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Temple Expiatori de la Sagrada Familia Review

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Temple Expiatori de la Sagrada Família

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Fodor's Review:

Looming over Barcelona like a magical mid-city massif of needles and peaks left by eons of wind erosion and fungal exuberance, Barcelona's most unforgettable landmark, Antoni Gaudí's Sagrada Família, was conceived as nothing short of a Bible in stone. This landmark is one of the most important architectural creations of the 19th to 21st centuries, though it's still under construction.

Start at the Nativity facade, where Gaudí addresses the fundamental mystery of Christianity: why does God the Creator become, through Jesus Christ, a creature? Gaudí's answer-in-stone is that God wanted to free man from the slavery of selfishness, symbolized here by the iron fence around the serpent at the base of the central column. The column depicts the genealogy of Christ. Overhead are the constellations in the Christmas sky at Bethlehem. Higher up is the Crowning of the Virgin under an overhang, atop which is a pelican feeding its young with its blood, a symbol of the eucharistic sacrifice. Below, two angels adore the initials of Christ (JHS) under the symbols of the cross, the Alpha and Omega. The cypress at the top is the evergreen symbol of eternity pointing to heaven; the white doves, souls seeking eternity.

To the right, the Portal of Faith, above Palestinian flora and fauna, shows scenes from the youth of Jesus, including his preaching at the age of 13. Higher up are grapes and wheat, symbols of the eucharist, and a sculpture of a hand and eye, symbols of divine providence. The left-hand Portal of Hope begins at the bottom with flora and fauna from the Nile; the Slaughter of the Innocents; the flight of the Holy Family into Egypt; Joseph, surrounded by his carpenter's tools, contemplating his son; and the marriage of Joseph and Mary. Above this is a sculpted boat with anchor (representing the church), piloted by St. Joseph assisted by the Holy Spirit. Overhead is a typical spire from the Montserrat massif. Gaudí intended these towers to house a system of tubular bells capable of playing more complex music than standard bell systems. The towers' peaks represent the apostles' successors in the form of miters, the official headdress of bishops of the Western church.

The Passion facade on the southwestern side, at the entrance to the grounds, is a dramatic contrast to the Nativity facade. Josep Maria Subirachs, the sculptor chosen in 1986 to execute Gaudí's plans—initially an atheist, and author of statements such as "God is one of man's greatest creations"—now confesses to a respectful agnosticism. Known for his distinctly angular, geometrical interpretations of the human form, Subirachs boasted that his work "has nothing to do with Gaudí." When in 1990 artists, architects, and religious leaders called for his resignation after he sculpted an anatomically complete naked Christ on the cross, Subirachs defended the piece as part of the realism of the scene. Subirachs pays double homage to Gaudí in the Passion facade: over the left side of the main entry is the blocky figure of Gaudí making notes or drawings, and the Roman soldiers are modeled on Gaudí's helmeted chimneys on the roof of La Pedrera.

Framed by leaning tibialike columns representing the bones of the dead, the scenes begin at the left with the Last Supper. The faces of the disciples are contorted in confusion and dismay, especially that of Judas, who clutches a bag of money behind his back over the figure of a reclining hound (a symbol of fidelity contrasting with the treachery of Judas). The next sculptural group represents the prayer in the Garden of Gethsemane and Peter awakening, followed by the kiss of Judas.

In the center, Jesus is lashed to a pillar during his flagellation, a tear track carved into his expressive countenance. The column's top stone is off-kilter, a reminder of the stone to be removed from Christ's sepulchre. The knot and broken reed at the base of the pillar symbolize Jesus' physical and psychological suffering. To the right of the door is a rooster, with Peter lamenting his third denial of Christ "before the cock crows." Farther to the right are Pilate and Jesus with a crown of thorns, and just above, back on the left, is Simon of Cyrene helping Jesus with the cross after his first fall. Over the center, where Jesus consoles the women of Jerusalem ("Don't cry for me; cry for your children"), is a faceless Veronica—faceless because her story is considered apocryphal, holding the veil with which she wiped Christ's face, only to find his likeness miraculously imprinted upon it. To the left is a sculpture of Gaudí making notes, the evangelist in stone, and farther left the equestrian figure of a centurion piercing the side of the church with his spear, the church representing the body of Christ. Above are the soldiers rolling dice for Christ's clothing and the naked, crucified Christ. The moon to the right of the cross refers to the darkness at the moment of Christ's death and to the full moon of Easter; to the right are Peter and Mary at the sepulchre, the egg above Mary symbolizing the Resurrection. At Christ's feet is a figure with a furrowed brow, perhaps suggesting the agnostic's anguished search for certainty, thought to be a self-portrait of Subirachs characterized by the sculptor's giant hand and an "S" on his right arm. High above is a gold figure of the resurrected Christ.

Future of the project. The 125th anniversary of the laying of the first stone was celebrated on March 19, 2007. Plans for the building have been scaled back since it was first conceived by Gaudi but intentions for the completion are still impressive. Towers still to be completed over the apse include those dedicated to the four evangelists (Matthew, Mark, Luke, and John), the Virgin Mary, and the highest of all, dedicated to Christ. The main facade will face east across Carrer Mallorca and a wide esplanade that will be created by the demolition of an entire city block of apartment houses built during the 1960s. Predictions on the completion of a covered apse and the construction of the east-facing main facade range from 20 to 30 years, depending on donations and advances in construction technology.

  • Cost: EUR 9, bell tower elevator EUR 2.
  • Open: Oct.-Mar., daily 9-6; Apr.-Sept., daily 9-8
  • Metro: Sagrada Família
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Member Reviews and Ratings

Reviewed by friendlytraveller from Laguna Beach, California on 12/6/08
Everything worth seeing can be viewed from across the street from the Temple. We went today and were extremely disappointed in paying the 20 euros entrance fee only to be greeted by a facility totally under construction. Most construction site superintendents would not allow anyone near a facility that has scaffolding, wooden walkways and overhangs, green construction mesh and white substance around the walkways. If you just walk around the temple you can see the beauty of the facility, on one side there is the nativity facade and the other the passion facade. It is very obvious that it was not planned or done by the same person. Save your euros and go have a cappuccino, it is not worth the entrance fee, unless you like constructions sites. we were very disappointed. We asked for a refund when we first saw the inside and we were refused one.

Member Rating: 1.2
Ratings details: Experience: 1.0 Ease: 2.0 Value: 1.0 Don't Miss: 1.0
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