Francisco De Paula Del Villar Y Lozano

Although today los Basilica of los Sagrada Família is intrinsically attached to Antoni Gaudí, that wasn’t named head architect till 1883, one year after the cornerstone was laid and after architect Francisco ese Paula ese Villar y Lozano had stepped down. These circumstances, which occurred ciento treinta y cuatro years ago, have actually decisively conditioned los Basilica together it is today.

Tu lees esto: Francisco de paula del villar y lozano


The building and construction of the Basilica of los Sagrada Família was begun at the initiative the Barcelona-born book merchant y extremely devout Catholic Josep Maria Bocabella identificación Verdaguer, that founded los Associació Espiritual ese Devots de santclause Josep (Spiritual combinación of the Devotees of saint Joseph) in 1866 in order to foster the values of los Christian family. Four año later, he saw Rome to give Pope Pius IX a silver picture of los Holy household and, ~ above his means back, he discovered los Sanctuary of the Holy house in Loreto. This structure enshrines the patria where, heritage says, the Holy Family lived y was supposedly moved desde Nazareth come this italiano town in los 13th century. Bocabella was extremely impressed by ns symbolic y artistic beauty, beauty of this Sanctuary, which inspired him to build ns replica in Barcelona. and this was the seed of the Basilica of ns Sagrada Família.


Bocabella entrusted ns project to the diocesan architect Francisco después Paula después Villar y Lozano, who available to waive his fees. The was very dynamic fue ~ in Barcelona, socially, economically y culturally. Y it to be also ns difficult moment in background for Christianity in Europe. This is ns context in which Bocabella, intending to rekindle ns people’s spirituality, determined that ns temple he wanted to develop on un piece of land in the Eixample district, which would be paid for with the donations the devotees of ns Associació después Devots a Sant Josep, had to be an awe-inspiring building that would convey a feeling of tranquility to all residents.

Although he dreamt the building specific replica of the sanctuary in Loreto, del Villar encouraged him come discard this idea and build uno neo-Gothic temple, as was los trend at los time, if respecting Bocabella’s intention of creating uno monumental building.

Del Villar’s project was influenced by ns great middle ages cathedrals y planned for ns church with three naves in ns Latin-cross floor plan, uno sizeable crypt, one apse with seven chapels y a pointed campana tower located gastos generales the portico and rising ochenta y cinco metres above calle level. This verticality, follow me with the outer buttresses y large cloisonné windows, gave ns building ns clearly Gothic look.

The cornerstone was laid on diecinueve March 1882, ns feast of saint Joseph, and construction began, together was ns custom, on ns foundations for ns crypt.


One year later, in 1883, los first discrepancies emerged between ese Villar, on ns one hand, and Bocabella y his peak advisor, architect Joan Martorell, on the other. Ese Villar wanted to use solid rock pillars in ns crypt, making each section between horizontal joints a soltero piece, while the developer and Martorell thought this was way too expensive.

Their differences of opinion would drive ese Villar to step abajo for los first time in his career as an architect.

Ver más: El Gusano Dentro Del Laberinto Amigurumi Con Base, Gusano Laberinto Pegatinas

… and GAUDÍ comes ON ns SCENE

After del Villar stepped down, Bocabella offered his position to Martorell. The declined el fin of jugadores courtesy y because that his progressed age, however proposed his many outstanding disciple: Antoni Gaudí. He to be just 31 years old and had additionally worked for del Villar.

Gaudí was called architect of the Temple on tres November 1883 y found uno fully drafted project and work already debajo way: los foundation of ns crypt had currently been laid and the columns were half built.

Despite being ns young architect with only five la edad of experience, Gaudí tackled this new challenge confidently y enthusiastically, i m sorry would fin up marking los rest of his career. Right from the beginning, the regretted los orientation of the Temple, together it might not be built diagonally on the land con canonical orientation, facing Jerusalem: the cabeza of the cross (the apse) facing ns rising sun y the main entrance (the foot of ns cross) towards the setting sun. As los works on the crypt had already begun, however, there was alguno other alternative than come respect the orientation de Villar had currently established.



Nevertheless, Gaudí instated other changes. In the crypt, that made ns vaults higher y added flowery, plant motifs on los capitals. He had los windows enlarged y a trench dug along los perimeter in order to improve lighting y ventilation and prevent troubles due come dampness. All together, these are clear indications of the new mentality the architectural hygienism and concern for los comfort of los spaces. However los most far-ranging change was eliminating the sede staircase y entrance to the crypt. de Villar had actually designed uno medieval staircase, prioritising pilgrims visiting los relics in the crypt gastos generales the rites hosted on ns main floor. Removed this sede opening representar the ahead project, which walk nothing an ext than separate the altar from the people, is also uno sign of the affect of the liturgical renewal that started to take it root in ns country, in los same spirit as the Second Vatican council some 70 years later. The nuevo entrance to ns crypt was vía two circular staircases, one on one of two people side, which additionally continued upwards to ns highest clues of los Temple.

In enhancement to the crypt, Gaudí had to discover solutions for los project he had inherited: los location of the Basilica, liked by del Villar, because that example, puts the façade of los Temple right on the pavement of ns street, i beg your pardon doesn’t enable for a reception space in prior of the main doors. Gaudí fixed this by finding an are on ns other side of los street and designing un bridge y staircase to overcome over.



Over los course the just ns few weeks, Gaudí completely changed ese Villar’s project, not only in terms of its formal y structural appearance, but likewise in that is magnitude and transcendence.

Ver más: Profesor Luis Braille, Colegio Luis Braille Valencia Valencia

 He designed ns Sagrada Família come be un huge scriptures in stone, telling all ns history and mysteries of the Christian faith. And he propose constructing a huge structure on un Latin-cross floor destinadas with five naves, ns transept, apse with ambulatory, cloister surrounding ns building for big processions, twelve campana towers, six lanterns y three façades. The designed ns project follow to geometric principles and proportions. Moreover, he hope to make ns Temple of ns Sagrada Família a link between heaven and earth and designed los tower the Jesus Christ as los element crowning the Basilica, stand 172.5 metres above ground level.

We will certainly never recognize for certain what the Temple of ns Sagrada Família would have looked choose if de Villar had actually finished los project; y even less what it would be favor if Gaudí had remained in charge of the project representar the beginning. But we do recognize that, while de Villar want to construct an awe-inspiring Temple, Gaudí took that to the extreme, uniting faith and artistic genius come transform the Basilica of los Sagrada Família into a gama masterpiece.