La Sagrada Família – Gaudí’s Wondrous Masterpiece – Part 2

Having completed my tour of the Nativity façade and interior la Sagrada Família, as you can explore in Part 1, I exited this holy structure via the Passion façade. And before even stepping foot outside, it was obvious that I was in for yet another shift in design aesthetic.

The Passion Façade

For, where the bronze doors of the Nativity façade were covered in leafy vines of ivy and rose, these were filled with hard, blocked letters telling the story of the death of Christ. And a glimpse outside revealed a much more contemporary style of statuary. For there in front of me, stood a stylized carving of the whip-scarred body of Jesus, emoting the suffering he endured during the crucifixion.

Stories in Stone

Once outside, I had to take several steps away from the basilica in order to get the full effect of the Passion façade . My eye was drawn from vignette to vignette, each telling a piece of the story of the condemnation and torture of Jesus. Eventually, it was lead skyward, to the image of Christ on the cross. And while these sketches were hewn from stone, each was laden with emotion.

And just as Art Nouveau architect Antoni Gaudí had filled the Nativity façade of la Sagrada Família with allegorical figures, he did the same here. In the vignette of Judas kissing Jesus, for example, a snake slithers at the feet of the apostle, reflecting the apostle’s betrayal. Here as well, a 16-block square documents the age of Christ at his death, with each row of four numbers adding up to 33.

A visit to the Basilica’s museum gave me a close-up view of several carving samples. The sculptured hands and foot reminded me of famous works by French sculptor Auguste Rodin who employed this sampling technique as a way of honing his craft. These specimens of stone, seen up close, also gave me a greater appreciation for the overall scale of the Passion façade.

In the early years of construction of la Sagrada Família, much of this sculpting would have been done in the hobbit-like workshop that still stands on the grounds today. Also designed by Gaudí, its undulating walls and roof reflect the fact that, incredibly, 90 degree angles are a rarity within this wondrous place of worship.

Catenary Arches

It is on the Passion façade that one gets to appreciate the already famous bell towers, made so by their unusual shape and decoration. While their contours may appear unique, Gaudí employed a technique used by the Ancients to design them, literally turning gravity on its head. Called catenary arches, they replicate how a chain would hang when fixed to two points. I would come across a model that demonstrates this a few days later in Casa Milà, Gaudí’s most controversial building in Barcelona.

Rising Above

Many of the Basilica’s 18 towers are still under construction. This includes what will be the largest and, at nearly 560 feet, the tallest: the Jesus tower. And while this will make la Sagrada Família the tallest church in the world, its height will not exceed that of Montjuic, the highest point in Barcelona. This was a deliberate calculation on Gaudí’s part, one made out of humility and reverence to the Supreme Builder. For in his mind, no human should surpass the heights of God’s creation.

Of those pieces that are complete, one can again see Gaudí’s nod to nature. Like the giant snails clinging to a tower next to the rectory. And the colourful crystals used to adorn the famed pinnacles. Their beauty is matched only by the heavenly song of the tolling bells housed within these grand columns.

The Surprise of the Crypt

While inside la Sagrada Família, I had discovered a window on the western side of the altar, at foot level, that gave a birds-eye view into the crypt. And as I meandered around the Passion façade, I happened upon the entrance to this vault. So, I entered once more into the stone chambers of the basilica, this time making my way below ground. And what I saw couldn’t have surprised me more! For here, in stark contrast to the Modernista architecture on the floor above, stood the Gothic arches traditionally found in great churches. In fact, all of the ornamentation was of that same style, with one exception. Off to one side rested the tombstone of Antoni Gaudí, adorned simply by several pieces of his signature style of wrought iron work.

There was a mass in progress during my visit to the crypt. Being the month of May, it was in honour of the Virgin Mary. And, as I was about to leave, I was taken by this celebratory feature they added to their singing of Ave Maria.

At the time of my visit to Basilica de la Sagrada Família in 2019, the plan was to complete construction in 2026, the 100th anniversary of Gaudi’s death. However, like many things, the COVID-19 pandemic has caused delays in construction. So, until that day when we can see the finished masterpiece, here is a 1969 artist’s rendition of the third and final façade, the Gloria façade, which currently rises behind construction barriers. Once complete, I can only imagine how impressive its representation of the road to God (Death, Final Judgment, Glory and Hell) will be.