Gaudí: The Centenary of His Death and the Theology of the Sagrada Familia

“Gaudí does not preach with words; rather, he does so through architecture, creating plans and volumes that make you think.”

Catholic expert Jose Manuel Almuzara reviews the life and work of Antoni Gaudí, emphasizing his profound faith and his providential view of adversity. He analyzes the architectural secrets of the Sagrada Familia, from the symbolism of the sacraments to the upcoming inauguration of the Tower of Jesus Christ and the Chapel of the Virgin.

Antoni Gaudí Cornet, whose name the speaker interprets as ‘one who faces adversity, enjoys life, and has a clean heart,’ was born in 1852 and died in Barcelona on June 10, 1926. Leading up to the centenary of his death, which will occur in 2026, there is great anticipation regarding a possible visit by Pope Francis. Gaudí faced many adversities, such as illness and the loss of his mother and four siblings by the age of 27, which allowed him to understand providence as a requirement for self-improvement. This vision of life is reflected in his work, whose great teacher was always nature, observed and contemplated since his childhood to discover its architectural laws.

The Sagrada Familia is the ultimate expression of his theological architecture, organized around a rectangular cloister and a central Latin cross. The Nativity Façade, oriented to the East, represents joy and delight, featuring three doors dedicated to Charity (center), Faith, and Hope. The latter includes sculptures such as that of Margarita the donkey and the soldier, alluding to the flight of the Holy Family to avoid the Massacre of the Innocents. In contrast, the Passion Façade is oriented to the West, and the Glory Façade, still pending completion, will be located to the South, facing the Mediterranean Sea.

“Adversity is the providence that compels you, therefore, to demand more of yourself.”

The basilica presents profound symbolism in the design of its entrances and naves. While the Nativity Façade has three doors and three naves, the lower section of the Glory Façade will feature seven doors, representing the seven sacraments, but only five naves. This disproportion underscores the importance of the sacraments of access to the Church, such as Baptism and Confession, which allow entry into the temple and into the life of God. In addition to the anticipated Tower of Jesus Christ, Gaudí designed a chapel dedicated to the Virgin Mary at the rear, whose inauguration is also expected in 2026. This chapel, measuring ten by ten by thirty meters high, offers a path back to God through the mediation of the Mother, serving as a ‘back door’ for the more timid.

Gaudí’s Marian devotion was constant throughout his life, influenced by his mother and his faith in the Virgin of Mercy of Reus, the patron saint of his hometown. This devotion manifested in early works such as the drawing of the Pastoreta (Shepherdess) and in his work at the Monastery of Montserrat, where he designed the apse and the Virgin’s chamber. At Montserrat, Gaudí reformulated the path of the Rosary, taking charge of the First Glorious Mystery (the Resurrection), which replaced the Fifth Sorrowful Mystery (the Death on the Cross) by Puig i Cadafalch. This mystery of the Resurrection is dynamic and designed so that the rising sun illuminates it on Easter Sunday, symbolizing that Jesus Christ is the Way, the Truth, and the Life.

“If I do not dare to return to God through this monumentality, there is always the possibility that through the Virgin, by the back door where no one sees you, you return to God.”

Gaudí’s spirit was focused not only on monumental scale but also on service to others and charity, as demonstrated at the psychiatric hospital in Sant Boi de Llobregat. There, he designed an ‘invisible garden’ where patients could work around a pond reminiscent of elements from Park Güell, demonstrating his love for the sick and his devotion to the Virgin of Lourdes. His social philosophy is summarized by the idea that we all possess gifts, and their realization constitutes the maximum social perfection. Instead of criticizing, we must refine and improve our own works—a principle the expert promotes in his efforts to advance the architect’s beatification.