Sagrada Família | Been There, Seen That

In a (mostly) low-rise town like Barcelona, high-rises stand out. Even unconventional high-rises. Even one of the world’s most unconventional high-rises, Sagrada Família.

You can see the basilica and its modern construction cranes from the roof of Barcelona Cathedral.

Or from Parc Güell.

From the Montjuïc Cable Car.

Or from the entrance of Recinte Modernista de Sant Pau, looking down the fittingly named thoroughfare Avinguda Gaudí.

In full, the structure is Basílica i Temple Expiatori de la Sagrada Família. Lauded around the world these days. Not everyone has had praise for basilica down the years, however.

George Orwell was not, of course, a tourist in Barcelona in 1937, but he did visit the Sagrada Família at one point, which he mentions in Homage to Catalonia.

“For the first time since I had been in Barcelona I went to have a look at the cathedral – a modern cathedral, and one of the most hideous buildings in the world. It has four crenellated spires exactly the shape of hock bottles. Unlike most of the churches in Barcelona, it was not damaged during the revolution – it was spared because of its ‘artistic value’, people said. I think the Anarchists showed bad taste in not blowing it up when they had the chance, though they did hang a red and black banner between its spires.”

Sage about much, but Orwell wasn’t right about everything. Still, before I visited Barcelona, I was a little skeptical myself. Something that receives that much praise inspires a bit of skepticism, or should, and the many pictures I’d seen didn’t quite convey greatness, at least to me. Oddness, yes. Maybe strangeness for the sake of strangeness, as envisioned by Antoni Gaudí and carried on for decades by his successors down to the present day, but not to completion just yet.

So on our first morning in Barcelona, May 18, after a pleasant breakfast in the hotel, and a walk of only a few blocks, we approached Sagrada Família from its western corner. Despite its height, basilica emerged into view only as we rounded the last neighboring block. Then it was time to gawk.

Often enough images don’t do a place justice. That is really the case for Sagrada Família. Whatever skepticism I had evaporated. It has a presence, rising there in front of you. It is still quite a strange church, but a great strangeness — a strange majesty? — expressed in innumerable details.

Naturally, despite realizing that seeing the structure with my own eyes is the best way to experience Sagrada Família, I proceeded to take a lot of pictures. We passed by the structure more than once, so I captured it at different times of day.

As I said, innumerable details.

One side is the Nativity Façade, mostly completed while Gaudí was still alive. He was fatally struck by a streetcar in 1926 at age 73, and is buried in the basilica’s crypt, which was closed when we visited. As you’d expect, that side celebrates the birth of Jesus.

The other side is the the more austere Passion Façade, a more recent completion, though expressing Gaudí’s ideas.

I didn’t know who Japanese sculptor Etsuro Sotoo was. Yuriko did, and she was keen to see the large door to the basilica that he designed, which is in the Nativity Façade. The door’s leaf motif not only includes many leaves in bronze and glass, but also some creatures that live in the underbrush.

That was the door through which we entered the basilica on the afternoon of May 19. These days, you have to book a tour to do so, which I did weeks before we arrived in Barcelona – the only thing I booked ahead of time for the trip besides the visit to the Book of Kells and the Long Room.

In we went.

Too many distinctive features to name, but what struck me most of all were the columns supporting the ceiling, which branched like trees toward the top.