On Wednesday the 31st January 2024 Dan and I caught the train to Rochford Train Station ,Rochford, Essex. Well it was more of an excuse to visit the Blackbox Brewery later. Hence this was a very uninspiring walk to say the least!
We left the station and walked up West Street.
The town is the main settlement in the Rochford district, and takes its name from Rochefort, Old English for "Ford of the Hunting Dogs". The town runs into suburban developments in the parishes of Ashingdon and Hawkwell. Kings Hill, in Rochford, was notable for containing the Lawless Court up until the 19th century.
In 1837 James Banyard (14 November 1800 – 1863) a reformed drunk and Wesleyan preacher and William Bridges (1802–1874) took a lease on the old workhouse at Rochford, which became the first chapel of the Peculiar People, a name taken from Deuteronomy 14:2 and 1 Peter 2:9. The Peculiar People practised a lively form of worship bound by the literal interpretation of the King James Bible, banning both frivolity and medicine. During the two World Wars some were conscientious objectors, believing that war is contrary to the teachings of Jesus Christ. The Peculiar People are nowadays known as the Union of Evangelical Churches.
A superb replica in the Market Place at Rochford, Essex.
Markings: "DONATED BY ADRIAN CHAPMAN 2002".
Manufacturer: It was made by local structural engineer Adrian Chapman, when the town square was reinstated in 2002. He produced the wooden patterns based upon a photograph of the original pump, which was removed in 1902, and had the castings made by the Rayne Foundry in Braintree.
We turn right onto South Street and up to the roundabout junction with Southend Road, where there is the Rochford Village sign.
The new sign has been manufactured by Alpha Signs, of Saffron Walden, and is set in a 15ft oak post sited here in 2004.
Just by the Horse and Groom Pub on Southend Road we take a footpath beside the River Roach.
A random Elephant in garden beside the river.
The River Roach is a river that flows entirely through Essex. It is one of four main streams that originate in the Rayleigh Hills to the west, and flow east. They then flow towards the centre of the Rochford Basin, a circular feature which may have been caused by an asteroid impact in the Late Oligocene or Early Miocene periods. To the east of Rochford, the river becomes tidal, and is governed by the Crouch Harbour Authority. It joins the River Crouch between Wallasea Island and Foulness Island. To the west of Rochford, there is some doubt as to which of the four streams is officially the Roach.
Stambridge Mills in the distance.
At Stambridge, there was a tidal mill from at least the 1500s, although few details are known until it was rebuilt in 1809. A pound was filled by the incoming tide, and was released to drive a water wheel as the tide fell. On spring tides, this gave around 7 hours of operation, which gradually decreased as the tides reduced, and at neap tides, the operation of the mill was entirely dependent on the flow from the upper river. Rankins, the millers, objected to plans by the Great Eastern Railway to build a dam and reservoirs in Rochford, as it would damage their operation, but a single reservoir was authorised in 1904.
The river channels are designated as "heavily modified" from their natural state by the Environment Agency, who measure the water quality. This is moderate for most of the tributaries, and the chemical status has improved since 2013. Charles Darwin's HMS Beagle was moored on the river from 1850 as a Coast Guard watch ship. It was sold for breaking, but an archaeological survey concluded in 2008 that much of it still remains buried beneath the mud near Paglesham. The Paglesham Reach is also significant for its native oysters.
We divert off the river along a path that takes us through then delightful Purdleys Industrial Estate and then out onto Sutton Road. ( I did say at the beginning that this wasn't going to be a spectacular walk!).
At the end of Sutton Road we turn left pass the Anne Boleyn pub onto Southend Road.
Built in 1901, the pub is rumoured to be haunted as Anne Boleyn was from this area. Situated on the main road into Rochford town, opposite Southend Airport, the pub is easy to find. A Greene King Hungry Horse pub .
We walk on along pass Southend Airport and its control tower.
The site opened as a military airfield for the Royal Flying Corps in 1916. It was used during World War One for training airmen and to attempt to intercept German raids on London. In 1919 the airfield was decommissioned and the site reverted to farmland. It reopened in 1935 as a civil airport. In 1939 the airport was once more used as a military airfield, known as RAF Rochford, mainly for fighter units of various nationalities. It was used by 11 Group of the Royal Air Force during the Battle of Britain: this group was the most heavily engaged in that battle. The airfield was still grass surfaced, and was equipped with a mixture of Bellman and Blister aircraft hangars. The airfield was protected by three Pickett Hamilton forts, (a special type of retractable pillbox) one of which survived in 1989 In 1944 it was also for armament practice and as a barrage balloon centre. After World War Two, it was again a civil airport. In 1955-1956 two hard runways were added. In 1995 there was a major programme of refurbishment at the airport, some airport buildings were demolished, and others renovated. In the early years of the 21st century there are plans to expand the airport.
Plenty of boring road walking, no commercial flights took off here while we walked by just light aircraft. Not a busy airport by any means, maybe busier on certain days?
We walk along Eastwoodbury Crescent and Lane, St Lawrence Way right onto Nestuda Way and then onto Eastwoodbury Lane to the church.
St Laurence and All Saints is a Grade I listed medieval church in the parish of Eastwood, Essex, England, near to Southend-on-Sea. Its location adjacent to the perimeter of London Southend Airport has led to the church being threatened by proposals to expand the airport.
The church has been described as "one of the finest and most important small medieval churches in South Essex, and of exceptional architectural, archaeological and historical significance". Notable features include the complex plan form and development, Norman font and doors with original fittings and the medieval woodwork including a priest's room. The site is also of "considerable, possibly exceptional, archaeological significance".
The first known record of the church is in 1100 A.D. when Robert Fitz Suen (Robert d'Essex) gave the chapels of Eastwood, Sutton and Prittlewell to the Prior of Prittlewell. It is evident that there was a church at Eastwood before that date; this was probably the present Norman nave with a small apsidal chancel. The antiquity of the site is borne out by the presence of a sarsen stone built into the walls. There are claims that this is the remains from when the site was used for pagan worship.
The early development of the church is still not completely understood. The nave is 12th-century in origin, with Norman window openings in the north wall. The south aisle was added in the 13th century and the north aisle in the 14th. The chancel is 13th-century, with a 14th-century roof. The nave roof is 15th-century.
The brick south porch was added in the 16th century. There were extensive works within the church in the 1870s when it was thoroughly restored by William White, including new seating. The broach spire was restored in the late 20th century.
The church stands within a large churchyard containing monuments including chest tombs dating back to the 18th century, with 20th-century extensions to the north containing several war graves. The churchyard is a pleasant area of trees, grass and wild flowers, carefully managed for its wildlife value.
The church was popular with gypsies and other members of the travelling community who used it for christenings, marriages and funerals. The so-called "King of the Gypsies", Louis Boswell, was buried at Eastwood church in 1835. In the Burial Register he is described as a "Traveller aged 42" – "This man known as the King of the Gypsies was interred in the presence of a vast concourse of spectators".
We walk on and take Aviation Way onto an industrial estate where we walk onto Blackbox Brewery and its taproom.
An aviation-themed brewery launched at the start of the year and even opened its own a craft beer and ale taproom in September 2022.
We arrive before the 12 o'clock opening time but they come out and invite us in, seems a very friendly taproom and a good community.
We drink our way through the selection. Cloud Cover NEIPA, Ground Speed APA, Lost Luggage ESB, Mild High Club Mild, a taster of Vocation Aoraki Imperial DIPA and finishing with a yummy local brewed Thinking Juice cider.
We leave the brewery and walk on through the estate, trying to find the path we need. We walk down a path that leads nowhere except to a field of horses that ran up to greet us.
We head back pass the brewery, and a member of bar staff looked bemused that we were still walking about after we'd left a while back. We walk on back out onto Aviation Way and onto Cherry Orchard Way. Maybe it was bad navigation or I was just too pissed but anyway we end up with more road walking.
We walk off Hall Road and up to Rochford Hall by the golf course.
Rochford Hall is a manor in Rochford, Essex, England. During the reign of King Henry VIII, it belonged to Thomas Boleyn, who was then Viscount Rochford, and it was the marital home of his daughter Mary Boleyn, sister of Anne Boleyn, and Mary's second husband, Sir William Stafford. It is now privately owned by Rochford Hundred Golf Club where it acts as the clubhouse and is a Grade I listed building.
The manor was originally built in 1216, which is the date carved into an old joist, and some of the arched doorways are original. In its 16th century form Rochford Hall comprised a sprawling turreted manor with a moat and great hall.
Rochford Hall belonged to Sir Thomas Boleyn, father of Anne, as part of his rich inheritance from his mother Margaret Butler. Sir Thomas was created Viscount Rochford in 1525 and Earl of Wiltshire and Ormonde 1529 and his title derived from his ownership of Rochford Hall. Following the second marriage of Anne's elder sister Mary to William Stafford in 1534, Rochford Hall was given to the couple as their principal residence. In 1550 the Rochford estate was sold to Richard, Lord Rich.
By the late 17th Century Rochford Hall was owned by the Child Family of Wanstead House, Essex, later Earl Tylney. It then descended with the Wanstead Estate to James Tylney-Long, his daughter Catherine Tylney-Long and via the Long-Wellesley Family to Henry Wellesley, 1st Earl Cowley. He sold it to a local gentleman farmer in 1867.
Rochford Hall was usually let, on long leases, or used by the Steward of the Rochford or greater Essex Estates of the Tylney-Long family.
There have been many additions and alterations to the manor over the centuries, not least a catastrophic fire in 1791. The 20-foot-high (6.1 m) stained glass replica window in the main hall consists of three coats-of-arms of previous owners including the crest of Anne Boleyn.
Rochford Hall.
In 1777, the owner of Rochford Hall decided to dissuade travellers from this natural approach to Rochford running past his front door, so he built Hall Road slightly away from his property and included a bridge across the Roach tributary. This road would later become a Turnpike or toll road.
We walk pass St Andrews Church here by the golf course an Rochford Hall.
St Andrew’s church building has its origins in the 13th and 14th centuries, although the list of incumbents lets us know that people were worshipping God on this site much earlier than this. Take a while to look inside at the stained-glass windows and the inscriptions on the tombs.
The 15th/16th century tower is a fine example of Tudor brickwork, featuring interspersed Reigate stone to give a diaper pattern. The tower is built from 15th century brick that came from Rochford brickworks and was built by Thomas Boteler, Earl of Ormond, the maternal great grandfather of Anne Boleyn. Although Sir Richard Rich would later claim the tower’s construction, and indeed may have contributed to its completion in some way, the Ormond coat of arms above the west entrance seems to settle this dispute. To the north is the vestry, a late 16th century brick addition.
Edward Calamy would join the church in the 1630’s and soon caught malaria as a result of living in this area. He would preach all his sermons while sitting at his desk as he became dizzy if he stood up.
In 1862 the interior of the church was restored, by replacing the old pews, raising the ceiling and removing the gallery. The Reverend Benjamin Cotton became rector in 1861, staying for over fifty years and oversaw many of these changes.
Benton, the local farmer and historian, recorded in 1882 that smugglers secretly used the church tower to store gin, tea and other goods brought from France and a cavity below the pulpit was called the magazine!
The Rochford parish memorial to local victims of the Great War of 1914-18 was moved to its present location in the tower in 2005. In the porch, wooden boards list the name of every Rochford resident who served in the war. The Great War caused difficulty for faith groups, especially when conscription became law. The Peculiar People wrestled with this topic – was it right for men to bear arms against each other? Some took on work of national importance, which meant that they could help the war effort without actually fighting, others became conscientious objectors and of this group many would serve hard labour in Dartmoor Jail. The conditions there were hard, food was consistently bad, and anyone caught looking out of his cell window during the day was punished with three days of a bread and water diet.
Today, the church is possibly unique in now being completely surrounded by a golf course.
We walk back onto Hall Lane and back to the Train Station for the journey home.
Just under eight and a half mile walk and plenty of beer!
On 14th January 2024 Mel and I caught the Elizabeth Line to Heathrow Terminal 5 and checked in online and printed our boarding passes. This is the first time we have flown in 30 years and a lot has changed.
We then made our way by tube and bus to our hotel, Ibis Budget Heathrow on Bath Road. Rooms nice and quiet considering we are on the flight path from Heathrow, Food however was horrid and barely edible, wish we'd known there were takeaways just up the road.
Day One : 15th January 2024
I couldn't sleep for some reason and only managed 2 hours sleep. We we up early to catch the N9 bus outside to the airport for 4am.
Here everything was closed apart from the Pret a Manger where we grab a coffee. The security doesn't open until 0430 am!
We made our way through security and then take the transit to the Boarding gate. The plane takes off on time at 6am and is almost empty!
Flying over the Pyrenees mountains.
After about 1 hour and 45 minutes we are descending over Barcelona and down into El Prat Airport.
We land in Barcelona and once outside I still haven't had a call from my pre-arranged taxi. Several calls later I managed to make contact and he arrives half hour late blaming it on bad traffic. We travel 25 minutes and arrive at our hotel in Carrer de Escudellers the Hotel Barcelona House. We drop our cases here and make our way out onto La Rambla.
La Rambla is considered the most well known street in central Barcelona. A tree-lined pedestrian street, it stretches for 3⁄4 mile connecting the Plaça de Catalunya in its center with the Christopher Columbus Monument at Port Vell. La Rambla forms the boundary between the neighbourhoods of the Barri Gòtic to the east and the El Raval to the west.
La Rambla can be crowded, especially during the height of the tourist season. It hosts a combination of eateries, shops, markets, and cultural institutions.
The Spanish poet Federico García Lorca once said that La Rambla was "the only street in the world which I wish would never end."
We make our way to the end of La Rambla where it meets Plaça de Catalunya.
The plaza occupies an area of about 50,000 square metres. It is especially known for its fountains and statues, its proximity to some of Barcelona's most popular attractions, and the flocks of pigeons that gather in the centre. The square played a significant part in the Spanish Civil War, in particular as a site of key events of the May Days.
The bus travels along Pg.de. Grácias and passes Casa Battló on our left.
An unmatched architectural treasure in a city defined by its otherworldly Modernista buildings, Unesco-listed Casa Batlló is undoubtedly one of Antoni Gaudí’s great jewels.
Created between 1904 and 1906 for the wealthy Batlló family, the once-private home on glamorous Passeig de Gràcia combines a shimmering tile-covered facade, bone-evoking stone columns, a dragon-back-shaped rooftop and undulating marine-world forms with revolutionary advances in both light and architecture. This is Gaudí at his whimsical, nature-inspired peak.
As you gaze at the building’s swirling shapes, delicate trencadís (smashed-up tilework) and curving design (Gaudí avoided straight lines as nature doesn’t have any), the whole place feels almost alive. For many people, the legend of Sant Jordi (Saint George – the patron saint of Catalonia) and the Dragon runs through the entire structure, and you’ll certainly feel this up on the unmissable rooftop.
Unlike Gaudí’s neighboring, also-spectacular La Pedrera (Casa Milà), which was originally conceived as apartments and offices, Casa Batlló was a custom-designed residential home from the beginning and most of the privately owned building is now open to visitors.
Next door to the left is Casa Amatller,
Casa Amatller is a building in the Modernisme style in Barcelona, Catalunya, Spain, designed by renowned Catalan architect Josep Puig i Cadafalch. Along with Casa Batlló and Casa Lleó-Morera, it makes up the three most important buildings in Barcelona's famous Illa de la Discòrdia ("Block of Discord"), noted for its unique, contrasting modern buildings.
The building was originally constructed in 1875, then redesigned as a residence for wealthy chocolatier and archaeological enthusiast Antoni Amatller between 1898 and 1900. After his death in 1910, it remained the home of Amatller's daughter until her death in 1960. The continuous ownership by the Amatller family meant that the house's interior of 1900 has remained largely preserved intact to the present day. It now serves as a historic house museum, café, and the Amatller Institute for Hispanic Art, a scholarly study centre. The house is regularly open for scheduled tours.
The bus continues along its route and we eventually arrive at Plaça d'Espanya.
It is one of Barcelona's most important squares, built on the occasion of the 1929 Barcelona International Exposition, held at the foot of Montjuïc, in the Sants-Montjuïc district.
One of the city's biggest squares, it is the junction of several major thoroughfares The fountain at the centre of the square was designed by Josep Maria Jujol, a collaborator of Antoni Gaudí, while Miquel Blay designed the statues. The buildings were designed by Nicolau Maria Rubió i Tudurí.
The Venetian Towers is the popular name for a pair of towers. There is one tower on either side of the street.
The towers are 47m high, they were modelled on the campanile of St. Mark's Basilica in Venice.
They were originally envisaged in Léon Jaussely's city expansion plan of 1907, and designed by architect Ramon Reventós [ca] and built in the period 1927 to 1929, as part of the redevelopment of the area for the 1929 Barcelona International Exposition. Reventós was also involved in a number of other projects featured in the exhibition, such as the Greek Theatre (Teatre Grec), the Spanish Village (Poble Espanyol) and the buildings of the Montjuïc Funicular on the nearby hill of Montjuïc.
They serve an ornamental function, to mark the entrance to the exhibition district, now known as Fira de Barcelona, and the start of the grand avenue leading up to the Palau Nacional on Montjuïc, which houses the National Art Museum of Catalonia.
In the background is the Arenas de Barcelona, a bullring - It was built in 1900 in the Moorish Revival style and has been converted into a shopping centre.
The bus makes its way uphill to Muntjuic Park.
We alight the bus next to the Museu Nacional d'Art de Catalunya.
The Museu Nacional takes visitors on an uninterrupted journey through a thousand years of Catalan art, from the 10th to the 20th centuries. The itinerary focuses on religious heritage in particular and how it has adapted over the centuries. You'll find original apses from Romanesque churches, religious carvings, Gothic altarpieces and the decorative sumptuousness of the baroque period. A series of works divided into four major permanent collections: Romanesque and Gothic art, Renaissance and Baroque art, Modern art, photography, drawings, prints and posters and the Catalan Numismatic Department.
From up high here we have amazing views back down over Plaça d'Espanya and beyond.
Montjuïc Hill has borne witness to, and been the focus of key events that have shaped its personality. The first such event was the 1929 International Exhibition held in Barcelona which fostered the development of the zone. More recently, the 1992 Olympic Games brought about major renewal.
Montjuïc is also home to museums, such as the Fundació Miró, the Museu d'Arqueologia, the Museu Etnològic i de Cultures del Món and the Museu Nacional d'Art de Catalunya-MNAC. The latter, which is housed in the Palau Nacional, the centrepiece of the 1929 exhibition, invites us to discover 1,000 years of Catalan art. The Pavelló Mies van der Rohe, which was the German pavilion at the event, is a superb example of Bauhaus architecture. The former Casaramona textile factory, a modernista landmark by Puig i Cadafalch, is now home to CaixaForum, a cultural centre which hosts temporary exhibitions. The Magic Fountain and the Poble Espanyol, with its "artisans' village", are other places of interest in Barcelona which are a must-see.
View across to Sagrada Famailia which we will be visiting later.
We walk further up the hill to the site of the 1992 Olympic Park.
The Barcelona Olympic Park features much of the venues and structures where the 1992 Olympic Games were held. Most notably, the Barcelona Olympic Stadium, the Telecomunications Tower and the Palau Sant Jordi. It's part of the attractions found at Montjuic mountain.
The Olympic Bell is next to Montjuic Olympic Stadium, behind the Palau Nacionale. It was cast in bronze for the XXV Olympic Games of 1992. The word "pace" is written in different languages on its edge. The Olympic rings are engraved on both sides as well as some commemorative sentences.
The bell rings twice a day, at noon and at 7 o'clock in the afternoon. It was made in Germany, and its transfer was sponsored by Lufthansa.
Estadi Olímpic Lluís Companys formerly known as the Estadi de Montjuïc and Estadi Olímpic de Montjuïc) is a stadium in Barcelona, Catalonia, Spain. Originally built in 1927 for the 1929 International Exposition in the city (and Barcelona's failed bid for the 1936 Summer Olympics, which were awarded to Berlin), it was renovated in 1989 to be the main stadium for the 1992 Summer Olympics and 1992 Summer Paralympics. It is the home stadium of FC Barcelona for the 2023–24 season due to the renovation of their regular ground, Camp Nou.
With its current capacity of 54,367 seats (67,007 during the 1992 Olympics), is the sixth-largest stadium in Spain and the second largest in Catalonia.
The stadium is located in the Anella Olímpica, in Montjuïc, a large hill to the southwest of the city that overlooks the harbour.
Some of the most famous acts to perform in the Olympic Stadium are: The Rolling Stones, Bruce Springsteen, David Bowie, U2, Madonna, Beyonce, Michael Jackson, Tina Turner and Coldplay, to name a few.
The Montjuïc Communications Tower , popularly known as Torre Calatrava and Torre Telefónica, is a telecommunication tower in the Montjuïc neighbourhood of Barcelona, Catalonia, Spain. It was designed by Santiago Calatrava, with construction taking place from 1989 to 1992. The white tower was built for Telefónica to transmit television coverage of the 1992 Summer Olympic Games in Barcelona. The 136-metre (446 ft) tower is located in the Olympic park and represents an athlete holding the Olympic Flame.
The base is covered with trencadís, Gaudí's mosaic technique created from broken tile shards.
Because of the tower's orientation, it works also as a giant sundial, which uses the Europa Square to indicate the hour.
We walk back to the Museu Nacional d'Art de Catalunya where we reboard the bus to continue our journey.
The bus starts to wind its way down to sea level and pass the cruise terminal.
The bus travels along the seafront and then turns into the World Trade Centre.
We pass the Port Cable Car – Jaume I Tower, this takes the cable car up to the castle on top of Muntjuic Hill. Mel isnt a fan of cable cars so we give this a miss.
The bus now passes the Columbus Column at the end of La Rambla.
The Columbus Monument is a 60 m (197 ft) tall monument to Christopher Columbus at the lower end of La Rambla, Barcelona, Catalonia, Spain. It was constructed for the Exposición Universal de Barcelona (1888) in honour of Columbus' first voyage to the Americas. The monument serves as a reminder that Christopher Columbus reported to Queen Isabella I and King Ferdinand V in Barcelona after his first trip to the new continent.
At the very top of the monument stands a 7.2 m (24 ft) tall bronze statue atop a 40 m (131 ft) tall Corinthian column. The statue was sculpted by Rafael Atché and is said to depict Columbus pointing towards the New World with his right hand, while holding a scroll in the left. The statue points south-southeast (a more southerly direction than the adjacent Rambla Del Mar and almost a perfect extension of the direction of La Rambla, Barcelona) and in effect is pointing at a point somewhere near the city of Constantine, Algeria. To point at Genoa in northern Italy the statue would have to face east-northeast and point up the coastline. It is more likely that the statue is situated in the current way simply to have Columbus point out to sea underscoring his achievements in naval exploration. The statue is atop a socle, on which the word "Tierra" (land) is inscribed.
The bus passes Port Vell before taking us back to Placá de Catalunya.
We walk back down La Rambla a little way and turn into Carrer Dels Tallers.
A quick slice of pizza each, not great but it filled a hole.
We walk back to Placá de Catalunya and board the bus on the Red Route this time.
The bus goes past Casa Battló again and just pass there is La Pedrera-Casa Milà.
Casa Milà popularly known as La Pedrera ( "the stone quarry") in reference to its unconventional rough-hewn appearance, is a Modernista building in Barcelona, Catalonia, Spain. It was the last private residence designed by architect Antoni Gaudí and was built between 1906 and 1912.
The building was commissioned in 1906 by Pere Milà [ca; es] and his wife Roser Segimon [ca]. At the time, it was controversial because of its undulating stone facade, twisting wrought iron balconies, and design by Josep Maria Jujol. Several structural innovations include a self-supporting stone façade, and a free-plan floor, underground garage and the spectacular terrace on the roof.
In 1984, it was declared a World Heritage Site by UNESCO. Since 2013 it has been the headquarters of the Fundació Catalunya La Pedrera, which manages visits to the building, exhibitions and other cultural and educational activities at Casa Milà.
The bus continues and we get off by the amazing and a must see in Barcelona the Sagrada Familia.
We stood outside for ages trying to book tickets online as this is the only way, but the website was rejecting it. I asked at a tourist booth opposite and they were able to book for me! So we had to wait a while for out entrance time. But so happy to be able to go in. Would be kicking myself if I missed out on this!
The Basílica i Temple Expiatori de la Sagrada Família, otherwise known as Sagrada Família, is a church under construction in the Eixample district of Barcelona, Catalonia, Spain. It is the largest unfinished Catholic church in the world. Designed by Catalan architect Antoni Gaudí (1852–1926), his work on Sagrada Família is part of a UNESCO World Heritage Site. On 7 November 2010, Pope Benedict XVI consecrated the church and proclaimed it a minor basilica.
On 19 March 1882, construction of the Sagrada Família began under architect Francisco de Paula del Villar. In 1883, when Villar resigned, Gaudí took over as chief architect, transforming the project with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted the remainder of his life to the project, and he is buried in the church's crypt. At the time of his death in 1926, less than a quarter of the project was complete.
Relying solely on private donations, the Sagrada Família's construction progressed slowly and was interrupted by the Spanish Civil War. In July 1936, anarchists from the FAI set fire to the crypt and broke their way into the workshop, partially destroying Gaudí's original plans. In 1939, Francesc de Paula Quintana took over site management, which was able to go on due to the material that was saved from Gaudí's workshop and that was reconstructed from published plans and photographs. Construction resumed to intermittent progress in the 1950s. Advancements in technologies such as computer-aided design and computerised numerical control (CNC) have since enabled faster progress and construction passed the midpoint in 2010. However, some of the project's greatest challenges remain, including the construction of five more spires, each symbolising an important Biblical figure in the New Testament. It was anticipated that the building would be completed by 2026, the centenary of Gaudí's death, but this has now been delayed due to the COVID-19 pandemic. Some aspects of it may only be finished by 2040.
Describing the Sagrada Família, art critic Rainer Zerbst said "it is probably impossible to find a church building anything like it in the entire history of art", and Paul Goldberger describes it as "the most extraordinary personal interpretation of Gothic architecture since the Middle Ages". The basilica is not the cathedral church of the Archdiocese of Barcelona, as that title belongs to the Cathedral of the Holy Cross and Saint Eulalia (Barcelona Cathedral).
The Passion façade was built according to the design that Gaudi created in 1917. The construction began in 1954, and the steeples, built over the elliptical plan, were finished in 1976. It is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being scourged at the pillar; and Christ on the Cross. These controversial designs are the work of Josep Maria Subirachs.
The Sagrada Família was inspired by a bookseller, José María Bocabella [es], founder of Asociación Espiritual de Devotos de San José (Spiritual Association of Devotees of St. Joseph). After a visit to the Vatican in 1872, Bocabella returned from Italy with the intention of building a church inspired by the basilica at Loreto. The apse crypt of the church, funded by donations, was begun 19 March 1882, on the festival of St. Joseph, to the design of the architect Francisco de Paula del Villar, whose plan was for a Gothic revival church of a standard form. The apse crypt was completed before Villar's resignation on 18 March 1883, when Antoni Gaudí assumed responsibility for its design, which he changed radically. Gaudi began work on the church in 1883 but was not appointed Architect Director until 1884.
On the subject of the extremely long construction period, Gaudí is said to have remarked: "My client is not in a hurry." When Gaudí died in 1926, the basilica was between 15 and 25 percent complete. After Gaudí's death, work continued under the direction of his main disciple Domènec Sugrañes i Gras until interrupted by the Spanish Civil War in 1936. Parts of the unfinished basilica and Gaudí's models and workshop were destroyed during the war. The present design is based on reconstructed versions of the plans that were burned in a fire as well as on modern adaptations. Since 1940, the architects Francesc Quintana, Isidre Puig Boada, Lluís Bonet i Garí and Francesc Cardoner have carried on the work. The illumination was designed by Carles Buïgas. The director until 2012 was the son of Lluís Bonet, Jordi Bonet i Armengol. Armengol began introducing computers into the design and construction process in the 1980s.
The central nave vaulting was completed in 2000 and the main tasks since then have been the construction of the transept vaults and apse. In 2002, the Sagrada Família Schools building was relocated from the eastern corner of the site to the southern corner, and began housing an exhibition. The school was originally designed by Gaudí in 1909 for the children of the construction workers.
As of 2006, work concentrated on the crossing and supporting structure for the main steeple of Jesus Christ as well as the southern enclosure of the central nave, which will become the Glory façade. Computer-aided design technology has allowed stone to be shaped off-site by a CNC milling machine, whereas in the 20th century the stone was carved by hand. In 2008, some renowned Catalan architects advocated halting construction to respect Gaudí's original designs, which, although they were not exhaustive and were partially destroyed, have been partially reconstructed in recent years.
The church is designed to have three grand façades: the Nativity façade to the east, the Passion façade to the west, and the Glory façade to the south (incomplete).
The Nativity façade was built before work was interrupted in 1935 and bears the most direct Gaudí influence.
The Passion façade was built according to the design that Gaudi created in 1917. The construction began in 1954, and the steeples, built over the elliptical plan, were finished in 1976. It is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being scourged at the pillar; and Christ on the Cross. These controversial designs are the work of Josep Maria Subirachs.
The Glory façade, on which construction began in 2002, will be the largest and most monumental of the three and will represent one's ascension to God. It will also depict various scenes such as Hell, Purgatory, and will include elements such as the seven deadly sins and the seven heavenly virtues.
The church plan is that of a Latin cross with five aisles. The central nave vaults reach forty-five metres (148 feet) while the side nave vaults reach thirty metres (98 feet). The transept has three aisles. The columns are on a 7.5 metres (25 ft) grid. However, the columns of the apse, resting on del Villar's foundation, do not adhere to the grid, requiring a section of columns of the ambulatory to transition to the grid thus creating a horseshoe pattern to the layout of those columns. The crossing rests on the four central columns of porphyry supporting a great hyperboloid surrounded by two rings of twelve hyperboloids (currently under construction). The central vault reaches sixty metres (200 ft). The apse is capped by a hyperboloid vault reaching seventy-five metres (246 ft). Gaudí intended that a visitor standing at the main entrance be able to see the vaults of the nave, crossing, and apse, thus the graduated increase in vault loft.
There are gaps in the floor of the apse, providing a view down into the crypt below.
The columns of the interior are a unique Gaudí design. Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms. The simplest example is that of a square base evolving into an octagon as the column rises, then a sixteen-sided form, and eventually to a circle. This effect is the result of a three-dimensional intersection of helicoidal columns (for example a square cross-section column twisting clockwise and a similar one twisting counter clockwise).
Detail of the ceiling in the nave. Gaudí designed the columns to resemble trees and branches.
Essentially none of the interior surfaces are flat; the ornamentation is comprehensive and rich, consisting in large part of abstract shapes which combine smooth curves and jagged points. Even detail-level work such as the iron railings for balconies and stairways are full of curvaceous elaboration.
We leave the Sagrada Famailia and board the bus which then takes us through the Gracia District pass the stop for Guell Park which we will visit on the 17th and then pass Nou Camp. We did plan to get off here but it is little more than a building site as its rebuilt and Barcelona FC are playing at the Olympic Stadium.
We get off at Placá de Catalunya and we walk back to the hotel to book in and have a nap.
After our nap we go for a walk about to look where to eat for dinner. We have a wander around the Gothic Quarter.
We end up down by the Rambla Del Mar and the Marina, no restaurants here catch our eye.
We head back up La Rambla and end up in McDonalds as we just needed to eat. Such a different menu to what we have back home.
We wander along La Rambla and venture off down Carrer de la Boqueria as I wanted to see El Pont de Bisbe. As we were walking up Carrer de la Boquiria when I was aware of a young male watching us. He whistled to get the attention of someone else. Obviously, he was eyeing us up to rob us. We walked back, and he followed. We ducked into a shop, he waited.He laughed when he knew we were aware of him. We made our back onto Las Ramblas, still he followed through the busy thoroughfare.
He was on his phone, assuming to get back up. We eventually managed to lose him, but it was very scary and don't wanna go out after dark here now. Barcelona is a scary place after dark.
Not too proud to say this did really shake me up!
Day Two : 16th January 2024
We were up early and had breakfast in the hotel, a nice selection of cold and hot meats, Continental and Cereals available.
We then catch the metro from Drassanes Station to Placá d Espanyol where we catch the train to Monseratt,
We get off at Monistrol de Monseratt to take the Rack train up the mountain.
Montserrat Rack Railway is the only mode of transport that will take you to the centre of the Monastery complex in Montserrat. During the 15-minute journey, the train winds its way through the mountain’s unique skyline, offering spectacular views. Through the panoramic windows you can admire the great beauty of the landscape that surrounds you on the journey from Monistrol to Montserrat.
The origins of Montserrat Rack Railway go back to the late nineteenth century and the need to improve access to the Monastery for worshippers and pilgrims.
Traditionally, the mountain was accessed via the road known as the Camí de Collbató. It was not until the second half of the century that a faster route was established as the result of the Ferrocarrils del Nord broad-gauge railway, which brought trains to Monistrol-Montserrat station. The opening of the railway made it possible to introduce a mail service, which took 3.5 hours to complete the route.
However, the lack of permanent transport links and the increased number of visitors led the engineer Joaquim Carrera, a devotee of both Montserrat and the Swiss mountain railways, to convince the businessman Josep M. González to build a rack railway connecting Monistrol station to the Monastery. Thus, in 1881, the Ferrocarrils de Muntanya a Grans Pendents was created.
Montserrat Rack Railway was opened on 6 October 1892 and within a short space of time it became the most popular railway in Catalonia. The journey from Monistrol station to the Monastery took 65 minutes.
The Rack Railway was such a revolutionary development because, by linking up with the Ferrocarrils del Nord, it enabled visitors to travel from Barcelona to Montserrat and back in a single day. Thus, it became an economic driver for its area of influence.
The Rack Railway’s route follows the track of the old railway for around five kilometres, four of which utilise the rack system. Between the stations of Monistrol-Vila and Montserrat, it ascends by nearly 550 metres.
The route starts at Monistrol de Montserrat station, which links to the R5 service on the FGC’s Llobregat-Anoia line. After leaving this station, the train reaches the Foradada Tunnel, where it also crosses the Centenari Bridge and the C-55 motorway before reaching the second station, Monistrol-Vila, where the rack section begins.
The route continues upwards through the Àngel Tunnel, which the old trains also used to pass through, and crosses the new bridge at the location of the old level crossing. Further on, the train crosses Guilleumes Bridge, from where you can admire the jagged profile of the mountain before going into the Apòstols Tunnel, which is the last tunnel on the line. The train then completes the final ascent up to the terminus, Montserrat station, which is located below Plaça de la Creu.
We get off the train and walk out into Monseratt, it's absolutely beautiful here!
Montserrat is a multi-peaked mountain range near Barcelona, in Catalonia, Spain. It is part of the Catalan Pre-Coastal Range. The main peaks are Sant Jeroni (1,236 m), Montgrós (1,120 m) and Les Agulles (903 m).
It is well known as the site of the Benedictine abbey, Santa Maria de Montserrat, which hosts the Virgin of Montserrat sanctuary. The stone from the mountain is also used for the construction of Sagrada Familia, though recently, the stone began to become more fragile the deeper they quarried, so an alternative source had to be found to complete the construction. In 2018, the stone type needed for the construction was found in a quarry in Brinscall, near Chorley, England.
"Montserrat" literally means "serrated (like the common handsaw) mountain" in Catalan. It describes its peculiar aspect with a multitude of rock formations that are visible from a great distance. The mountain is composed of strikingly pink conglomerate, a form of sedimentary rock. Montserrat was designated as a National Park in 1987. The Monastery of Montserrat which houses the virgin that gives its name to the monastery is also on the mountain, although it is also known as La Moreneta ("the little tan/dark one" in Catalan).
In 1493, Christopher Columbus named the Caribbean island of Montserrat Santa Maria de Montserrate, after the Virgin of Montserrat. Again, in 1606, the Spanish expedition of Luis Vaéz de Torres charted Mount Ernest island in the Torres Strait as Santa Maria de Montserrate, due to its relatively high peak. Also Monserrate is a 3,152 m high mountain that dominates Bogotá's downtown which has a church built in 1650 over the ancient Muisca sacred mountain and that includes a funicular and an aerial lift similar to the ones at Montserrat.
We take the stairs up towards the Monastery.
Santa Maria de Montserrat is an abbey of the Order of Saint Benedict located on the mountain of Montserrat in Monistrol de Montserrat, Catalonia, Spain. It is notable for enshrining the image of the Virgin of Montserrat. The monastery was founded in 1025 and was rebuilt between the 19th and 20th centuries, and still functions to this day, with over 70 monks.
The monastery is 48 kilometres (30 mi) northwest of Barcelona, and can be reached by road, train or cable car. The abbey's train station, operated by FGC, is the terminus of a rack railway connecting with Monistrol, and two funiculars, one connecting with Santa Cova (a shrine and chapel lower down the mountain) and the other connecting with the upper slopes of the mountain. At 1,236 metres (4,055 ft) above the valley floor, Montserrat is the highest point of the Catalan lowlands, and stands central to the most populated part of Catalonia. Montserrat's highest point, Sant Jeroni, can be reached by footpaths leading from the monastery. From Sant Jeroni, almost all of Catalonia can be seen, and on a clear day the island of Mallorca is visible.
Montserrat, whose name means 'serrated mountain', plays an important role in the cultural and spiritual life of Catalonia. It is Catalonia's most important religious retreat and groups of young people from Barcelona and all over Catalonia often make overnight hikes to watch the sunrise from the heights of Montserrat. The Virgin of Montserrat is Catalonia's patron saint, and is located in the sanctuary of the Mare de Déu de Montserrat, next to the Benedictine monastery nestling in the towers and crags of the mountain.
There are generally about 80 monks in residence. The Escolania, Montserrat's Boys’ Choir, is one of the oldest in Europe, and performs during religious ceremonies and communal prayers in the basilica
The basilica houses a museum with works of art by many prominent painters. The Publicacions de l'Abadia de Montserrat, a publishing house, one of the oldest presses in the world still running, with its first book published in 1499.
Initial construction of the basilica of Montserrat began in the 16th century, and its complete reconstruction began in the year 1811, after being destroyed in the Peninsular War.
In 1881 the Pope Leo XIII granted it the status of minor basilica. The facade was realized in 1901, work of Francisco de Paula del Villar y Carmona in Plateresque Revival style, with sculptural reliefs of Venanci and Agapit Vallmitjana i Barbany.
After the Spanish Civil War a new façade of the church was built (between 1942 and 1968), with the work of Francesc Folguera i Grassi and decorated with sculptural reliefs of Joan Rebull (St. Benedict, Proclamation of the dogma of the Assumption of Mary by Pius XII and St. George, with a representation of the monks who died during the Spanish Civil War). Additionally, it bears the inscription Urbs Jerusalem Beata Dicta Pacis Visio ("Blessed city of Jerusalem, called the vision of peace"). At the foot of the frieze with the relief of St. George is sculpted the phrase "Catalonia will be Christian or it will not be", attributed to the bishop Josep Torras i Bages, which has been assumed as a political motto of Catholic root.
The church is of a single nave, 68.32 meters long and 21.50 wide, with a height of 33.33 meters. It is supported by central columns, carved in wood by Josep Llimona i Bruguera, representing the prophets Isaiah, Jeremiah, Ezekiel and Daniel. At the head is the main altar, decorated with enamels (1928) of Montserrat Mainar, depicting various biblical scenes, such as The Last Supper, The Wedding at Cana and The Multiplication of Loaves and Fishes. The 15th century cross on the altar is the work of Lorenzo Ghiberti. On the altar there is a shrine of octagonal form. In the chancel there are various paintings by Alexandre de Riquer, Joan Llimona, Joaquim Vancells, Dionís Baixeras and Lluís Graner.
The basilica of the monastery was built in the 16th century, in the transition period between Gothic and Renaissance. The Black Madonna is kept in the basilica.
Many famous people made pilgrimages to Montserrat: Pope Benedict XIII, Columbus, Cervantes, von Humboldt, Kings Fernando and Isabella, Carlos I, Felipe II and Louis XIV.
On his second voyage in 1493, Columbus named an Antilles island Montserrat.
In 1811 the monastery was largely destroyed by Napoleonic troops. The Benedictine monastery was rebuilt.
The monastery resisted during the Franco dictatorship. Despite the ban, Catalan was still spoken there and masses were held in Catalan. Hundreds of people persecuted by the Franco regime were hidden here. More than 20 monks were executed because of it.
Today, this resistance makes the monastery an important symbol of Catalan self-evidence and the fight against oppression. The Catalans are still grateful for that today.
The first chapel is in honour of Saint Peter, the second is in honour of St Ignatius of Loyola, the third is on honour of St Martin, and the fourth is in honour of St Joseph Calasantius.
We enter the monastery and make our way around this beautiful place.
The amazing artwork on the ceiling was in progress of restoration by talented artists.
As you enter the room where the Virgin sits, it is worth noting the doors - they are made of repousse silver and were created by Josep Obiols, Rafel Solanic and Manuel Capdevila. The Black Madonna herself sits on an incredibly ornate throne which is covered in Venetian mosaics. At either side of the Virgin, you will spot nine silver lamps - these represent the eight dioceses of Catalunya and Montserrat. Above the Virgin's head, there are Angels that were created by the sculptor Marti Llaurado.
It is now our turn to pay tribute to the Black Madonna.
The Black Madonna is sometimes referred to by other names, including 'The Virgin of Montserrat' and 'La Moreneta'. The statue sits behind a sheet of glass. However, one of her hands that is holding a sphere (which symbolises the universe) is not behind the glass. It is tradition for you to kiss or touch the Virgin's hand whilst opening out your other hand to Jesus.
The Black Madonna was believed to have been carved in Jerusalem at the beginning of the religion. It is a wooden sculpture. It is one of the most famous Black Madonna statues in the world, and in 1844 Pope Leo XIII declared the Virgin of Montserrat the patroness of Catalonia. Black Madonnas can be found all over the world. If you are interested in the history of the concept of the Black Madonna and its various depictions, it is worth a visit to the Montserrat Museum where there is a whole section dedicated to its art and history.
In 1944 it was decided that a new room, known as the 'throne room' would be built with a stairway leading to the statue. The work of sculptors, architects, artists and jewellers was recruited, and the project was headed by the architect Francesc Folguera and the painter Josep Obiols to build the room and altar in which the statue is placed.
The new building work was scheduled to be completed on 27 April 1947 - a day to be known as the Enthronement. However, work finally finished in 1954.
One of the most common questions about the Black Madonna is why she is black. The dark colour of the Virgin's face is the reason why locals have nicknamed her 'La Moreneta' ("the little black lady"). Contrary to popular belief, she is not black due to a portrayal of a Black African Madonna. The blackness also does not come from a dark colour in the wood or from earlier coverings in the paint. It is known from historical descriptions of the Madonna that she has simply darkened over time.
On leaving the area where you have seen the Black Madonna you will exit via the Cami de l'Ave Maria. This area is a moving place where you will be given the opportunity to pay homage to the statue that you have just seen. Each candle that you will see has been lit as a prayer to the Virgin Mary. An entire wall of candles is evidence of all of the people have come to ask their prayers to the Virgin Mary.
Exterior sculpture of Jesus and the twelve apostles at Santa Maria de Montserrat.
We leave the monastery and go to find the path up the mountain. Sadly the funiculars are out of action due to an annual inspection.
Montserrat is a multi-peaked mountain range reaching 1,236m at its highest summit, Sant Jeroni. The other two main peaks are Montgrós at 1,120m and Miranda de les Agulles at 903m.
They are loads and loads of steps up the mountain side.
We continue up the Sant Jeroni Path.
There are some fantastic views back down to the monastery.
At 1236m Sant Jeroni is the highest point in the Montserrat massif approximately 50 km NW of Barcelona, Catalunya, Spain.
Unlike most of the other summits in the park, Sant Jeroni is not a sharp rock pinnacle requiring rock climbing skills to attain its summit. Indeed the last 200m of vertical gain is made up a long flight of concrete steps. Nevertheless, simply because it's the highest point, you just have to bag it. If those steps compromise anyone's conscience, there's compensation enough at the summit. Northwards look down almost 1000 vertical metres to the Llobregat valley and look up to the Pyrenees over 100km away. South and east the views extend as far as the Mediterranean coast and Barcelona and even, on a clear day, the island of Mallorca.
We reach so far before it was too much for Mel. She isn't a walker and full credit to her for making this far and willing to try for me.
Apparently another hour walking to the summit. We decide to call it a day here, and I stop to drink a can of Voll-Damm Marzen at 7.2% bought from the Monseratt Restaurant below.
We make it back down and take the rack train, train and Metro back into Barcelona.
Enroute back we stop to try the Chocolate Con Churros from a shop on La Rambla.
Churros con chocolate are a classic Spanish sweet snack made from a choux pastry style mix, piped with a star shaped nozzle into long straight or curled fingers, fried in oil and coated in a mix of sugar and cinnamon.
We go back to the hotel for a snooze before going out to dinner.
We visit Colum on Carrer Del Escudellers, a great restaurant set on a Columbus theme.
We order a Moritz 7 Pilsner brewed by Moritz a microbrewery in Barcelona.
We start with a Spanish Omelette on Tomato and olive oil toast Tapas. Very nice.
Followed by Chicken Paella, this was just amazing. Wish I could have some more right now!
We then had Chocolate Brownie to finish.
The staff at the restaurant were superb and very friendly. A fantastic restaurant, in fact a queue had formed by the time we left. We head back to the hotel.
Day Three: 17th January 2024
We woke and headed down to breakfast at the hotel before we head off out.
We walk up La Rambla to visit Mercado de La Boqueria.
The Mercat de Sant Josep de la Boqueria usually simply referred to as La Boqueria, is a large public market in the Ciutat Vella district of Barcelona, Catalonia, Spain, and one of the city's foremost tourist landmarks, with an entrance from La Rambla, not far from the Liceu, Barcelona's opera house. The market has a very diverse selection of goods.
The first mention of the Boqueria market in Barcelona dates from 1217, when tables were installed near the old city gate to sell meat. From December 1470 onwards, a pig market was held at this site; at this time it was known as Mercadi Bornet. Later, until 1794, it was known simply as Mercat de la Palla, or straw market. In the beginning, the market was not enclosed and had no official status, being regarded simply as an extension of the Plaça Nova market, which extended to the Plaça del Pi. The current name is believed to derive from the Catalan boc, meaning "goat", therefore a boqueria would be a place where goat meat is sold; compare also French boucherie, whence Vuccirìa, the name of a market in Palermo, Italy.
Later, the authorities decided to construct a separate market on La Rambla, housing mainly fishmongers and butchers. It was not until 1826 that the market was legally recognized, and a convention held in 1835, decided to build an official structure. Construction began on March 19, 1840, under the direction of architect Mas Vilá. The market officially opened in the same year, but the plans for the building were modified many times. The inauguration of the structure finally took place in 1853. A new fish market opened in 1911, and the metal roof that still exists today was constructed in 1914.
We leave the market and catch the Metro from Liceu to travel to Lesseps Metro. the closest to Guell Park.
We leave Lesseps Metro and walk up Trav. De Dalt with its palm lined road.
We turn left up Carrer de Sant Cugat del Vallés, passing Kasa de la Muntanya pictured above.
Kasa de la Muntanya is a squatted former Guardia Civil (Civil Guard) barracks in Barcelona. It was built in 1909, by Eusebi Güell, abandoned by the police in 1983, and occupied in 1989. It became central to the squatter movement in Barcelona as a self-managed social centre. The Güell family undertook a long legal battle to regain ownership of the building and then started negotiations with the city council about its use. The council announced in 2019, a plan to buy the building and turn it into social housing.
In 1909, rich industrialist Eusebi Güell built a police station in the La Salut district of Gràcia in Barcelona and handed it over to the Guardia Civil (Civil Guard), with an agreement that the building would revert to the ownership of the Güell family when the state stopped using it. The barracks were required since there were at the time many violent confrontations between trade unions and business owners in Barcelona. The 745m² building became derelict in 1983, when the Guardia Civil left after an attack by the Catalan nationalist group Terra Lliure. The Güell family attempted to reclaim the building but the Ministry of the Interior took over ownership then passed it on to the Ministry of Finance.
There great views from up here back down across the city.
We reach the entrance to Guell Park, the office wasn't open for tickets, so again online it was, at least it worked this time. Tickets bought we entered the park.
Park Güell is a privatized park system composed of gardens and architectural elements located on Carmel Hill, in Barcelona, Catalonia, Spain. Carmel Hill belongs to the mountain range of Collserola – the Parc del Carmel is located on the northern face. Park Güell is located in La Salut, a neighborhood in the Gràcia district of Barcelona. With urbanization in mind, Eusebi Güell assigned the design of the park to Antoni Gaudí, a renowned architect and the face of Catalan modernism.
The park was built from 1900 to 1914 and was officially opened as a public park in 1926. In 1984, UNESCO declared the park a World Heritage Site under "Works of Antoni Gaudí".
Park Güell is the reflection of Gaudí's artistic plenitude, which belongs to his naturalist phase (first decade of the 20th century). During this period, the architect perfected his style through inspiration from organic shapes. His practice introduced a series of new structural solutions rooted in the analysis of geometry, thus, adding creative liberty and an imaginative, ornamental style. Starting from a sort of Baroquism, his works acquire a structural richness of forms and volumes, free of the rational rigidity or any sort of classic premises. In the design of Park Güell, Gaudí unleashed all his architectonic genius and put to practice much of his innovative structural solutions that would become the symbol of his organic style, and that would culminate in the creation of the Basilica and Expiatory Church of the Holy Family.
Güell and Gaudí conceived this park, situated within a natural park. They imagined an organized grouping of high-quality homes, decked out with all the latest technological advancements to ensure maximum comfort, finished off with an artistic touch. They also envisioned a community strongly influenced by symbolism, since, in the common elements of the park, they were trying to synthesize many of the political and religious ideals shared by both the patron and the architect: therefore there are noticeable concepts originating from political Catalanism – especially in the entrance stairway where the Catalan countries are represented – and from Catholicism – the Monumento al Calvario, originally designed to be a chapel. The mythological elements are so important: apparently Güell and Gaudí's conception of the park was also inspired by the Temple of Apollo of Delphi.
On the other hand, many experts have tried to link the park to various symbols because of the complex iconography that Gaudí applied to the urban project. Such references go from political vindication to religious exaltation, passing through mythology, history and philosophy. Specifically, many studies claim to see references to Freemasonry, despite the deep religious beliefs of both Gaudí and Count Güell. These references have not been proven in the historiography of the modern architect. The multiplicity of symbols found in Park Güell is, as previously mentioned, associated with political and religious signs, with a touch of mystery according to the preferences of that time for enigmas and puzzles.
The park was originally part of a commercially unsuccessful housing site, the idea of Count Eusebi Güell, after whom the park was named. It was inspired by the English garden city movement; the original English name Park (in Catalan the name is "Parc Güell"; in Spanish, "Parque Güell"). The site was a rocky hill with little vegetation and few trees, called Muntanya Pelada (Bare Mountain). It already included a large country house called Larrard House or Muntaner de Dalt House and was next to a neighbourhood of upper-class houses called La Salut (The Health). The intention was to exploit the fresh air (well away from smoky factories) and beautiful views from the site, with sixty triangular lots being provided for luxury houses. Count Eusebi Güell added to the prestige of the development by moving in 1906 to live in Larrard House. Ultimately, only two houses were built, neither designed by Gaudí. One was intended to be a show house, but on being completed in 1904 was put up for sale, and as no buyers came forward, Gaudí, at Güell's suggestion, bought it with his savings and moved in with his family and his father in 1906. This house, where Gaudí lived from 1906 to 1926 (his death), was built by Francesc Berenguer in 1904. It contains original works by Gaudí and several of his collaborators. It has been the Gaudí House Museum (Casa Museu Gaudí) since 1963. In 1969, it was declared a historical artistic monument of national interest.
It has since been converted into a municipal garden. It can be reached by underground railway (although the stations are at a distance from the Park and at a much lower level below the hill), by city buses, or by commercial tourist buses. Since October 2013 there is an entrance fee to visit the Monumental Zone (main entrance, terrace, viaducts, and the parts containing mosaics), so the entrance to the Park is no longer free. Limited tickets are available that often sell out in advance. Gaudí's house, "la Torre Rosa," – containing furniture that he designed – can be only visited for another entrance fee.
It is a walk uphill and series of steps upwards.
We walk up to the lovely looking Casa Trias.
The house of the lawyer Martí Trias, which enjoys magnificent views of the city, was the only one built in the whole of Park Güell. Planned by Juli Batllever, it is true to the style of his master Domènech Muntaner and also of Gaudí, for whom he worked.
As fate would have it, it was the family’s son, a medical student, who examined the architect after his arrival as an unidentified person at the Hospital del Mar after being run over by a tramcar on his way to the Sagrada Família.
Park Güell is designed and composed to bring the peace and calm that one would expect from a park. The buildings flanking the entrance, though very original and remarkable with fantastically shaped roofs with unusual pinnacles, fit in well with the use of the park as pleasure gardens and seem relatively inconspicuous in the landscape when one considers the flamboyance of other buildings designed by Gaudí. These two buildings make up the Porter's Lodge pavilion. One of these buildings contains a small room with a telephone booth. The other, while once being the porter's house, is now a permanent exhibition of the Barcelona City History Museum (Museu d'Història de Barcelona, or MUHBA). MUHBA focused on the building itself, the park and the city.
Casa Trias
We walk down to an area with an eloborate bench with fantastic views beyond.
An uninterrupted view of the terrace walls.
The unique shape of the serpentine bench enables the people sitting on it to converse privately, although the square is large. The bench is tiled and in order to dry up quickly after it rains, and to stop people from sitting in the wet part of the bench, small bumps were installed by Gaudí.
The views are amazing and make for superb photo opportunities.
Antoni Gaudí was a Catalan architect and designer from Spain, known as the greatest exponent of Catalan Modernism. Gaudí's works have a highly individualized, sui generis style. Most are located in Barcelona, including his main work, the church of the Sagrada Família.
Fantastic views to the Park entrance.
To either side are the two pavilions that form the porter’s lodge. The one to the left was the one actually used as a porter’s lodge, with a waiting room and telephone booth, while the one to the right was the porter’s residence, whence the name Casa del Guarda, though it is today part of the Barcelona History Museum. Both have very beautiful roofs, built with the traditional Catalan clay tiles covered with “trencadís”, a mosaic made of tile shards.
We walk down from up above to the columns below holding it all up.
Colonnaded footpath under the roadway viaduct, with external columns sloping to take the diagonal thrust from the vault supporting the road.
The 17.18-hectare park has many incredible architectural details that clearly show Gaudí's efforts to make this space unique. Look to the wavy shapes reminiscent of flowing lava, the covered walkways with columns shaped like trees, the icicle and geometric shapes, and the use of ceramic and coloured glass, to name a few characteristics that make this park like no other.
Gaudí sought to integrate the park into the natural surroundings; he built stone columns in the real-life shape and size of tree trunks, as well as created icicle-like formations and natural caves.
We walk down into the Hypostyle room with its many unique roof tiles.
The great entrance stairway leads to the Hypostyle Room, which could be used as a market place for the estate. It is made up of 86 striated columns inspired in the Doric order. The outermost ones slope in an undulating movement clearly contrary to the rules of classical composition, while reinforcing a perception of their structural role. The colonnade is crowned by an architrave on which the undulating bench is placed. A conduit running inside it collects the rainwater that filters down from the square, sending it on to an underground tank, which has as the stairway dragon’s mouth as its overflow. Inside the room the absence of columns in some sections creates spaces that simulate three naves, like a great church. The ceiling is formed of small domes constructed using the traditional technique of clay bricks decorated with original tile-shard mosaics made by Josep M. Jujol, one of Gaudí’s assistants.
There is a huge Octopus at the center of the Hypostyle Room on its ceiling. It is meant to represent the water system that spreads through the inside of the roof.
We walk down the steps to the Park Entrance.
One of the most popular highlights inside Park Guell is its colorful guardian, El Drac. While his name makes him sound like a scary Spanish mobster, this mosaic creature is a park favorite. Almost everyone who visits do not miss out on taking a picture or selfie with the iconic Park Guell Lizard. During peak hours, you might even end up waiting a while to get your picture with El Drac.
The Lizard was made in collaboration with Joseph Maria Jujo, using broken shards of mosaic tiles, a style known as trencadís, which Gaudí helped pioneer. The mosaic tiles gives the salamander its colourful scales. You’ll notice different colours, shapes, and sizes of the shards, laid asymmetrically, which is a style you’ll notice throughout the park.
View across the the Hypostyle room.
Owing to his Catalan roots, Gaudi created a decorative entrance at Park Guell with a colourful snake surrounded by the Catalan flag. Many believe that the snake represents Nejustan, the snake on the staff of Moses.
The stairway is hard to miss. Rising from the entrance esplanade, are two enormous white staircases with a magnificent scaly balustrade and numerous little nooks of shrubbery, flower beds, and trickling dragon fountains around it. The stairway is surrounded by two walls with merlons that form terraces. Under this, there are two grottos. The one to the right was used as a waiting shelter.
On the first landing, you will find some creatures like goblins. Halfway through, on the second landing, you will find the emblem of Catalonia. Further up, you will find the Park Guell dragon or salamander that has grown into a defining icon of Park Güell's history. On the last flight of steps, sheltered by the hypostyle room, is an Odeon, a Greek-theatre-shaped bench.
We walk up inside the Casa Del Guarda with views back to the park.
After Eusebi Güell's death in 1918, his heirs decided to sell the land to the Barcelona city hall be be turned into a public park, opening in 1926, the year of Gaudí's death. Since then, Park Güell has been one of the most important points of interest in the city of Barcelona where many shows and public events take place. It has also become a must-visit tourist attraction.
In 1969, Park Güell was named a Historic and Artistic Monument of National Character. In 1984, the park was added to the list of Works of Antoni Gaudí recognized by the UNESCO World Heritage Centre.
We leave Guell Park and walk back to Lesseps Metro to get the metro back to Placá de Catalunya.
We have a look around the shops here before walking back along La Rambla, we pass the road where we had the awful experience of the stalking robber. We decide it'll be okay now as its daylight and plenty of people about to go and see the El Pont Del Bisbe,
One of the most photographed sights in Barcelona’s Gothic Quarter, El Pont del Bisbe (Bishop’s Bridge) was built for the Barcelona International Exposition, which took place in 1929.
The bridge was designed by architect Joan Rubió I Bellver, who suggested that all non-Gothic buildings in the immediate vicinity of Barcelona Cathedral should be demolished and replaced by new Gothic-style buildings.
Fortunately, Rubió’s plan to beautify the Gothic Quarter was rejected, and only the bridge, which links the Palau de la Generalitat to La Casa dels Canonges, was built.
Despite the fact that it is one of the newest buildings in the area, the neo-Gothic bridge is associated with several local legends and superstitions.
Hardly surprisingly, all of the legends relate to the gruesome skull and dagger motif that decorates the underside of the bridge.
Some say that the skull was the architect’s way of expressing his displeasure after his original plan was turned down. Others have even suggested that, rather than being a stone carving, it is in fact a real human skull!
Another legend says that if the dagger which traverses the skull is ever removed then the city of Barcelona will be destroyed.
On a more positive note. Another legend states that if you make a wish while walking backwards under the bridge and looking directly at the skull, then that wish will come true.
We walk on to the Barcelona Cathedral. There is an entrance charge so we gave this a miss.
Barcelona Cathedral or Catedral de Barcelona is in the heart of the Gothic Centre and is one of the largest and most impressive churches in Catalonia. Established in the 14th century, the Cathedral was dedicated to the city’s co-patron Saint Eulalia, a martyr who lost her life after refusing to dismiss her belief in Jesus as the son of God. The church is also the official seat of the Archbishop of Barcelona. Here’s everything you need to know about Barcelona Cathedral, including its history, architecture, highlights and more!
We walk along Via Laietana back to the seafront.
On the front here is the I Love Barcelona sculpture.
We walk around the marina to try and find somewhere to have lunch.
We walk over towards Barcelona's Beach area still trying to find something to eat. Mel is feeling ill with a bad cold, so now its hunt come medicine from a pharmacy. Every pharmacy we went into had an old person chatting for ages, seems to a pastime here. We eventually found one where we could chat to the pharmacist and bought some medicine.
We found a cafe just over from the beach where we ate before walking along the beach.
Barceloneta Beach, Platja de la Barceloneta.
This beach is inextricably linked to the fishing quarter of the same name, Barceloneta, Barcelona's classic neighbourhood by the sea, where the people of Barcelona love to come and eat fish and seafood dishes and "tapas".
Located in the traditional fishing district, this is one of Barcelona's oldest and best-loved beaches. It is thought to have inspired Miguel de Cervantes as the setting for the fight between Don Quixote and the Knight of the White Moon. It was here that the knight errant was finally defeated and abandoned his quest.
There are numerous signs warning of a fine if you are caught buying from a blanket salesman. I thought it was just a general salesman i.e. Blanket. But here was a man selling yep Blankets!
We walk back to the hotel for another afternoon siesta before going out for dinner.
We head back to Colum where again we were lucky to beat the queues, Another beer and I had Garlic Prawns tapas followed by Steak and chips.
From here we visited El Bosc de Les Fades, a fantasy café with cocktails and beers.
It is just off La Rambla and a unique experience.
I had a Turia Marzen from Valencia and Mel asked for sex on the beach, disappointed she meant a cocktail!
The mood suddenly changed in here, the lighting changed and a thunderstorm started, amazing!
We walked back along La Rambla and back to the hotel.
Day Four: 18th January 2024
We got up had breakfast and then had a walk about to kill some time before our taxi picked us up for the journey back to the airport.
We walked down Carrer Nou de la Rambla to see Guell Palace. It was closed but we took a look at the outside.
The Guell Palace is a mansion designed by the architect Antoni Gaudí for the industrial tycoon Eusebi Güell, and was built between 1886 and 1888. It is situated on the Carrer Nou de la Rambla, in the El Raval neighborhood of Barcelona in Catalonia, Spain. It is part of the UNESCO World Heritage Site "Works of Antoni Gaudí".
The home is centred around the main room for entertaining high society guests. Guests entered the home in horse-drawn carriages through the front iron gates, which featured a parabolic arch and intricate patterns of forged ironwork resembling seaweed and in some parts a horsewhip. Animals could be taken down a ramp and kept in the livery stable in the basement where the servants resided, while the guests went up the stairs to the receiving room. The ornate walls and ceilings of the receiving room disguised small viewing windows high on the walls where the owners of the home could view their guests from the upper floor and get a "sneak peek" before greeting them, in case they needed to adjust their attire accordingly.
The main party room has a tall ceiling with small holes near the top where lanterns were hung at night from the outside to give the appearance of a starlit sky.
We walked along La Ramba and sat by La Rambla Del Mar and the marina just relaxing in the sun and watching the boats before we go home to the cold.
Columbus Column
We walk along the front and then take a road that eventually leads us to Placá Reial.
Placá Reial.
We walk back to the hotel and wait for our taxi.
At the airport we find out our plane is delayed by half hour as its late on arrival. This then got is longer as a earlier plane was being merged with our flight and this was a lengthy process. we eventually got airborne and homeward bound.
We arrived back at Heathrow an hour later than expected and we made our way home. A great break away. Home now and its cold and icy!!
