Temple Expiatori De La Sagrada Fam example essay topic

"The Temple [of The Sagrada Fam " ilia] grows slowly, but this has always been the case with everything destined to have a long life. Hundred-year-old oak trees take many years to grow tall; on the other hand, reeds grow quickly, but in autumn the wind knocks them down and there is no more to be said'1. These words, spoken by Antoni Gaudi about his life-long work, Temple Expiatori de la Sagrada Fam " ilia, are a means to justify the extremely long time needed for the construction of the Sagrada Fam " ilia, while referencing the themes and structural concepts he borrowed from nature in his designs. While this logical explanation may give comfort to some, others doubt the temple's eventual completion, as its construction has just passed 123 years, with roughly half of the temple completed. 1 Although churches and cathedrals have always endured long periods of construction, the plan set forth by Gaudi is of such an elaborate nature as to set the temple in a league of its own. The drive of Gaudi and others involved in the project are very representative of the Catalan people.

Catalonia, and specifically Barcelona, has historically been a successful and prosperous region in Western Europe, a leader in politics and trade, but lost much of its importance and independence in modern times. Catalan nationality persevered, and Barcelona sought ways to reaffirm their identity and show the world it is a city rich with life and culture. While many projects would follow, perhaps the best example of this desire to show the world the worth of Catalonia is embodied in the Sagrada Fam " ilia. The grand magnitude and elaborate attention to detail involved in the construction of the Sagrada Fam " ilia are a clear portrayal of the ideal of Catalan pride. The historical setting at the time of the temple's birth is extremely important in appreciating its value to the Catalan culture. Catalonia's legacy as a great power in Europe began to be reduced in the 15th century with the Ferdinand of Aragon's marriage to Isabella of Castile, at which time Catalonia effectively became part of the Castile state.

When the last of the Habsburgs died without a successor, several nations attempted to install their own candidates on the throne. Catalonia sided with the Austrian candidate, Archduke Carlos, who lost to the Bourbon absolutist Felipe V imposed by France. Barcelona decided to resist the new crown in Madrid, but without the support of their allies they were beaten into submission. Attempting to squash the Catalan identity, Felipe banned writing and teaching in Catalan. 2 Later, the attacks of Napoleon in the early 19th century along with the Romanticism movement began to invoke sentiments of Catalan nationalism, resulting in the recovery of their language. 1 "La Renaixenca" emerged in this time, and with it a desire to bring about a resurgence of culture in Barcelona amongst the smog of the factories and the overcrowding of the city.

One group that started in this time was the, "Asociaci " on E spiritual de De votos de San Jos'e" (Spiritual Association of Devotees of St. Joseph), whose objective was to achieve, through the protection of St. Joseph, the triumph of the Catholic Church in a time in which the phenomenon of dechristianization was imposed by the Industrial Revolution and the accompanying social changes". 3 In 1872, six years after the founding of the association, founder Josep Maria Boca bella went to Rome to offer the Pope a silver image of the Holy Family. 4 While returning, he passed through the town of Loreto where he witnessed its beautiful church, and was inspired to build an expiatory temple in Barcelona dedicated to the Holy family. The association searched for a centrally located plot of land, but was forced to settle on a plot away from the city's center, bordered by the streets of Marina, Proven za, Mallorca and C erde~na, due to their budget. The problem of an ample budget is a theme that remained with the temple throughout its construction and even threatens its completion today. The first stone was placed on March 19, 1882, in an elaborate ceremony attended by the bishop of Barcelona, Josep M. Urquinouna i B idot, the Bishop of Vic, the Captain General and other authorities, the architect F.P. de Villar, members of the Association of Followers of St. Joseph and various citizens and contributors.

On the first stone was inscribed the words, "Awaken indifferent hearts from their slumber. Exalt the faith. Promote charity. Invoke the Lord to have mercy on this country, and encourage by its Catholic roots to think, preach and practice virtue".

1 The first architect of the project, Francisco de Paula de Villar, originally designed the temple as a purely neo-gothic structure. Less than a year into the project, the budget again played a role in the future of the Sagrada Fam " ilia, but this time it was clearly a change for the better. Del Villar wanted to use ashlar columns in his design, a technique far more expensive than building up the interior with rubble work, than covering them with ashlar. This started arguments with the Foundation, who criticized De Villar for spending too much unnecessary money on the project.

De Villar resigned because he was not happy that his plans were not being followed, and the foundation chose 31 year old architect Antoni Gaudi as successor. Although the Foundation and Gaudi were equally excited to be working together on this project, neither party had any idea just how magnificent of a masterpiece they were destined to create. Gaudi's plans adapted the work begun by de Villar with some quite major changes. The floor plan follows the shape of a Latin cross.

Gaudi would have wished to place the axis diagonally, but was forced to stick with the placement designed by de Villar due to the existing construction of the crypt and the beginnings of the temple. Gaudi's design has a basilica l floor plan, with five naves and three transepts. Perhaps the most revolutionary element in Gaudi's design is the columns within the naves. Departing from the gothic idea of support through exterior flying buttresses, Gaudi instead carried out extensive studies to design interior columns that could support the weight. Gaudi said he disliked the idea of flying buttresses because, "it only made it appear that the walls held the weight, because in reality it fell upon the flying buttresses, which were like the crutches of a cripple". 1 Instead, Gaudi turned to nature as he often did for guidance, and modeled his columns and vaults after the trees and foliage, respectively, of a forest. .".. light penetrates through the ports of these hyperboloids [vaults] like light through the foliage of a forest".

1 The vaults and most of the columns have been finished, and finishing touches are being put on the transepts and naves. The apse of the temple is of neo-gothic architecture, but of course not with out the added flair that is characteristic of Gaudi. The altar is in the center of the apse, surrounded by seven polygonal shaped chapels dedicated to the seven pains and beatitudes of Saint Joseph. On either side of the altar are two circular stairways. These stairways are reminiscent of forms found in nature, which, when viewed from above, resemble the spiral of a sea shell.

On the outside of the apse more natural forms can be found. The pinnacles rising from the apse's walls are highly decorated with naturalistic gargoyles and various decorations inspired by the vegetation and animals of the surrounding area. From the tops of the needles sprout representations of various plants and vegetables. Plants wrap their way around the needles, as do snakes, reptiles and snails. The apse was the first completed of all the sections of the temple, and Gaudi spared no attention to detail here. Gaudi designed three entrances to the temple, each with a highly decorated and highly symbolic facade.

Each of the three facades is designed with three portals symbolizing Faith, Hope and Charity. Four bell towers ascend from each of the three facades; twelve in total which represent the twelve apostles. The first facade built, the Nativity facade, was the only one of the three that Gaudi was alive to construct. The Nativity facade faces east to the rising son, as it depicts the joy of Christ's birth.

On the central doorway of Charity is depicted the nativity scene with Jesus, Mary and Joseph, beneath the star of Bethlehem, amongst animals and mid-winter plants and surrounded by six music-playing angels. The adoration of the shepherds and the Magi are depicted on either side. The whole scene is framed by two columns with a tortoise and a turtle at either base, representing the stability of the cosmos. 5 Also depicted on the center portal is the Annunciation and the coronation of Mary.

Finally, high up among the bell towers is the "tree of life" represented by a large cypress tree engulfed in birds. Symbols of God, Christ and the Holy Spirit can be found in the tree, symbolizing the Trinity. On the portal of hope is depicted the espousal of Mary and Joseph, the flight to Egypt, the massacre of the Innocents, the ship of the church steered by saint Joseph and a crag of Montserrat. On the Faith portal the Visitation, Jesus among the doctors and Jesus the laborer at his carpenter's bench are depicted. The facade, with its intricately told stories, contains an abundance of religious and natural symbolism. The Passion facade, facing West, was the next facade to be constructed, and is almost completed today.

Construction began in 1954, 28 years after Gaudi's death and after a nearly 20 year lapse following the destruction of many parts of the temple by anarchists. The sculptor, Josep M. Subirachs, agreed to complete the facade given the condition he could create the figures in his own style so as not to confuse them with those of Gaudi. This facade utilizes simple shapes and is devoid of the natural decorations of the opposite facade in order to symbolize thee sobering desolation and grief of the death of Jesus. 6 Depicted on these three portals are the figure of Christ bound to the column, the betrayal of Judas and the denial of Peter, Jesus baring the cross, the "man of sorrow", as well as others. Depicted at the level of the large window into the transept will be the figure of the risen Christ. The large, angled columns which support the archway of this facade have been compared to the trunks of sequoia trees.

1 The last facade, which will face south and form the eventual front of the temple, is the Glory facade. Seven columns are designed outside the portal to represent the seven gifts of the Holy Spirit. Symbols on this facade represent humankind within the order of creation: the consequences of sin and virtue, and the heaven, which only can be reached through pray and sacraments. Leading to this facade, Gaudi designed a walkway passing over Mallorca Street with a large open area before it. On one side of the walkway Gaudi imagined a water spout twenty meters high and on the other a large flaming torch, representing the elements of fire and water. Earth and air would be represented naturally.

This facade, facing the sea, will be the last to be completed, granted that time comes. Encircling the temple and connecting the three facades is the cloister. The cloister allows processions to circulate while keeping noise from the city outside. The cloister includes very intricate carvings, much of which was very closely supervised by Gaudi himself. Connected within the cloister are also the two sacristies on either side of the apse, and the chapels of Penitence and of Baptism on either side of the Glory facade. The work that remains on the temple is focused on finishing work in the apse and transepts, the Glory facade with its four bell towers, and then finally the six great Domes that are intended to crown the transept and apse.

The central dome in honor of Jesus Christ will stand 170 meters high and culminate in a cross that will sparkle during the day from the inlaid mosaics. Surrounding the Christ dome will be the towers of the four Evangelists. Covering the apse will stand a final dome, 125 meters tall, dedicated to the Virgin Mary. It is clear that the work undertaken on the temple is of immense magnitude, meticulous attention to detail, and clearly involves the painstaking labor of many. Although many challenges have stood in the way of the temple's completion, work still continues to this day, and those working on it are optimistic of its completion. Funding has always posed a threat to the temple, and surely will continue to throughout the life of its construction, as", [t] he temple is expiatory and therefore can be built only from donations".

1 Gaudi commented on this very fact, saying, "The temple of the Sagrada Fam " ilia is expiatory. This means it must be nourished with sacrifices; if it were unable to nourish itself, it would be a blasphemous work and would never be finished". 1 Towards the end of Gaudi's life, Barcelona's wealthy became tired of contributing to what seemed like a bottomless pit. At this point Gaudi invested everything he had into his project, living on site and even, on occasion, walking onto the street himself to ask for donations of those passing by. 2 Following Gaudi's death, much of the temple was burned and destroyed by anarchists, and much of Gaudi's study was destroyed.

It was almost twenty years until work was resumed on the temple, at which time models of Gaudi's plans needed to be restored. As work continued there was controversy over whether or not the temple should be completed, as on, "January 9, 1965 an open letter was published to the director of the newspaper 'La Vanguardia' of Barcelona, signed by an important group of intellectuals and artists among the dean of the School of architects and the President of the FAD (Promotion of the Decorative Arts). This collective expressed their point of view against the continuation of the works of the Temple by diverse reasons among the ones were mentioned the original outright lack of Gaud'i plans and the inadequacy of the temple for a modern society religious needs. The letter originated an important civic polemics with positions very faced.

Nevertheless, the clash was losing virulence and the works were continued and they continue up to now". 4 Gaudi was always conscious that due to the temples' great magnitude he would not be able to see its completion. Rather than troubling him, he was excited by the idea that future generations would be able to leave their mark on this great temple. Although many projects in Barcelona followed the initiation of the Sagrada Fam " ilia's construction, none have compared to the drive its participants put into it.

In 1888 Barcelona hosted a Universal Exhibition, which entailed beautifying the city, adding the monument a Colom and the Arc de Triumf. In 1929 Barcelona held a World Fair, during which time Montjuic was revamped. The 1992 Olympic Games gave Barcelona another chance to show its best face to the world. Again, much money was put into Montjuic, erecting gardens and plazas, and renovating the stadium for the games. Villa Olympic a was also built up during this time. An elaborate opening ceremony to the games gave Barcelona the chance to demonstrate to the world the pride of the Catalan people.

In recent years, Barcelona has turned its attention to another part of the city, where a new waterfront area is being developed along with The Forum and BCN 22@. While each of these projects is a demonstration to the same sense of Catalan Pride which is a driving force behind the Sagrada Fam " ilia, none comes close to the determined efforts invested in the temple. Speaking of this Catalan pride and the desire to contribute to humanity, Gaudi once said, "This will be the temple of the Catalonia of today. I remember once being told that Catalonia had never been anything historically. And I answered that if this were true it would be more reason to believe that it was still meant to be something and for that we must work". 1 Resources Used: 1 Bonet I Armen gol, Jordi, Temple, Sagrada Fam " ilia, 2 Simon is, Dam i " an, Barcelona, City Guide, Lonely Planet 3 web Sagrada Fam " ilia 4 web Gaud'i SAGRADA FAM " ILIA (Holy Family Church) 5 web Temple of the Sagrada Fam " ilia by Gaudi 6 web Temple Expiatori de la Sagrada Fam " ilia.