de la Mare de Déu de Montserrat and the Círculo Artístico de San Lucas, along with personalities such as José Torras and Bages, Joan Maragall, Josep Carner, Joan Llimona, José Pijoán or Joaquín Folch y Torres, as well as the newspaper La Veu de Catalunya; Among the latter, was the group of Noucentista architects, the style that succeeded and displaced modernism, headed by its theorist, Eugeni d'Ors, as well as the art critic Feliu Elias and the satirical magazine L'Esquella de la Torratxa.[355].
On the other hand, since the restart of the works in the 1940s, an intense debate arose about whether it was appropriate to continue the works or not, his detractors alleging that Gaudí had not left enough indications and its continuation would distort his project; On the other hand, the defenders of continuing the work were based on the multiple indications left by the architect to his assistants and disciples, as well as the drawings, models and photographs that left evidence of the project outlined by Gaudí, not to mention its multiple manifestations, recognizing that the project would be the work of several generations.[357].
The definitive push for the continuation of the works was decided by the ecclesiastical hierarchy within the celebration in 1952 of the XXXV International Eucharistic Congress.[358] However, the critical voices were not silenced: in 1959, the architect Oriol Bohigas gave a conference entitled Problems in the continuation of the Sagrada Familia, in which he stated that "the continuation of a temple with the characteristics of that of the Sagrada Familia is a social and urban error».[358].
On the other hand, on January 9, 1965, a group of architects, intellectuals, critics and professionals from various fields published a letter-manifesto in La Vanguardia questioning the continuity of the works; among the signatories were: Le Corbusier, Bruno Zevi, Giulio Carlo Argan, Nikolaus Pevsner, Gio Ponti, Roberto Pane, Gillo Dorfles, Camilo José Cela, Alexandre Cirici, Oriol Bohigas, José Antonio Coderch, Nicolás María Rubió Tudurí, Ricardo Bofill, Antoni Tàpies, Salvador Espriu, Joan Miró, Joan Brossa and Josep Maria Subirachs —who Paradoxically, he would later be the sculptor of the temple -, in addition to the College of Architects of Catalonia, the Promotion of Decorative Arts association and the Barcelona School of Architecture.[359] However, there was a broad popular response in defense of the continuity of the project, which translated into record revenue for the promotion of the works.[360][361].
Likewise, in 1971, a new manifesto signed by 123 architects against the continuation of the temple was published in the press, calling for the stoppage of the works, the transfer of the building to the State or the municipality, the restoration of Gaudin's work and the calling of an international competition to evaluate the future of the project.[362] Also, in 1976, an entire seventy-page edition of the magazine CAU was dedicated to it. (Construction-Architecture-Urbanism, no. 40) to evaluate and censor everything built since Gaudí's death.[363].
Another debate arose in 1987 with the choice of Subirachs to create the sculptural group on the Passion façade, as he was a sculptor with an avant-garde and abstract style that was far from the initial style of the temple, which was more realistic. On July 10, 1990, there was a demonstration in front of the temple against Subirachs' work, organized by the magazine Àrtics, which did not find much popular support.[364] Faced with criticism of being one of the signatories of the 1965 manifesto, Subirachs alleged that "I disagreed with the way it was finished. When I accepted the assignment it was because they respected this condition of doing it with a free style. "I have not changed my mind, but the works board has changed."[365]
In 2009, a new manifesto titled Gaudí on Red Alert was published, sponsored by the Promotion of Decorative Arts, which denounced the interventions in various works by Gaudí declared World Heritage Sites. The signatories declared that “the works of the continuation have given rise, over the years, to a systematic continuation of grievances. Today it is no longer known, nor is it made known to anyone, where the author's work begins and where it ends.
A new controversy arose over the works on the Barcelona Sants-La Sagrera high-speed tunnel, which ran along Mallorca Street, next to the foundations of the main façade of the Sagrada Familia, and which could endanger the integrity of the complex. Although in front of two of the temple's façades there are already metro stations at a very short distance and depth, the construction of the tunnel involved a campaign of rejection, in which neighborhood associations, Barcelona City Council, the Generalitat of Catalonia and the Ministry of Public Works intervened. Technicians from several universities supported this campaign. The completion of the works in 2011 without incident put an end to the controversy.[367][368].
Over time, the majority of public opinion has been in favor of the temple, today one of the indisputable emblems of Barcelona. Proof of this is the change of opinion of the architect Óscar Tusquets, one of the signatories of the 1965 manifesto, who in 2011 published an article in El País entitled How could we be so wrong?, in which he recognized the success in the continuity of the works. Or, on the other hand, the change of attitude of the city council, originally indifferent if not reluctant to the construction of the temple, and which changed its mind with the awarding of the City of Barcelona Prize for Architecture to the Sagrada Familia in 2010.[369][370].
In recent times, criticism has focused on excessive tourism and the damage derived from the influx of public for the residents of the area. Regarding the execution of the works, in 2016 the Sagrada Familia Neighborhood Association filed a complaint for non-compliance with urban planning regulations, considering that the columns of the Gloria façade invade between 20 and the sidewalk of Mallorca Street.[371].
• - Wikimedia Commons hosts a multimedia gallery about Expiatory Temple of the Holy Family.
• - Wikinews has news related to Expiatory Temple of the Holy Family.
• - Official website.
• - Works by Antoni Gaudí The UNESCO Collection on Google Arts and Culture.
[3] ↑ Associated Press (30 de octubre de 2025). «Four feet higher and rising: Barcelona’s Sagrada Familia becomes world’s tallest church» [Cuatro pies (121 cm) más alta y subiendo: La Sagrada Familia de Barcelona se convierte en la iglesia más alta del mundo]. The Guardian (en inglés).: https://www.theguardian.com/world/2025/oct/30/barcelona-sagrada-familia-world-tallest-church
[20] ↑ Antonio Oliva Sala (julio-agosto 2012). Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora del Templo Expiatorio de la Sagrada Familia. p. 9-12.
[51] ↑ Templo (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. julio-agosto 1948.
[52] ↑ Jordi Faulí (marzo 2022). Un nou estel brilla a la ciutat. Especial torre de la Mare de Deú (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora del Templo Expiatorio de la Sagrada Familia. p. 22.
[64] ↑ «El Patronato de la Sagrada Familia presenta el programa de los 125 años del inicio del templo». Consultado el 9 de enero de 2013.: http://www.3cat24.cat/noticia/180322/
[149] ↑ «Corporación Gaudí de Triana celebra inicio de obras de Capilla Nuestra Señora de los Ángeles». Consultado el 21 de abril de 2017.: http://www.gaudichile.cl/category/noticias/
[257] ↑ a b Jordi Coll i Grifoll (septiembre-octubre 2012). Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. p. 9.
[258] ↑ Faulí, 2014, p. 141.
[259] ↑ Gómez Gimeno, 2006, p. 111.
[260] ↑ Puig i Boada, 1986, p. 146.
[261] ↑ a b Fargas, 2009, p. 10.
[262] ↑ Curti y Regàs, 2025, p. 69.
[263] ↑ Fargas, 2009, p. 56.
[264] ↑ Gómez Gimeno, 2006, p. 112.
[265] ↑ Faulí, 2014, p. 18.
[266] ↑ Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. octubre de 2019. p. 7.
[267] ↑ Sotoo, 2010, p. 174.
[268] ↑ Fargas, 2009, p. 62.
[269] ↑ Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. julio-setiembre 2017. p. 10-11.
[270] ↑ Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. diciembre 2020. p. 22-25.
[271] ↑ a b Jordi Faulí i Oller (noviembre-diciembre 2012). Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. p. 5.
[273] ↑ Jordi Faulí i Oller (julio 2018). Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. pp. 9-10.
[340] ↑ Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. marzo-abril 2011.
[341] ↑ Faulí, 2014, p. 126.
[342] ↑ a b Faulí, 2014, p. 62.
[343] ↑ Faulí, 2014, pp. 62-63.
[344] ↑ Van Hensbergen, 2016, p. 217.
[345] ↑ Ramon Espel i Rosell (julio-agosto 2014). Temple (revista|formato= requiere |url= (ayuda)). Barcelona: Junta Constructora de la Sagrada Familia. pp. 4-5.
The crypt is surrounded by a Roman mosaic opus tessellatum where the vineyard and wheat are represented, symbols of the Eucharist, the work of the Italian mosaicist Mario Maragliano.[120] The stained glass windows were made with rich color, with images of singing angels and musicians and lilies.[121] The holy water fonts in the crypt are made with large sea shells. (Tridacna gigas) from the Philippines, which was provided to Gaudí by the Marquis of Comillas, owner of the Spanish Transatlantic Company.[122] Some of the lamps in the crypt were made by Gaudí with his own hands, since the doctor had recommended manual labor to combat rheumatism.[123] He also designed the liturgical furniture of the crypt, such as a lectern, a tenebrarium, cabinets, confessionals. or candelabras,[124] executed by the carpenter Joan Munné.[125].
The crypt of the Sagrada Familia, along with the construction workshop, suffered significant damage on July 21, 1936 in a fire caused during the burning of churches in Barcelona by militiamen in the Civil War. This attack destroyed and damaged forever some of the models, plans and documents of Gaudí's original project. In that same act, the tomb of the temple's founder, Josep Maria Bocabella, was also desecrated, although fortunately Gaudí's remained intact, as his disciples were able to verify when they opened the tomb in 1939.[126].
Between 2007 and 2009 the crypt was subject to careful rehabilitation, essentially to place new foundations, because the previous ones came from Villar's project and perhaps would not have been sufficient for the modifications made by Gaudí, which doubled the height of the building; but, along the way, the mosaic paving was restored, as well as the stained glass windows installed in the crypt. On April 19, 2011, a new fire broke out in the crypt, caused by a regular parish attendee, which destroyed practically the entire sacristy. Although the damage was extensive, none of the elements of historical value were affected, such as Gaudí's original stained glass windows.[127] The more than fifteen hundred tourists who were visiting the temple at that time were evicted by the authorities, although normality was restored a little later. The police arrested the cause of the fire in a few minutes.[128].
• - Chapel of Our Lady of Carmen, with Gaudí's tomb.
• - Chapel of Santo Cristo.
• - Chapel of Saint Joseph.
• - Chapel of the Sacred Heart.
• - Chapel of Our Lady of Montserrat.
• - Chapel of the Immaculate Conception.
• - Holy Family, by Josep Llimona.
• - Annunciation, by Joan Flotats.
Or Clavis David
• - O Oriens: sun as a symbol of justice;.
• - O Rex Gentium: cornerstone (stone with the anagram of Jesus and royal crown);
• - O Emmanuel rex: king and legislator (royal mantle, sword and tables of the Law).
The chapel of the Assumption, for which Gaudí left an elaborate project, will be in the shape of a stone litter, reminiscent of the litter with which the so-called Virgin of August was taken out in procession from the cathedral of Gerona. The architect was inspired by the work of Lluís Bonifaç from the Girona cathedral, from which he reproduced details in the chapel such as the curtains, the crown, the pillars and the angels.[143] The chapel will be topped by a tall lantern. The dome will be like a mantle raised at the ends by angels, who will be placed on the pinnacles of the pediments "Fronton (architecture)"). The main pediment will bear the inscription Salve, Regina, Mater Misericordia, in honor of the Virgin of Mercy, patron saint of Reus, the architect's hometown.[144] Inside, the Holy Trinity will appear in the dome crowning Mary, surrounded by angels - as an invocation of Our Lady of the Angels; In the gallery there will be twelve angels—for the twelve stars of the Virgin's crown—with the fruits of the Holy Spirit; Under the gallery will be the death of the Virgin, that of Saint Joseph, the presentation of Mary in the temple by Saint Joachim and Saint Anne and the wedding at Cana. In the portals there will be the saints of Barcelona devotions: Saint Roch and Saint Joseph Oriol. Roque) and Teresa Riba") (angels holding the blue mantle of the Virgin).[151].
The sacristies will have a height of , on a base of . At the moment, the western one has been built, built between 2011 and 2016. It has a square ground floor, whose exterior sides coincide with the cloister that surrounds the temple. On the first floor, the angles are chamfered, so it has an octagonal plan. Finally, the dome is a polygon of twelve paraboloids. The outer corner contains three of the obelisks that will delimit the four corners of the temple, on which is placed a lantern in the shape of an elliptical hyperboloid. The walls have triangular openings limited by the generatrixes and guidelines of the paraboloids.[152] On the pediments and the lantern are inscribed the invocations of the Apocalypse (Rev 7, 9-12), in Catalan: Lloança ("praise"), Glòria, Saviesa ("wisdom"), Acció de gràcies ("thanksgiving"), Honor, Power and Força ("strength").[153] The dome is topped with a pinnacle of three edged shields, decorated with enamelled ceramic figures of the Lamb and the Harvester—symbols of Jesus Christ—, the work of Francesc Fajula,[154] as well as the inscription Amen, in red porphyry, and the JHS monogram, in Venetian glass golden, all crowned by a bronze ring, which represents the alliance with the Church, and the crown of life, which the martyrs receive at the resurrection (Rev 2, 10).[153].
• - The apse in 1893.
• - Sketch of the Assumption chapel, by Gaudí.
• - Stained glass windows in the apse.
• - Lizard sculpture.
• - Sculpture of Saint Bruno.
• - West sacristy.
• - Figures of the Lamb and the Harvester, sacristy.
Deus Caritas Est
Caritas Numquam Excidit
This façade was chosen by Gaudí to give a global idea of the structure and decoration of the temple: as he was aware that he would not be able to finish the project in the course of his life, instead of building the temple as a whole in a linear manner, he preferred to build a complete façade in all its verticality, to give a complete sample of what the rest should be like.[172] He chose this façade because it was, in his opinion, the one that could be most attractive to the public, thus encouraging the continuation of the work after his death; In his own words:
It is the largest of the three and is dedicated to Jesus. It is formed by slanting walls that go from the doors to the columns located between the archivolts, which originate from their capitals; This central archivolt is structured around a pentalobed arch "Lobe (architecture)") that serves as a guideline and ends in the window of the central tympanum "Tympanum (architecture)"). The walls are grooved, with six edges that emerge from a ground bench and are interrupted by pedestals decorated with sculptural motifs of plants and domestic birds, on which are placed niches with sculptures of the adorations and the Birth crowning the mullion.[156] The portico develops a series of scenes about the birth of Jesus: the Annunciation and the Coronation of Mary, along with the Adoration of the Kings and the Adoration of the Shepherds —these last works by Ros i Bofarull (1981-1982)—; We also find the star of Bethlehem and the signs of the Zodiac, arranged as they were on the night Jesus was born (Aries "Aries (astrology)"), Taurus "Taurus (astrology)"), Gemini "Gemini (astrology)"), Cancer "Cancer (astrology)"), Leo "Leo (astrology)") and Virgo "Virgo (astrology)")),[174] as well as musical angels—with classical instruments (harp, bassoon and violin) and popular ones (guitar, tambourine and bagpipes)—and the fifty-nine beads of the rosary "Rosary (Christianity)") surrounding the window.[175] On the lintel of the doors there is the inscription «Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis».[176] There are also numerous representations of plant species.[note] 16].
The Jesus Gate is divided by a mullion with the Jesse Tree, which presents the genealogy of Christ. At its base is the snake biting the apple, a symbol of original sin; The lower part of this column is protected with a cylindrical iron grille, the work of the forger Joan Oñós. Above the capital is the Birth group, the work of Jaume Busquets (1958),[177] with a Choir of child angels —made by Etsuro Sotoo in 2000—[178] that support some phylacteries with the inscription «Jesus est natus. Come, adoremus", to whose message the birds go to the foot of the cradle, according to the popular Catalan Christmas carol El cant dels ocells (The song of the birds).[179].
The portal culminates in the Tree of Life, which represents the triumph of life and the legacy of Jesus. Here we find the anagram of Jesus with the letters JHS (from Jesuschristus or Jesus Hominum Salvator, Jesus Savior of Humanity), on a Greek cross, with the Greek letters alpha and omega as a symbol of the beginning and the end. He is surrounded by censer angels and angels carrying bread and wine, a symbol of the Eucharist. Above the anagram we find a family of pelicans, a bird that represents a primitive Christian symbol that also alludes to the Eucharist, with an egg symbol of the origin and fullness of life and nature. In an ascending direction there are two stairs - as an ascension to God - and a cypress that symbolizes eternal life, with a group of doves that represent the faithful who come to God. Finally, we find a representation of the Holy Trinity, with the Greek letter tau, initial of the name of God in Greek (Theos), the X of Jesus (for the Greek letter ji, initial of Christ in Greek) and the dove of the Holy Spirit.[180].
Dedicated to Saint Joseph,[181] it has a shape similar to the central portico, with two-channel slanting walls that follow the pentalobed shape of the archivolt.[182] Here we find the scenes of the Betrothal of the Virgin Mary and Saint Joseph, the Family of Jesus (with Saint Joachim and Saint Anne), The Wise Man and the Child Jesus, the Death of the Saints Innocents, The Flight into Egypt and The Boat of Saint Joseph, in which Joseph is the helmsman who leads the Catholic Church.[183] We can also observe the placement of various tools: a saw, a mace, a chisel, a square, a screwdriver, a hammer and an axe. In allusion to the flight to Egypt - and symbolizing the hope of life - there are domestic animals such as geese "Goose (bird)"), geese or ducks representing the fauna of the Nile, as well as flora of Egypt. Save us.[185].
Dedicated to the Virgin Mary,[186] it has a structure similar to the porch on the left. In this portico we perceive the following scenes: the Immaculate Conception, in which the Virgin appears on a three-armed lamp, in reference to the Holy Trinity; the Visitation, the Virgin visits her cousin Isabel "Isabel (saint)"); The presentation of Jesus in the temple, where the Child Jesus appears in the arms of the priest Simeon and, at his side, the prophetess Ana "Anna (prophetess)") appears, who recognizes Jesus as the Messiah; Jesus working as a carpenter; and Jesus preaching in the temple, between the figures of Saint John the Baptist and Saint Zechariah. We also find the Heart of Jesus, covered with thorns and mystical bees that suck his blood; Divine Providence, in the form of a hand with the all-seeing eye; grapes and ears as a symbol of the Eucharist; flora and fauna of Palestine "Palestine (region)");[note 18] and palm leaves—a symbol of martyrdom—on the columns.[188].
• - Portal of Charity.
• - Portal of Hope.
• - Portal of Faith.
• - Tree of Life.
• - Death of the Holy Innocents.
• - Flight to Egypt.
• - Adoration of the Kings.
• - Adoration of the shepherds.
• - Coronation of Mary.
Subirachs 30 nbre 1987
The Portal of Faith presents the Gate of Gethsemane, high and wide, dedicated to the prayer of Jesus in the garden of olive trees. We see images of Jesus praying, while his disciples sleep; In the upper left part the night sky appears with the full moon, as a harbinger of death. At the bottom there is a polyhedron from the engraving The Melancholy, by Albrecht Dürer, and the inscription «Jesus fell on his face, praying: my father, if it is possible, remove this chalice from me; but let it be done not as I want, but as you want" (Matthew 26, 39).[205]
The portal of Hope presents the Gate of the Coronation of thorns, high and wide. Here Jesus appears mocked with the crown of thorns, the cloak and the reed, as a mockery of his status as king, next to the inscription "And the soldiers wove a crown of thorns and put it on his head, and they dressed him with a purple cloak; and they said to him: “Hail, king of the Jews”; and they slapped him” (John 19, 2). In another scene, Jesus is brought before Herod and Pilate, who appear facing each other symmetrically, as if seen in a mirror. It also includes a quote from The Divine Comedy by Dante[note 21] and a poem from La pell de brau (The Bull's Skin) by Salvador Espriu.[note 22][208].
The sculptural cycle of the Passion is installed on three levels, following an ascending order in the shape of an S, to reproduce the Calvary of Jesus:[200].
• - Lower level: contains the scenes of Jesus' last night before the crucifixion. Starting from the left, The Last Supper presents Jesus with the twelve apostles, at the moment when Judas will betray him, with the inscription "What you are going to do, do it quickly" (John 13, 27). Jesus has his back to the viewer, unlike in traditional representations of this scene. Judas stretches out his arm to hide the thirty coins of his betrayal, while, at his feet, a sleeping dog represents fidelity.[209] Peter and the soldiers is the moment in which Peter cuts off the ear of Malchus, the servant of the High Priest, who appears on an olive branch. Together with this scene appears The Kiss of Judas, where the figures are roughly carved to suggest a night vision; Behind Judas, there is the snake that symbolizes the devil. Next to this scene is a magic square of sixteen figures that, adding four of them in any direction, always gives thirty-three, the age of Christ at death; three hundred and ten different combinations can be made.[210] On the other hand, when adding the only two figures that are repeated (10 and 14) it gives 48, the same number as the word INRI when adding the equivalence of its letters in numbers according to the Latin alphabet (A=1, B=2, etc).[211] On the right side The denial of Pedro appears first, which contains three figures of women that represent the three times that Pedro denied Jesus, next to a rooster that announces the sunrise; the apostle is wrapped in a sheet as a symbol of his cowardice. Next to this scene, a labyrinth is located, as a symbol of the inscrutability of divine designs, while representing Jesus' path to Calvary.[212] In Ecce Homo, Jesus is presented with the crown of thorns, guarded by two soldiers and with the figure of a Pilate doubting what he should do; At the feet of the Nazarene the stone is cracked, representing the earthquake that is going to occur. Next to this scene there is a column with the Roman eagle and the inscription "Tiberius Imperator". The last scene of this level is The trial of Jesus, in which Pilate washes his hands assisted by three servants, along with a soldier and the figure of Procula, Pilate's wife, who walks away from the scene after failing in her attempt to intercede for the prisoner, whom she had seen in a dream (Matthew 27, 19).[213][214].
• - Medium level: represents the Calvary of Jesus. The Three Marys and Simon of Cyrene appears first, in which the Cyrenean helps Jesus with the cross, surrounded by the Virgin, Mary Magdalene and Mary of Cleopas. Next, La Veronica shows the face of Jesus marked in negative on the cloth of the woman who wiped his sweat; The figure of Veronica "Veronica (saint)") has no face so as not to interfere with the image of Jesus. It is the largest scene, with seventeen figures. The figure of Veronica is made of travertine, while the rest of the figures are made of sandstone. Here, Subirachs pays homage to Gaudí, giving his physiognomy to the figure of the evangelist located on the left, as well as in the shape of the soldiers' helmets, which evoke the chimneys of the Milà house. The cycle closes The Soldier Longinus, the centurion who stabbed Jesus with his spear although he later converted to Christianity. Figure on a horse, with a helmet and a spear in his hand.[215][216].
• - Upper level: the death and burial of Jesus appears. The level begins with Soldiers playing dice in Jesus' clothes, three figures of legionaries around a talus-shaped table "Astragalus (anatomy)"), the lamb bone from which the dice game emerged.[217] In the central part, The Crucifixion is the main scene of the porch, with Jesus hanging on the cross - which has four arms, like the typically Gaudinian ones, but placed in horizontal—, which is made of iron, with an I painted in red on the central beam, symbol of the INRI; The three Marys and Saint John appear again, and a skull - a symbol of death and Golgotha -, a rock and a moon, which represents the night, also appear in the scene. The scene is asymmetrical, as it places all the figures on the left, while the right is empty, to accentuate the drama of the scene. At its height, the figure of Jesus is the largest in the entire complex.[218] Above this scene is The Torn Veil, a bronze structure that represents the veil of the temple in Jerusalem, which was torn at the death of Jesus. Finally, on the right, is The Burial, where Joseph of Arimathea and Nicodemus appear depositing the body of Jesus in the tomb, next to the Virgin Mary and an egg, a symbol of the resurrection. The effigy of Nicodemus is a self-portrait by the sculptor Subirachs.[219][220].
On both sides of the façade, at the height of the middle level, there are two tribunes described by Gaudí as "councils", since they were to house the "secret" scenes of the Passion of Christ. They are two cantilevered bodies of a prismatic shape, supported by pyramidal bodies and closed with lattices, which house chambers accessible from the first floor of the interior. These rooms had to be decorated with the aforementioned secret scenes: the meeting of the priests, scribes and Pharisees who plotted the death of Jesus; and the scene in which Judas throws at the feet of these priests the thirty-three coins that they paid him for his betrayal. At the moment, these scenes have not been executed.[221].
In the upper arch of the atrium there are two mosaics made before the intervention of Subirachs, the work of Jordi Vila i Rufas. In the central portal, above the Crucifixion, there is a mosaic that was later covered by The Torn Veil. It has a central panel with a lamb and the Greek letters alpha and omega, and four other panels with phrases from the Good Friday liturgy, two in Latin and two in Catalan: "Nulla silva talem profert fronde, flore, germine", "Flecte ramos, arbor alta", "Quan per menjar el fruit d'Efes" and "A la plenitude del temps profetitzat". The second is found in the portal of Faith, next to the group of Soldiers playing dice in the garments of Jesus: it is a small mosaic with the legend Dulce lignum, part of a stanza of the hymn Crux fidelis by Venancio Fortunato: "Dulce lignum, sweet cloves, Dulce pondus sustinet" ("Oh sweet log, sweet nails those who held so sweet weight!").[222].
Above this portal is a pediment formed by a set of eighteen columns, on which is placed a cornice of hexagonal prisms,[223] with a chrismon in its central part with the inscription Iesus Nazarenus Rex Iudæorum. The colonnade and the cymbal with the chrismon were completed in 2016.[224] In the intercolumnium of the pediment, a program related to the biblical prophets and patriarchs is developed, which continues with the same symbology of faith, hope and charity: the patriarchs represent faith; the prophets, hope; and the central part, dedicated to the Resurrection, symbolizes charity.[225] The walls with the names of the patriarchs and prophets, a work designed by Subirachs and sculpted by his assistant Bruno Gallart, were completed in 2005. In principle, the prophets and patriarchs should be images, but the sculptor preferred to make a mural with the names so as not to overload the Passion façade and hinder the vision of the passion cycle of Jesus shown at the bottom. Thus, these biblical figures have been represented by Subirachs with their names - and some with their corresponding symbols - in the form of an arabesque, engraved in a relief of length and height.[226].
• - Patriarchs: Adam and Eve (with the snake and the tree with the apple of original sin), Abel, Enoch, Noah (with a wavy line that represents the flood), Methuselah (with the number 969, the years he lived according to the Bible), Abraham, Sarah, Isaac, Rebekah "Rebekah (biblical character)"), Jacob (with Jacob's ladder), Leah, Rachel, Judah "Judah (patriarch)"), David, Hezekiah, Josiah.
• - Prophets: Moses (with the tables of the law), Zipporah, Aaron, Balaam, Deborah, Samuel "Samuel (prophet)"), Nathan, Elijah (with a tongue of fire), Isaiah "Isaiah (prophet)"), Jeremiah "Jeremiah (prophet)"), Ezekiel "Ezekiel (prophet)"), Daniel "Daniel (prophet)"), Jonah "Jonah (prophet)") (with the inscription of the city of Nineveh and its Sumero-Akkadian pictogram, a fish inside a house) and Zechariah "Zechariah (prophet)") (with angel wings); At the end the names Zion and Jerusalem appear along with a representation of their walls.
In the two lateral acrotheries of the pediment there are two animal figures: the sacrificial lamb of Abraham and the lion of Judah, conqueror of death, both prefigurations of Jesus.[194] These figures, the work of Lau Feliu, were placed on December 14, 2017.[227][note 23].
In the central part of the intercolumnio is the sculptural group of the Empty Tomb, the work of Francesc Fajula, placed in April 2018. It represents the tomb where Jesus was buried and from which he resurrected: next to the entrance is the round stone that covered it, on which sits the angel announcing the resurrection to the Three Marys, who are located on the left side.[229] This group is in relation to the window. which represents the Resurrection of Jesus, located on a wall of the side nave, the work of Joan Vila-Grau, resolved in the form of a large window formed by fifteen stained glass windows. The angel who announces the resurrection points with his right arm towards this window.[230].
In the central acrotherium there is a large cross to top the pediment, high and wide, made of 18-ton tensioned stone. It is made with a double twist, with a square base and finials and the central part of an octagonal shape, while the tips are pyramidal in shape.[231] It is a triumphal cross, so it does not have the image of Christ represented. At the feet of the cross there are three angels, the work of Lau Feliu,[232] one in an attitude of veneration, another caressing the cross and another holding a chalice with the blood of Christ. The cross is made of granite, while the angels are made of travertine.[231] It was placed on July 2, 2018.[233].
On the inside of the pediment, in the space between it and the bell towers, the quarry located next to Calvary has been reproduced, where the tomb of Jesus was excavated and which later became a garden (John 19, 41-42). The quarry is represented by large blocks of coarse stone and the orchard by various plant species located at the foot of these blocks (strawberry, violet, snowdrops, myrtle and fern). The L'Obrador landscape team has participated in its design.[234][235].
Above the pediment is the Holy Spirit, a sculpture by Subirachs inspired by a dove, but with almost abstract shapes, installed in 2001. It is made of travertine, with dimensions of .[236] Finally, there is the Ascension of Jesus, on the bridge that joins the towers of Saint Bartholomew and Saint Thomas, at the height of the façade, also the work of Subirachs. It is made of bronze and is tall. Installed in 2005, it represents Jesus dressed in a tunic with open hands.[237].
The figures of the apostles on the towers are also the work of Subirachs, made of high travertine stone. They were placed between February and October 2000. James the Lesser is represented with a bishop's staff, since he was traditionally the first bishop of Jerusalem; Saint Bartholomew appears with a knife, a symbol of his martyrdom - he was skinned, which is why his figure reveals his anatomy - as well as a parchment, since he was the author of an apocryphal gospel; Saint Thomas appears in a doubtful attitude, since he had to touch Jesus to believe in his resurrection; and Saint Philip holds a book in his hands, a symbol of the preaching he carried out in Asia Minor.[238].
In front of the Passion façade, Gaudí planned in 1916 to place a monument to the bishop of Vic Josep Torras i Bages, a recently deceased friend of his. The architect made a sketch of the project and a plaster bust of the bishop was made, the work of Joan Matamala. However, the project was not finally carried out and the bust was destroyed in 1936.[239] In 2014, during the First World Congress on Gaudí held at the University of Barcelona, the architect Jordi Bonet i Armengol announced the future completion of this project, initially planned for the completion of the façade works in 2016, although for the moment the project has been delayed. The monument, tall and made of stone (the base) and bronze (the shaft), will be made up of a sculpture of the bishop writing and will have three legs dedicated to theological virtues (faith, hope and charity), like the façade.[240].
• - Last supper.
• - The kiss of Judas.
• - Ecce Homo.
• - Veronica.
• - The trial of Jesus.
• - Flagellation Column.
• - The soldier Longinus.
• - The crucifixion.
The façade will be completed with large illuminated clouds that will contain in large letters the Nicene Creed (Credo in unum Deum Patrem Omnipotentem, creatorem coeli et terrae), located on sixteen large lanterns "Lantern (architecture)") of hyperboloid shape and ending in a cone, arranged in ascending order: the seven lower ones will represent the days of creation and the upper nine, the angelic hierarchies. The towers will be the tallest of the three facades and will be dedicated to Saint Peter, Saint Paul, Saint Andrew and Saint James the Greater.[248].
On April 22, 2007, a sculpture of *St. in Saint George by Donatello.[250].
Likewise, between 2008 and 2012, the doors of the Glory façade were installed, made in bronze by Subirachs with the help of the sculptor Bruno Gallart, with the inscriptions of the Our Father. The main one, composed of two bronze sheets weighing two tons each, presents the complete prayer, in Catalan, as well as its second paragraph ("Give us today our daily bread") in fifty different languages.[note 24] It is worth noting that the letters A and G of the word caiguem —corresponding to the door handles— are highlighted in gold, as they are the initials of Antoni Gaudí, as a tribute to the architect.[253] The rest of the doors present each Add your corresponding prayer request. Each door has a symbol that represents its respective sacrament: baptism, a jug of water and a baptismal font; last unction, a laying on of hands; the priestly order, an imposition of hands by the bishop; the eucharist, the chalice and the host - in this case located in the glass above the door; confirmation, by the coming of the Holy Spirit; marriage, some rings; and, penance, a cross.[254].
In 2025, the construction of the façade towers began, with the erection of the eight supporting columns of the tower structure. That year, the commission to three artists for the sculptural design of the façade was also announced: Miquel Barceló, Cristina Iglesias and Javier Marín.[255].
turritella communis
The towers of the evangelists are topped by the allegorical figures that represent them in Christian iconography (Tetramorphs): Saint John, the eagle; Saint Mark, the lion; Saint Matthew, the angel; and Saint Luke, the ox.[265] The project for these figures was the work of the sculptor Xavier Medina Campeny. The terminals of the towers have a height of , composed of three different parts: the base is formed by four lines of hexagons with the inscriptions Al·leluia and Amen surrounded by spike-shaped ceramic palms; In the central part there is an icosahedron intersected with a sphere covered with ceramic trencadís and Venetian glass, which contains the lighting focuses; and, as a finishing touch, there are the sculptures of the Tetramorphs, winged and with an evangelical book with the initials of each evangelist.[266] These towers will have two spotlights each, which at night will illuminate the street and the tower, respectively.
Likewise, these towers contain gargoyles "Gargoyle (architecture)"), made by Etsuro Sotoo, in four-meter granite, with various shapes that symbolize the evangelists: that of John presents seven scrolls, like those written in the Apocalypse; Mateo's is shaped like a money bag, in reference to his job as a tax collector; Mark's is in the form of a sheet, in reference to a young man who was seen running naked with a sheet that flew away from him, the night Jesus was arrested; and Lucas's is a doctor's bag, with its corresponding instruments[267] Likewise, they are related to the signs of the Zodiac, the four elements and the four stages of the path to knowledge.[268].
Mary's tower is located above the apse and is topped by a large twelve-pointed star, which symbolizes the morning star "Venus (planet)"). In addition, it has several iconographic elements alluding to the Virgin, such as the Hail Mary and various flowers as a symbol of the attributes of the mother of Jesus. These elements are found at the base of the tower, between the windows, grouping a phrase and a flower: Ave Maria gratia plena, lily as a symbol of chastity; Dominus tecum, narcissus as a symbol of eternal life and the triumph of divine love; Benedicta tu in mulieribus, lily of the valley as a symbol of humility; and Benedictus fructus ventrus tus Iesus, jasmine as a symbol of purity.[269] The crown of the tower consists of three parts: the crown, made of stone and tall, with twelve wrought-iron stars at the top; the lantern, tall, made of concrete with white and blue trencadís coating, in the shape of a hyperboloid and ending in three arms that support the upper star; and the star, a twelve-pointed dodecahedron with a diameter of , made of textured glass with a stainless steel structure, illuminated from the inside.[270].
Finally, the tower of Jesus will be connected by four bridges with the towers of the evangelists and will be topped by a large cross with six arms, wide and high: in its central part there will be a lamb (Agnus Dei), as well as the inscription Tu solus Sanctus, Tu solus Dominus, Tu solus Altissimus and the words Amen and Hallelujah. Each of the four arms of the cross will have powerful beams of light that will be visible from great distances, in remembrance of the biblical passage that defines Jesus as "I am the light of the world" (John, 8:12).[271] Inside, the tower of Jesus will be divided into three floors, which will symbolize the creation of the universe and the phrase related to Christ "I am the Way, the Truth and the Life" (John, 14:6).[271][272] On the interior walls there will be a glazed ceramic mosaic that will run throughout the tower up to half the height, which will represent the firmament as a creation of God, as well as the Holy Spirit; It is being designed by Etsuro Sotoo.[273] In 2025, the proposal by the Italian artist Andrea Mastrovito") for the figure of the lamb was approved, which will be made of glass and gold, within a hyperboloid with 24 beams of light.[274].
Of the set of six central towers, the tower of Jesus began to be built in 2015 and the remaining ones in 2016, after preparing their base on the central nave of the temple.[275] The works on the tower of Mary finished on November 29, 2021 with the placement of the star on the top of the tower, and it was inaugurated on December 8 with a series of cultural events.[276] Of the towers of the evangelists, the first two, dedicated to Luke and Mark, were completed with the placement of their respective sculptures in November 2022. On December 16 of that year they were illuminated for the first time.[277] Those of John and Matthew were completed in September 2023 again with the placement of their sculptures.[278] The main structure of the tower of Jesus was completed in December 2024, with a level of 142.5 meters high.[279] The placement of the cross began in October 2025 with the installation of the lower arm.[280] With this element it reached 162.91 meters high, becoming the tallest church in the world, surpassing the Ulm Cathedral.[281] It is estimated that it could be completed in 2026.[282].
According to the construction team's forecasts, when the structure of the towers is ready, the Sagrada Familia will be the tallest building in Barcelona.[283].
At the intersections of the cloister with the facades Gaudí designed portals dedicated to the Virgin: on both sides of the Nativity façade, the Virgin of the Rosary and that of Montserrat; on the façade of the Passion, the Virgin of Mercy and that of Sorrows. Especially notable is that of the Rosary, which Gaudí chose to demonstrate how the decoration of the rest of the temple should be.[300] The portal is presided over by the Virgin with the Child, flanked by Saint Dominic and Saint Catherine. Other scenes reproduce: the Death of the Just Man, with the Virgin showing the Infant Jesus to a dying man, to provide relief; the Temptation of Woman, represented by a fish-shaped monster offering a woman a bag of money; and the Temptation of Man, symbolized by a devil offering a worker an Orsini bomb, used by anarchists at that time. On each side of the door are Kings David and Solomon and the prophets Isaac and Jacob. Likewise, there is a great profusion of roses that adorn the entire porch, and phrases such as the last words of the Ave Maria: Et in hora mortis nostrae, Amen.[301] The sculptures of the portal, the work of Llorenç Matamala,[302] suffered serious damage during the Civil War and were restored between 1982 and 1983 by Etsuro Sotoo.[303] On the outside, this portal is topped by a lantern whose pinnacle is shaped like an aloe bud (Aloe arborescens).[304].
In the four corners of the temple there will be three obelisks each, representing the cardinal points, the four seasons, the Christian fasts (Témporas), related, in turn, to the priestly orders, the cardinal virtues represented symbolically, as well as symbols of Saint Joseph (lily), the Virgin Mary (crown) and Jesus (varying in each group). Finally, each central obelisk will carry three of the twelve stanzas of Daniel's hymn of the children of Babylon "Babylon (city)") (Trium puerorum), one of the lateral ones Sancte Joseph, Ora pro nobis and, the other, Sancta Dei Genitrix, Ora pro nobis, Deo gratias.[305] They have a hyperboloid shape in their central part, while the upper one is a trunk of triangular pyramid with three final semicones.[306].
Abelia floribunda
Nerium oleander
For the vaults, in the shape of hyperboloids, Gaudí used the construction technique of the Catalan vault or "partitioned vault", which consists of the superimposition of several layers of bricks with mortar.[317][157] The skylights of the vaults contain symbols made of colored glass: in the side vaults, the symbols of Jesus, Mary and Joseph; in the central one, the chrismon of Christ with its attributes (cross, scepter, sword and sign of infinity). creation).[320] Between the folds of the vestments, heads of seraphim appear, while between the support columns the trisagion Holy, Holy, Holy appears, in yellow, red and orange colors, for the Father, the Son and the Holy Spirit.[321] Finally, the dome of the transept represents the Throne of God and the Lamb, composed of a central skylight of a hyperboloidal shape, of diameter, surrounded by golden rays; flanked by another twenty-four skylights, arranged in two concentric circles of twelve, which symbolize the twenty-four elders described in the book of Revelation 4, 6-10. [322] Above this dome is a large room, called the "cruise room", which will be the first level of access to the tower of Jesus Christ. It is circular, high, with steps around the central skylight, covered in tile and glass on the roof. red venetian.[323] It was built between 2010 and 2014.[324].
The roofs are pyramidal in shape, crowned by a lantern. The windows are designed to distribute soft and harmonious lighting, creating a secluded effect, and have an abstract geometric shape. Gaudí carried out in-depth acoustic and lighting studies to achieve perfect sound and lighting inside the temple. Likewise, he designed the lamps, furniture and liturgical objects of the Sagrada Familia: sacristy cabinets, officiants' benches, faldistoria, pulpits, confessionals, tenebrariums, lecterns, stands for Easter candles, etc.[325].
Like the exterior, the interior has great religious significance, with three roads that represent various concepts: from the façade of Glory to the apse it symbolizes the Way of Humanity (Via Humanitatis); from the façade of the Nativity to that of the Passion, the Way of Jesus Christ (Via Christi); and, the cloister, represents the Way of the Church (Via Ecclesiae).[326] In turn, the naves of the temple represent the Church militant, the crypt the penitent and the central altar the triumphant.[243] On the other hand, the Holy Family represents the New Jerusalem, the Celestial Jerusalem, for which Gaudí based himself on the book of the Apocalypse (verses 21 and 22): just as in the biblical text the New Jerusalem comes down from heaven and lives among humanity, the Holy Family is located in Barcelona, which symbolizes all the peoples of the planet.[327].
For the central altar, Gaudí's project contemplated that a seven-armed lamp would hang from the highest clerestory of the apse, symbolizing the Holy Spirit. The altar is framed by a triumphal arch #Triumphal_arch "Arch (architecture)") formed by the columns of Peter and Paul, and their branches that join in the hyperboloid of the vault. These columns have a ring each with an inscription: Peter, pastor of the Church and Paul, apostle of our people.[328] From these rings hangs the canopy that covers the altar, which has the song of Glory of the Ordinary of the Mass inscribed.[329] It is in the shape of a heptagon, made of metal about five meters in diameter, from which bunches of grapes hang (in glass), vine leaves (of copper) and spikes (of white wood), with parchment sides and a tapestry cover, all covered in twenty-two carat gold leaf.[330] On the parchments, the work of the nuns of the monastery of San Benito de Marganell, the Gifts of the Holy Spirit (Wisdom, Intelligence, Counsel, Fortitude, Science, Pity and Fear of God) are inscribed, the work of the calligrapher Josep Batlle.[331] Fifty lamps hang from the baldachin—as in Saint John Lateran—, as well as a figure of Christ crucified from , the work of Francesc Fajula, sculpted according to a design that Gaudí made for the oratory of the Batlló house, made at that time by Carles Mani.[330] The altar is made up of a block of Iranian porphyry of length and weight. Next to the altar, the episcopal stalls were placed, which have the names of the three holy bishops of the archdiocese of Barcelona engraved: Saint Severus, Saint Paciano and Saint Olegario,[330] in addition to the theological and cardinal virtues and, in the center, a dove representing the Holy Spirit, the work of Francesc Fajula.[332] To the left of the presbytery is an ambo of porphyry, work of Jordi Bonet, with the inscription "word of God"; Behind it, there is a support for an Easter candle designed by Gaudí.[333].
In the triforiums corresponding to the façades of the Birth and the Passion there are Saint Joseph and Saint Mary, sculptures made by Ramón Cuello; with the crucifix on the altar, they complete the Sagrada Familia. In the skylights of the vaults there are glass diffusers with anagrams of Jesus, Joseph and Mary in the side naves, and the chrismon and the attributes of Christ (cross, scepter, sword and sign of infinity) in the central nave, the work of Antoni Vila"). Septuagesima, Lent, Easter and Pentecost); prayer is also represented with the canonical Hours, each with its final hymn:
• - Matins: Miserere (Psalm 51/50) and Te Deum laudamus, in the chantries and under the central dome.
• - Lauds: Benedictus Dominus Jesus Israel (Luke 1, 68-79), inside the Passion façade.
• - Vespers: Magnificat (Luke 1, 46-55), in the apse.
• - Compline: Nunc dimitis (chant of Simeon), inside the façade of the Nativity.[334].
The columns inside have varied symbols: the four in the transept are dedicated to the evangelists, the twelve that surround the transept to the apostles (Saint Peter and Saint Paul next to the altar) and the rest to the bishoprics who continued the apostolic work: those of Catalonia (Barcelona, Tarragona, Lérida, Gerona, Vic, Urgel, Solsona, Tortosa and Perpignan) in the transept; from the rest of Spain (Mallorca, Valencia, Zaragoza, Granada, Burgos, Seville, Valladolid, Toledo and Santiago) in the central nave; and, on the sides, the five continents.[335].
The windows inside the temple are covered with stained glass, designed by the Catalan glassmaker Joan Vila-Grau between 1999 and 2016.[336] He used glass of different colors to represent various themes. The stained glass windows of the transepts were the first to be installed, following Gaudí's original idea. The lower side windows represent the saints and sanctuaries of the dioceses represented on the columns in front of the windows.[337] In the upper windows there are the parables of Jesus (from the façade of Glory, Birth side, to Glory, Passion side): I am forgiveness, I am the good Samaritan, I am the good shepherd, I am the truth, I am the way, I am the life, I am the source of living water, I am the light, I am the door, I am the sower, I am the one who speaks to you, I am the bread of life, I am the alpha and omega. The stained glass windows in the apse symbolize the Advent antiphons; those in the Passion transept represent water, the resurrection and light; and those of the transept of the Birth poverty, birth and life. The windows of the central nave lack color - they are different textures (printed glass) of translucent glass - since they were made with clear glass to symbolize purity and allow greater entry of light.[338].
On the interior cantilever there will be the Eucharistic symbol of the fish, some swimming towards the altar with their mouths open and others returning with the Sacred Form in their mouths, like faithful thirsty for the Eucharist.[339] Above the cantories there are twenty-four polychrome ceramic monstrances, each one meters high, which present in their upper part the Sacred Form, as a half-hyperboloid twin with a horizontal axis, with a spherical cap and surrounded by pyramids and a hyperboloid body with a vertical axis with three windows, inside which is a chalice; They are the work of the ceramists Jordi Aguadé and Antoni Cumella").[340] Likewise, in the middle of the ramifications of the columns there will be flamboyants, amphorae and symbols of Christ.[341].
In 2010, the interior of the temple was finished being covered, allowing it to be dedicated as a basilica by Pope Benedict XVI on November 7 of that year. For this event, several works recently created following Gaudí's instructions were inaugurated: inside the Passion Portal, a bas-relief about the Entry of Jesus into Jerusalem, the work of Domènec Fita, was placed on the floor slabs; The sculptures of Saint Joseph (on the Nativity side) and the Virgin Mary (on the Passion side) by Ramón Cuello were installed in the transept, made of travertine and with a height of ; and the decoration of the capitals of the central columns of the transept was placed, those of Saint Peter and Saint Paul - with their symbols, keys and a sword and a book, respectively -, and those of the four evangelists, with the signs of the Tetramorphs framed by a methacrylate ellipsoid, the work of Domènec Fita. The altar and the episcopal seating were also placed and, above the altar, the hanging canopy was installed, with the figure of Crucified Christ by Francesc Fajula. Finally, an organ "Organ (music)") was installed, built in the Blancafort workshop in Collbató.[330].
• - Detail of the interior.
• - Side nave, Passion façade.
• - Side nave, Nativity façade.
• - Baldachin.
• - Representation of God the Creator.
• - Intersection between the nave and the transept.
• - Stained glass.
The organ consists of two bodies - totaling 1,492 pipes - and three keyboards, two of them manual and the third pedal-operated. It has twenty-six registers "Register (organ)"), that is, twenty-six types of different sounds, and in its core there are computers that memorize combinations of registers and sounds so that the organ can sound itself, without the need for an organist.
Records disposition:.
• - Copula: II/I, I/P, II/P.
Immaculate Conception
Christ
Santo Cristo
Virgen del Carmen
Immaculate Conception
Saint Joseph
Sacred Heart
The crypt is surrounded by a Roman mosaic opus tessellatum where the vineyard and wheat are represented, symbols of the Eucharist, the work of the Italian mosaicist Mario Maragliano.[120] The stained glass windows were made with rich color, with images of singing angels and musicians and lilies.[121] The holy water fonts in the crypt are made with large sea shells. (Tridacna gigas) from the Philippines, which was provided to Gaudí by the Marquis of Comillas, owner of the Spanish Transatlantic Company.[122] Some of the lamps in the crypt were made by Gaudí with his own hands, since the doctor had recommended manual labor to combat rheumatism.[123] He also designed the liturgical furniture of the crypt, such as a lectern, a tenebrarium, cabinets, confessionals. or candelabras,[124] executed by the carpenter Joan Munné.[125].
The crypt of the Sagrada Familia, along with the construction workshop, suffered significant damage on July 21, 1936 in a fire caused during the burning of churches in Barcelona by militiamen in the Civil War. This attack destroyed and damaged forever some of the models, plans and documents of Gaudí's original project. In that same act, the tomb of the temple's founder, Josep Maria Bocabella, was also desecrated, although fortunately Gaudí's remained intact, as his disciples were able to verify when they opened the tomb in 1939.[126].
Between 2007 and 2009 the crypt was subject to careful rehabilitation, essentially to place new foundations, because the previous ones came from Villar's project and perhaps would not have been sufficient for the modifications made by Gaudí, which doubled the height of the building; but, along the way, the mosaic paving was restored, as well as the stained glass windows installed in the crypt. On April 19, 2011, a new fire broke out in the crypt, caused by a regular parish attendee, which destroyed practically the entire sacristy. Although the damage was extensive, none of the elements of historical value were affected, such as Gaudí's original stained glass windows.[127] The more than fifteen hundred tourists who were visiting the temple at that time were evicted by the authorities, although normality was restored a little later. The police arrested the cause of the fire in a few minutes.[128].
• - Chapel of Our Lady of Carmen, with Gaudí's tomb.
• - Chapel of Santo Cristo.
• - Chapel of Saint Joseph.
• - Chapel of the Sacred Heart.
• - Chapel of Our Lady of Montserrat.
• - Chapel of the Immaculate Conception.
• - Holy Family, by Josep Llimona.
• - Annunciation, by Joan Flotats.
Or Clavis David
• - O Oriens: sun as a symbol of justice;.
• - O Rex Gentium: cornerstone (stone with the anagram of Jesus and royal crown);
• - O Emmanuel rex: king and legislator (royal mantle, sword and tables of the Law).
The chapel of the Assumption, for which Gaudí left an elaborate project, will be in the shape of a stone litter, reminiscent of the litter with which the so-called Virgin of August was taken out in procession from the cathedral of Gerona. The architect was inspired by the work of Lluís Bonifaç from the Girona cathedral, from which he reproduced details in the chapel such as the curtains, the crown, the pillars and the angels.[143] The chapel will be topped by a tall lantern. The dome will be like a mantle raised at the ends by angels, who will be placed on the pinnacles of the pediments "Fronton (architecture)"). The main pediment will bear the inscription Salve, Regina, Mater Misericordia, in honor of the Virgin of Mercy, patron saint of Reus, the architect's hometown.[144] Inside, the Holy Trinity will appear in the dome crowning Mary, surrounded by angels - as an invocation of Our Lady of the Angels; In the gallery there will be twelve angels—for the twelve stars of the Virgin's crown—with the fruits of the Holy Spirit; Under the gallery will be the death of the Virgin, that of Saint Joseph, the presentation of Mary in the temple by Saint Joachim and Saint Anne and the wedding at Cana. In the portals there will be the saints of Barcelona devotions: Saint Roch and Saint Joseph Oriol. Roque) and Teresa Riba") (angels holding the blue mantle of the Virgin).[151].
The sacristies will have a height of , on a base of . At the moment, the western one has been built, built between 2011 and 2016. It has a square ground floor, whose exterior sides coincide with the cloister that surrounds the temple. On the first floor, the angles are chamfered, so it has an octagonal plan. Finally, the dome is a polygon of twelve paraboloids. The outer corner contains three of the obelisks that will delimit the four corners of the temple, on which is placed a lantern in the shape of an elliptical hyperboloid. The walls have triangular openings limited by the generatrixes and guidelines of the paraboloids.[152] On the pediments and the lantern are inscribed the invocations of the Apocalypse (Rev 7, 9-12), in Catalan: Lloança ("praise"), Glòria, Saviesa ("wisdom"), Acció de gràcies ("thanksgiving"), Honor, Power and Força ("strength").[153] The dome is topped with a pinnacle of three edged shields, decorated with enamelled ceramic figures of the Lamb and the Harvester—symbols of Jesus Christ—, the work of Francesc Fajula,[154] as well as the inscription Amen, in red porphyry, and the JHS monogram, in Venetian glass golden, all crowned by a bronze ring, which represents the alliance with the Church, and the crown of life, which the martyrs receive at the resurrection (Rev 2, 10).[153].
• - The apse in 1893.
• - Sketch of the Assumption chapel, by Gaudí.
• - Stained glass windows in the apse.
• - Lizard sculpture.
• - Sculpture of Saint Bruno.
• - West sacristy.
• - Figures of the Lamb and the Harvester, sacristy.
Deus Caritas Est
Caritas Numquam Excidit
This façade was chosen by Gaudí to give a global idea of the structure and decoration of the temple: as he was aware that he would not be able to finish the project in the course of his life, instead of building the temple as a whole in a linear manner, he preferred to build a complete façade in all its verticality, to give a complete sample of what the rest should be like.[172] He chose this façade because it was, in his opinion, the one that could be most attractive to the public, thus encouraging the continuation of the work after his death; In his own words:
It is the largest of the three and is dedicated to Jesus. It is formed by slanting walls that go from the doors to the columns located between the archivolts, which originate from their capitals; This central archivolt is structured around a pentalobed arch "Lobe (architecture)") that serves as a guideline and ends in the window of the central tympanum "Tympanum (architecture)"). The walls are grooved, with six edges that emerge from a ground bench and are interrupted by pedestals decorated with sculptural motifs of plants and domestic birds, on which are placed niches with sculptures of the adorations and the Birth crowning the mullion.[156] The portico develops a series of scenes about the birth of Jesus: the Annunciation and the Coronation of Mary, along with the Adoration of the Kings and the Adoration of the Shepherds —these last works by Ros i Bofarull (1981-1982)—; We also find the star of Bethlehem and the signs of the Zodiac, arranged as they were on the night Jesus was born (Aries "Aries (astrology)"), Taurus "Taurus (astrology)"), Gemini "Gemini (astrology)"), Cancer "Cancer (astrology)"), Leo "Leo (astrology)") and Virgo "Virgo (astrology)")),[174] as well as musical angels—with classical instruments (harp, bassoon and violin) and popular ones (guitar, tambourine and bagpipes)—and the fifty-nine beads of the rosary "Rosary (Christianity)") surrounding the window.[175] On the lintel of the doors there is the inscription «Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis».[176] There are also numerous representations of plant species.[note] 16].
The Jesus Gate is divided by a mullion with the Jesse Tree, which presents the genealogy of Christ. At its base is the snake biting the apple, a symbol of original sin; The lower part of this column is protected with a cylindrical iron grille, the work of the forger Joan Oñós. Above the capital is the Birth group, the work of Jaume Busquets (1958),[177] with a Choir of child angels —made by Etsuro Sotoo in 2000—[178] that support some phylacteries with the inscription «Jesus est natus. Come, adoremus", to whose message the birds go to the foot of the cradle, according to the popular Catalan Christmas carol El cant dels ocells (The song of the birds).[179].
The portal culminates in the Tree of Life, which represents the triumph of life and the legacy of Jesus. Here we find the anagram of Jesus with the letters JHS (from Jesuschristus or Jesus Hominum Salvator, Jesus Savior of Humanity), on a Greek cross, with the Greek letters alpha and omega as a symbol of the beginning and the end. He is surrounded by censer angels and angels carrying bread and wine, a symbol of the Eucharist. Above the anagram we find a family of pelicans, a bird that represents a primitive Christian symbol that also alludes to the Eucharist, with an egg symbol of the origin and fullness of life and nature. In an ascending direction there are two stairs - as an ascension to God - and a cypress that symbolizes eternal life, with a group of doves that represent the faithful who come to God. Finally, we find a representation of the Holy Trinity, with the Greek letter tau, initial of the name of God in Greek (Theos), the X of Jesus (for the Greek letter ji, initial of Christ in Greek) and the dove of the Holy Spirit.[180].
Dedicated to Saint Joseph,[181] it has a shape similar to the central portico, with two-channel slanting walls that follow the pentalobed shape of the archivolt.[182] Here we find the scenes of the Betrothal of the Virgin Mary and Saint Joseph, the Family of Jesus (with Saint Joachim and Saint Anne), The Wise Man and the Child Jesus, the Death of the Saints Innocents, The Flight into Egypt and The Boat of Saint Joseph, in which Joseph is the helmsman who leads the Catholic Church.[183] We can also observe the placement of various tools: a saw, a mace, a chisel, a square, a screwdriver, a hammer and an axe. In allusion to the flight to Egypt - and symbolizing the hope of life - there are domestic animals such as geese "Goose (bird)"), geese or ducks representing the fauna of the Nile, as well as flora of Egypt. Save us.[185].
Dedicated to the Virgin Mary,[186] it has a structure similar to the porch on the left. In this portico we perceive the following scenes: the Immaculate Conception, in which the Virgin appears on a three-armed lamp, in reference to the Holy Trinity; the Visitation, the Virgin visits her cousin Isabel "Isabel (saint)"); The presentation of Jesus in the temple, where the Child Jesus appears in the arms of the priest Simeon and, at his side, the prophetess Ana "Anna (prophetess)") appears, who recognizes Jesus as the Messiah; Jesus working as a carpenter; and Jesus preaching in the temple, between the figures of Saint John the Baptist and Saint Zechariah. We also find the Heart of Jesus, covered with thorns and mystical bees that suck his blood; Divine Providence, in the form of a hand with the all-seeing eye; grapes and ears as a symbol of the Eucharist; flora and fauna of Palestine "Palestine (region)");[note 18] and palm leaves—a symbol of martyrdom—on the columns.[188].
• - Portal of Charity.
• - Portal of Hope.
• - Portal of Faith.
• - Tree of Life.
• - Death of the Holy Innocents.
• - Flight to Egypt.
• - Adoration of the Kings.
• - Adoration of the shepherds.
• - Coronation of Mary.
Subirachs 30 nbre 1987
The Portal of Faith presents the Gate of Gethsemane, high and wide, dedicated to the prayer of Jesus in the garden of olive trees. We see images of Jesus praying, while his disciples sleep; In the upper left part the night sky appears with the full moon, as a harbinger of death. At the bottom there is a polyhedron from the engraving The Melancholy, by Albrecht Dürer, and the inscription «Jesus fell on his face, praying: my father, if it is possible, remove this chalice from me; but let it be done not as I want, but as you want" (Matthew 26, 39).[205]
The portal of Hope presents the Gate of the Coronation of thorns, high and wide. Here Jesus appears mocked with the crown of thorns, the cloak and the reed, as a mockery of his status as king, next to the inscription "And the soldiers wove a crown of thorns and put it on his head, and they dressed him with a purple cloak; and they said to him: “Hail, king of the Jews”; and they slapped him” (John 19, 2). In another scene, Jesus is brought before Herod and Pilate, who appear facing each other symmetrically, as if seen in a mirror. It also includes a quote from The Divine Comedy by Dante[note 21] and a poem from La pell de brau (The Bull's Skin) by Salvador Espriu.[note 22][208].
The sculptural cycle of the Passion is installed on three levels, following an ascending order in the shape of an S, to reproduce the Calvary of Jesus:[200].
• - Lower level: contains the scenes of Jesus' last night before the crucifixion. Starting from the left, The Last Supper presents Jesus with the twelve apostles, at the moment when Judas will betray him, with the inscription "What you are going to do, do it quickly" (John 13, 27). Jesus has his back to the viewer, unlike in traditional representations of this scene. Judas stretches out his arm to hide the thirty coins of his betrayal, while, at his feet, a sleeping dog represents fidelity.[209] Peter and the soldiers is the moment in which Peter cuts off the ear of Malchus, the servant of the High Priest, who appears on an olive branch. Together with this scene appears The Kiss of Judas, where the figures are roughly carved to suggest a night vision; Behind Judas, there is the snake that symbolizes the devil. Next to this scene is a magic square of sixteen figures that, adding four of them in any direction, always gives thirty-three, the age of Christ at death; three hundred and ten different combinations can be made.[210] On the other hand, when adding the only two figures that are repeated (10 and 14) it gives 48, the same number as the word INRI when adding the equivalence of its letters in numbers according to the Latin alphabet (A=1, B=2, etc).[211] On the right side The denial of Pedro appears first, which contains three figures of women that represent the three times that Pedro denied Jesus, next to a rooster that announces the sunrise; the apostle is wrapped in a sheet as a symbol of his cowardice. Next to this scene, a labyrinth is located, as a symbol of the inscrutability of divine designs, while representing Jesus' path to Calvary.[212] In Ecce Homo, Jesus is presented with the crown of thorns, guarded by two soldiers and with the figure of a Pilate doubting what he should do; At the feet of the Nazarene the stone is cracked, representing the earthquake that is going to occur. Next to this scene there is a column with the Roman eagle and the inscription "Tiberius Imperator". The last scene of this level is The trial of Jesus, in which Pilate washes his hands assisted by three servants, along with a soldier and the figure of Procula, Pilate's wife, who walks away from the scene after failing in her attempt to intercede for the prisoner, whom she had seen in a dream (Matthew 27, 19).[213][214].
• - Medium level: represents the Calvary of Jesus. The Three Marys and Simon of Cyrene appears first, in which the Cyrenean helps Jesus with the cross, surrounded by the Virgin, Mary Magdalene and Mary of Cleopas. Next, La Veronica shows the face of Jesus marked in negative on the cloth of the woman who wiped his sweat; The figure of Veronica "Veronica (saint)") has no face so as not to interfere with the image of Jesus. It is the largest scene, with seventeen figures. The figure of Veronica is made of travertine, while the rest of the figures are made of sandstone. Here, Subirachs pays homage to Gaudí, giving his physiognomy to the figure of the evangelist located on the left, as well as in the shape of the soldiers' helmets, which evoke the chimneys of the Milà house. The cycle closes The Soldier Longinus, the centurion who stabbed Jesus with his spear although he later converted to Christianity. Figure on a horse, with a helmet and a spear in his hand.[215][216].
• - Upper level: the death and burial of Jesus appears. The level begins with Soldiers playing dice in Jesus' clothes, three figures of legionaries around a talus-shaped table "Astragalus (anatomy)"), the lamb bone from which the dice game emerged.[217] In the central part, The Crucifixion is the main scene of the porch, with Jesus hanging on the cross - which has four arms, like the typically Gaudinian ones, but placed in horizontal—, which is made of iron, with an I painted in red on the central beam, symbol of the INRI; The three Marys and Saint John appear again, and a skull - a symbol of death and Golgotha -, a rock and a moon, which represents the night, also appear in the scene. The scene is asymmetrical, as it places all the figures on the left, while the right is empty, to accentuate the drama of the scene. At its height, the figure of Jesus is the largest in the entire complex.[218] Above this scene is The Torn Veil, a bronze structure that represents the veil of the temple in Jerusalem, which was torn at the death of Jesus. Finally, on the right, is The Burial, where Joseph of Arimathea and Nicodemus appear depositing the body of Jesus in the tomb, next to the Virgin Mary and an egg, a symbol of the resurrection. The effigy of Nicodemus is a self-portrait by the sculptor Subirachs.[219][220].
On both sides of the façade, at the height of the middle level, there are two tribunes described by Gaudí as "councils", since they were to house the "secret" scenes of the Passion of Christ. They are two cantilevered bodies of a prismatic shape, supported by pyramidal bodies and closed with lattices, which house chambers accessible from the first floor of the interior. These rooms had to be decorated with the aforementioned secret scenes: the meeting of the priests, scribes and Pharisees who plotted the death of Jesus; and the scene in which Judas throws at the feet of these priests the thirty-three coins that they paid him for his betrayal. At the moment, these scenes have not been executed.[221].
In the upper arch of the atrium there are two mosaics made before the intervention of Subirachs, the work of Jordi Vila i Rufas. In the central portal, above the Crucifixion, there is a mosaic that was later covered by The Torn Veil. It has a central panel with a lamb and the Greek letters alpha and omega, and four other panels with phrases from the Good Friday liturgy, two in Latin and two in Catalan: "Nulla silva talem profert fronde, flore, germine", "Flecte ramos, arbor alta", "Quan per menjar el fruit d'Efes" and "A la plenitude del temps profetitzat". The second is found in the portal of Faith, next to the group of Soldiers playing dice in the garments of Jesus: it is a small mosaic with the legend Dulce lignum, part of a stanza of the hymn Crux fidelis by Venancio Fortunato: "Dulce lignum, sweet cloves, Dulce pondus sustinet" ("Oh sweet log, sweet nails those who held so sweet weight!").[222].
Above this portal is a pediment formed by a set of eighteen columns, on which is placed a cornice of hexagonal prisms,[223] with a chrismon in its central part with the inscription Iesus Nazarenus Rex Iudæorum. The colonnade and the cymbal with the chrismon were completed in 2016.[224] In the intercolumnium of the pediment, a program related to the biblical prophets and patriarchs is developed, which continues with the same symbology of faith, hope and charity: the patriarchs represent faith; the prophets, hope; and the central part, dedicated to the Resurrection, symbolizes charity.[225] The walls with the names of the patriarchs and prophets, a work designed by Subirachs and sculpted by his assistant Bruno Gallart, were completed in 2005. In principle, the prophets and patriarchs should be images, but the sculptor preferred to make a mural with the names so as not to overload the Passion façade and hinder the vision of the passion cycle of Jesus shown at the bottom. Thus, these biblical figures have been represented by Subirachs with their names - and some with their corresponding symbols - in the form of an arabesque, engraved in a relief of length and height.[226].
• - Patriarchs: Adam and Eve (with the snake and the tree with the apple of original sin), Abel, Enoch, Noah (with a wavy line that represents the flood), Methuselah (with the number 969, the years he lived according to the Bible), Abraham, Sarah, Isaac, Rebekah "Rebekah (biblical character)"), Jacob (with Jacob's ladder), Leah, Rachel, Judah "Judah (patriarch)"), David, Hezekiah, Josiah.
• - Prophets: Moses (with the tables of the law), Zipporah, Aaron, Balaam, Deborah, Samuel "Samuel (prophet)"), Nathan, Elijah (with a tongue of fire), Isaiah "Isaiah (prophet)"), Jeremiah "Jeremiah (prophet)"), Ezekiel "Ezekiel (prophet)"), Daniel "Daniel (prophet)"), Jonah "Jonah (prophet)") (with the inscription of the city of Nineveh and its Sumero-Akkadian pictogram, a fish inside a house) and Zechariah "Zechariah (prophet)") (with angel wings); At the end the names Zion and Jerusalem appear along with a representation of their walls.
In the two lateral acrotheries of the pediment there are two animal figures: the sacrificial lamb of Abraham and the lion of Judah, conqueror of death, both prefigurations of Jesus.[194] These figures, the work of Lau Feliu, were placed on December 14, 2017.[227][note 23].
In the central part of the intercolumnio is the sculptural group of the Empty Tomb, the work of Francesc Fajula, placed in April 2018. It represents the tomb where Jesus was buried and from which he resurrected: next to the entrance is the round stone that covered it, on which sits the angel announcing the resurrection to the Three Marys, who are located on the left side.[229] This group is in relation to the window. which represents the Resurrection of Jesus, located on a wall of the side nave, the work of Joan Vila-Grau, resolved in the form of a large window formed by fifteen stained glass windows. The angel who announces the resurrection points with his right arm towards this window.[230].
In the central acrotherium there is a large cross to top the pediment, high and wide, made of 18-ton tensioned stone. It is made with a double twist, with a square base and finials and the central part of an octagonal shape, while the tips are pyramidal in shape.[231] It is a triumphal cross, so it does not have the image of Christ represented. At the feet of the cross there are three angels, the work of Lau Feliu,[232] one in an attitude of veneration, another caressing the cross and another holding a chalice with the blood of Christ. The cross is made of granite, while the angels are made of travertine.[231] It was placed on July 2, 2018.[233].
On the inside of the pediment, in the space between it and the bell towers, the quarry located next to Calvary has been reproduced, where the tomb of Jesus was excavated and which later became a garden (John 19, 41-42). The quarry is represented by large blocks of coarse stone and the orchard by various plant species located at the foot of these blocks (strawberry, violet, snowdrops, myrtle and fern). The L'Obrador landscape team has participated in its design.[234][235].
Above the pediment is the Holy Spirit, a sculpture by Subirachs inspired by a dove, but with almost abstract shapes, installed in 2001. It is made of travertine, with dimensions of .[236] Finally, there is the Ascension of Jesus, on the bridge that joins the towers of Saint Bartholomew and Saint Thomas, at the height of the façade, also the work of Subirachs. It is made of bronze and is tall. Installed in 2005, it represents Jesus dressed in a tunic with open hands.[237].
The figures of the apostles on the towers are also the work of Subirachs, made of high travertine stone. They were placed between February and October 2000. James the Lesser is represented with a bishop's staff, since he was traditionally the first bishop of Jerusalem; Saint Bartholomew appears with a knife, a symbol of his martyrdom - he was skinned, which is why his figure reveals his anatomy - as well as a parchment, since he was the author of an apocryphal gospel; Saint Thomas appears in a doubtful attitude, since he had to touch Jesus to believe in his resurrection; and Saint Philip holds a book in his hands, a symbol of the preaching he carried out in Asia Minor.[238].
In front of the Passion façade, Gaudí planned in 1916 to place a monument to the bishop of Vic Josep Torras i Bages, a recently deceased friend of his. The architect made a sketch of the project and a plaster bust of the bishop was made, the work of Joan Matamala. However, the project was not finally carried out and the bust was destroyed in 1936.[239] In 2014, during the First World Congress on Gaudí held at the University of Barcelona, the architect Jordi Bonet i Armengol announced the future completion of this project, initially planned for the completion of the façade works in 2016, although for the moment the project has been delayed. The monument, tall and made of stone (the base) and bronze (the shaft), will be made up of a sculpture of the bishop writing and will have three legs dedicated to theological virtues (faith, hope and charity), like the façade.[240].
• - Last supper.
• - The kiss of Judas.
• - Ecce Homo.
• - Veronica.
• - The trial of Jesus.
• - Flagellation Column.
• - The soldier Longinus.
• - The crucifixion.
The façade will be completed with large illuminated clouds that will contain in large letters the Nicene Creed (Credo in unum Deum Patrem Omnipotentem, creatorem coeli et terrae), located on sixteen large lanterns "Lantern (architecture)") of hyperboloid shape and ending in a cone, arranged in ascending order: the seven lower ones will represent the days of creation and the upper nine, the angelic hierarchies. The towers will be the tallest of the three facades and will be dedicated to Saint Peter, Saint Paul, Saint Andrew and Saint James the Greater.[248].
On April 22, 2007, a sculpture of *St. in Saint George by Donatello.[250].
Likewise, between 2008 and 2012, the doors of the Glory façade were installed, made in bronze by Subirachs with the help of the sculptor Bruno Gallart, with the inscriptions of the Our Father. The main one, composed of two bronze sheets weighing two tons each, presents the complete prayer, in Catalan, as well as its second paragraph ("Give us today our daily bread") in fifty different languages.[note 24] It is worth noting that the letters A and G of the word caiguem —corresponding to the door handles— are highlighted in gold, as they are the initials of Antoni Gaudí, as a tribute to the architect.[253] The rest of the doors present each Add your corresponding prayer request. Each door has a symbol that represents its respective sacrament: baptism, a jug of water and a baptismal font; last unction, a laying on of hands; the priestly order, an imposition of hands by the bishop; the eucharist, the chalice and the host - in this case located in the glass above the door; confirmation, by the coming of the Holy Spirit; marriage, some rings; and, penance, a cross.[254].
In 2025, the construction of the façade towers began, with the erection of the eight supporting columns of the tower structure. That year, the commission to three artists for the sculptural design of the façade was also announced: Miquel Barceló, Cristina Iglesias and Javier Marín.[255].
turritella communis
The towers of the evangelists are topped by the allegorical figures that represent them in Christian iconography (Tetramorphs): Saint John, the eagle; Saint Mark, the lion; Saint Matthew, the angel; and Saint Luke, the ox.[265] The project for these figures was the work of the sculptor Xavier Medina Campeny. The terminals of the towers have a height of , composed of three different parts: the base is formed by four lines of hexagons with the inscriptions Al·leluia and Amen surrounded by spike-shaped ceramic palms; In the central part there is an icosahedron intersected with a sphere covered with ceramic trencadís and Venetian glass, which contains the lighting focuses; and, as a finishing touch, there are the sculptures of the Tetramorphs, winged and with an evangelical book with the initials of each evangelist.[266] These towers will have two spotlights each, which at night will illuminate the street and the tower, respectively.
Likewise, these towers contain gargoyles "Gargoyle (architecture)"), made by Etsuro Sotoo, in four-meter granite, with various shapes that symbolize the evangelists: that of John presents seven scrolls, like those written in the Apocalypse; Mateo's is shaped like a money bag, in reference to his job as a tax collector; Mark's is in the form of a sheet, in reference to a young man who was seen running naked with a sheet that flew away from him, the night Jesus was arrested; and Lucas's is a doctor's bag, with its corresponding instruments[267] Likewise, they are related to the signs of the Zodiac, the four elements and the four stages of the path to knowledge.[268].
Mary's tower is located above the apse and is topped by a large twelve-pointed star, which symbolizes the morning star "Venus (planet)"). In addition, it has several iconographic elements alluding to the Virgin, such as the Hail Mary and various flowers as a symbol of the attributes of the mother of Jesus. These elements are found at the base of the tower, between the windows, grouping a phrase and a flower: Ave Maria gratia plena, lily as a symbol of chastity; Dominus tecum, narcissus as a symbol of eternal life and the triumph of divine love; Benedicta tu in mulieribus, lily of the valley as a symbol of humility; and Benedictus fructus ventrus tus Iesus, jasmine as a symbol of purity.[269] The crown of the tower consists of three parts: the crown, made of stone and tall, with twelve wrought-iron stars at the top; the lantern, tall, made of concrete with white and blue trencadís coating, in the shape of a hyperboloid and ending in three arms that support the upper star; and the star, a twelve-pointed dodecahedron with a diameter of , made of textured glass with a stainless steel structure, illuminated from the inside.[270].
Finally, the tower of Jesus will be connected by four bridges with the towers of the evangelists and will be topped by a large cross with six arms, wide and high: in its central part there will be a lamb (Agnus Dei), as well as the inscription Tu solus Sanctus, Tu solus Dominus, Tu solus Altissimus and the words Amen and Hallelujah. Each of the four arms of the cross will have powerful beams of light that will be visible from great distances, in remembrance of the biblical passage that defines Jesus as "I am the light of the world" (John, 8:12).[271] Inside, the tower of Jesus will be divided into three floors, which will symbolize the creation of the universe and the phrase related to Christ "I am the Way, the Truth and the Life" (John, 14:6).[271][272] On the interior walls there will be a glazed ceramic mosaic that will run throughout the tower up to half the height, which will represent the firmament as a creation of God, as well as the Holy Spirit; It is being designed by Etsuro Sotoo.[273] In 2025, the proposal by the Italian artist Andrea Mastrovito") for the figure of the lamb was approved, which will be made of glass and gold, within a hyperboloid with 24 beams of light.[274].
Of the set of six central towers, the tower of Jesus began to be built in 2015 and the remaining ones in 2016, after preparing their base on the central nave of the temple.[275] The works on the tower of Mary finished on November 29, 2021 with the placement of the star on the top of the tower, and it was inaugurated on December 8 with a series of cultural events.[276] Of the towers of the evangelists, the first two, dedicated to Luke and Mark, were completed with the placement of their respective sculptures in November 2022. On December 16 of that year they were illuminated for the first time.[277] Those of John and Matthew were completed in September 2023 again with the placement of their sculptures.[278] The main structure of the tower of Jesus was completed in December 2024, with a level of 142.5 meters high.[279] The placement of the cross began in October 2025 with the installation of the lower arm.[280] With this element it reached 162.91 meters high, becoming the tallest church in the world, surpassing the Ulm Cathedral.[281] It is estimated that it could be completed in 2026.[282].
According to the construction team's forecasts, when the structure of the towers is ready, the Sagrada Familia will be the tallest building in Barcelona.[283].
At the intersections of the cloister with the facades Gaudí designed portals dedicated to the Virgin: on both sides of the Nativity façade, the Virgin of the Rosary and that of Montserrat; on the façade of the Passion, the Virgin of Mercy and that of Sorrows. Especially notable is that of the Rosary, which Gaudí chose to demonstrate how the decoration of the rest of the temple should be.[300] The portal is presided over by the Virgin with the Child, flanked by Saint Dominic and Saint Catherine. Other scenes reproduce: the Death of the Just Man, with the Virgin showing the Infant Jesus to a dying man, to provide relief; the Temptation of Woman, represented by a fish-shaped monster offering a woman a bag of money; and the Temptation of Man, symbolized by a devil offering a worker an Orsini bomb, used by anarchists at that time. On each side of the door are Kings David and Solomon and the prophets Isaac and Jacob. Likewise, there is a great profusion of roses that adorn the entire porch, and phrases such as the last words of the Ave Maria: Et in hora mortis nostrae, Amen.[301] The sculptures of the portal, the work of Llorenç Matamala,[302] suffered serious damage during the Civil War and were restored between 1982 and 1983 by Etsuro Sotoo.[303] On the outside, this portal is topped by a lantern whose pinnacle is shaped like an aloe bud (Aloe arborescens).[304].
In the four corners of the temple there will be three obelisks each, representing the cardinal points, the four seasons, the Christian fasts (Témporas), related, in turn, to the priestly orders, the cardinal virtues represented symbolically, as well as symbols of Saint Joseph (lily), the Virgin Mary (crown) and Jesus (varying in each group). Finally, each central obelisk will carry three of the twelve stanzas of Daniel's hymn of the children of Babylon "Babylon (city)") (Trium puerorum), one of the lateral ones Sancte Joseph, Ora pro nobis and, the other, Sancta Dei Genitrix, Ora pro nobis, Deo gratias.[305] They have a hyperboloid shape in their central part, while the upper one is a trunk of triangular pyramid with three final semicones.[306].
Abelia floribunda
Nerium oleander
For the vaults, in the shape of hyperboloids, Gaudí used the construction technique of the Catalan vault or "partitioned vault", which consists of the superimposition of several layers of bricks with mortar.[317][157] The skylights of the vaults contain symbols made of colored glass: in the side vaults, the symbols of Jesus, Mary and Joseph; in the central one, the chrismon of Christ with its attributes (cross, scepter, sword and sign of infinity). creation).[320] Between the folds of the vestments, heads of seraphim appear, while between the support columns the trisagion Holy, Holy, Holy appears, in yellow, red and orange colors, for the Father, the Son and the Holy Spirit.[321] Finally, the dome of the transept represents the Throne of God and the Lamb, composed of a central skylight of a hyperboloidal shape, of diameter, surrounded by golden rays; flanked by another twenty-four skylights, arranged in two concentric circles of twelve, which symbolize the twenty-four elders described in the book of Revelation 4, 6-10. [322] Above this dome is a large room, called the "cruise room", which will be the first level of access to the tower of Jesus Christ. It is circular, high, with steps around the central skylight, covered in tile and glass on the roof. red venetian.[323] It was built between 2010 and 2014.[324].
The roofs are pyramidal in shape, crowned by a lantern. The windows are designed to distribute soft and harmonious lighting, creating a secluded effect, and have an abstract geometric shape. Gaudí carried out in-depth acoustic and lighting studies to achieve perfect sound and lighting inside the temple. Likewise, he designed the lamps, furniture and liturgical objects of the Sagrada Familia: sacristy cabinets, officiants' benches, faldistoria, pulpits, confessionals, tenebrariums, lecterns, stands for Easter candles, etc.[325].
Like the exterior, the interior has great religious significance, with three roads that represent various concepts: from the façade of Glory to the apse it symbolizes the Way of Humanity (Via Humanitatis); from the façade of the Nativity to that of the Passion, the Way of Jesus Christ (Via Christi); and, the cloister, represents the Way of the Church (Via Ecclesiae).[326] In turn, the naves of the temple represent the Church militant, the crypt the penitent and the central altar the triumphant.[243] On the other hand, the Holy Family represents the New Jerusalem, the Celestial Jerusalem, for which Gaudí based himself on the book of the Apocalypse (verses 21 and 22): just as in the biblical text the New Jerusalem comes down from heaven and lives among humanity, the Holy Family is located in Barcelona, which symbolizes all the peoples of the planet.[327].
For the central altar, Gaudí's project contemplated that a seven-armed lamp would hang from the highest clerestory of the apse, symbolizing the Holy Spirit. The altar is framed by a triumphal arch #Triumphal_arch "Arch (architecture)") formed by the columns of Peter and Paul, and their branches that join in the hyperboloid of the vault. These columns have a ring each with an inscription: Peter, pastor of the Church and Paul, apostle of our people.[328] From these rings hangs the canopy that covers the altar, which has the song of Glory of the Ordinary of the Mass inscribed.[329] It is in the shape of a heptagon, made of metal about five meters in diameter, from which bunches of grapes hang (in glass), vine leaves (of copper) and spikes (of white wood), with parchment sides and a tapestry cover, all covered in twenty-two carat gold leaf.[330] On the parchments, the work of the nuns of the monastery of San Benito de Marganell, the Gifts of the Holy Spirit (Wisdom, Intelligence, Counsel, Fortitude, Science, Pity and Fear of God) are inscribed, the work of the calligrapher Josep Batlle.[331] Fifty lamps hang from the baldachin—as in Saint John Lateran—, as well as a figure of Christ crucified from , the work of Francesc Fajula, sculpted according to a design that Gaudí made for the oratory of the Batlló house, made at that time by Carles Mani.[330] The altar is made up of a block of Iranian porphyry of length and weight. Next to the altar, the episcopal stalls were placed, which have the names of the three holy bishops of the archdiocese of Barcelona engraved: Saint Severus, Saint Paciano and Saint Olegario,[330] in addition to the theological and cardinal virtues and, in the center, a dove representing the Holy Spirit, the work of Francesc Fajula.[332] To the left of the presbytery is an ambo of porphyry, work of Jordi Bonet, with the inscription "word of God"; Behind it, there is a support for an Easter candle designed by Gaudí.[333].
In the triforiums corresponding to the façades of the Birth and the Passion there are Saint Joseph and Saint Mary, sculptures made by Ramón Cuello; with the crucifix on the altar, they complete the Sagrada Familia. In the skylights of the vaults there are glass diffusers with anagrams of Jesus, Joseph and Mary in the side naves, and the chrismon and the attributes of Christ (cross, scepter, sword and sign of infinity) in the central nave, the work of Antoni Vila"). Septuagesima, Lent, Easter and Pentecost); prayer is also represented with the canonical Hours, each with its final hymn:
• - Matins: Miserere (Psalm 51/50) and Te Deum laudamus, in the chantries and under the central dome.
• - Lauds: Benedictus Dominus Jesus Israel (Luke 1, 68-79), inside the Passion façade.
• - Vespers: Magnificat (Luke 1, 46-55), in the apse.
• - Compline: Nunc dimitis (chant of Simeon), inside the façade of the Nativity.[334].
The columns inside have varied symbols: the four in the transept are dedicated to the evangelists, the twelve that surround the transept to the apostles (Saint Peter and Saint Paul next to the altar) and the rest to the bishoprics who continued the apostolic work: those of Catalonia (Barcelona, Tarragona, Lérida, Gerona, Vic, Urgel, Solsona, Tortosa and Perpignan) in the transept; from the rest of Spain (Mallorca, Valencia, Zaragoza, Granada, Burgos, Seville, Valladolid, Toledo and Santiago) in the central nave; and, on the sides, the five continents.[335].
The windows inside the temple are covered with stained glass, designed by the Catalan glassmaker Joan Vila-Grau between 1999 and 2016.[336] He used glass of different colors to represent various themes. The stained glass windows of the transepts were the first to be installed, following Gaudí's original idea. The lower side windows represent the saints and sanctuaries of the dioceses represented on the columns in front of the windows.[337] In the upper windows there are the parables of Jesus (from the façade of Glory, Birth side, to Glory, Passion side): I am forgiveness, I am the good Samaritan, I am the good shepherd, I am the truth, I am the way, I am the life, I am the source of living water, I am the light, I am the door, I am the sower, I am the one who speaks to you, I am the bread of life, I am the alpha and omega. The stained glass windows in the apse symbolize the Advent antiphons; those in the Passion transept represent water, the resurrection and light; and those of the transept of the Birth poverty, birth and life. The windows of the central nave lack color - they are different textures (printed glass) of translucent glass - since they were made with clear glass to symbolize purity and allow greater entry of light.[338].
On the interior cantilever there will be the Eucharistic symbol of the fish, some swimming towards the altar with their mouths open and others returning with the Sacred Form in their mouths, like faithful thirsty for the Eucharist.[339] Above the cantories there are twenty-four polychrome ceramic monstrances, each one meters high, which present in their upper part the Sacred Form, as a half-hyperboloid twin with a horizontal axis, with a spherical cap and surrounded by pyramids and a hyperboloid body with a vertical axis with three windows, inside which is a chalice; They are the work of the ceramists Jordi Aguadé and Antoni Cumella").[340] Likewise, in the middle of the ramifications of the columns there will be flamboyants, amphorae and symbols of Christ.[341].
In 2010, the interior of the temple was finished being covered, allowing it to be dedicated as a basilica by Pope Benedict XVI on November 7 of that year. For this event, several works recently created following Gaudí's instructions were inaugurated: inside the Passion Portal, a bas-relief about the Entry of Jesus into Jerusalem, the work of Domènec Fita, was placed on the floor slabs; The sculptures of Saint Joseph (on the Nativity side) and the Virgin Mary (on the Passion side) by Ramón Cuello were installed in the transept, made of travertine and with a height of ; and the decoration of the capitals of the central columns of the transept was placed, those of Saint Peter and Saint Paul - with their symbols, keys and a sword and a book, respectively -, and those of the four evangelists, with the signs of the Tetramorphs framed by a methacrylate ellipsoid, the work of Domènec Fita. The altar and the episcopal seating were also placed and, above the altar, the hanging canopy was installed, with the figure of Crucified Christ by Francesc Fajula. Finally, an organ "Organ (music)") was installed, built in the Blancafort workshop in Collbató.[330].
• - Detail of the interior.
• - Side nave, Passion façade.
• - Side nave, Nativity façade.
• - Baldachin.
• - Representation of God the Creator.
• - Intersection between the nave and the transept.
• - Stained glass.
The organ consists of two bodies - totaling 1,492 pipes - and three keyboards, two of them manual and the third pedal-operated. It has twenty-six registers "Register (organ)"), that is, twenty-six types of different sounds, and in its core there are computers that memorize combinations of registers and sounds so that the organ can sound itself, without the need for an organist.