A comparison between Antoni Gaudi (1852 – 1926) / Barcelona / Spain – – Fa?ade of The Secret Family Temple with Poty Lazzarotto (1924-1998) Ctba-BR

his career demonstrating his talent working in all forms of Architecture like, residences (Guell Palace), designs like El capricho de Comillas an Pabellón de la Compañia Transatlantica de la Exposición de Cádiz, and religious motifs – – Episcopal Palace of  Astorga, the school of Teresinas and the Temple of Secret Family in Barcelona. He was helped by authorities like Enric d’Ósso, the founder of the school of “Las Teresinas” and the bishops Torras and Bages, the most influent personages of the religious ideologies at the end of the nineteenth century. The general thought of his modernist generation, nominated the Catalan movement that corresponds to Art Nouveau had its format in 1888. But Gaudi could go longer of the historical boundaries dominating the period and formulating his own concept of aesthetic, which made his style becoming unmistakable, and difficult to classify at the same time. He refuses the proposal to take part of the municipal elections in 1905 and dedicates time to execute the façade of Indications, The Secret Family Temple, until his death in 1926. “This façade demonstrates Gaudi’s preoccupation to portray Jesus’ birth, showing all the scenes and personages included in the passage, like the animals, plants, human figures, angels, and the secret family (St. Mary, St. Joseph, and baby Jesus). Gaudi took care even from the position of the entrance by showing the Birth Façade to the Orient because rising sun comes from this direction, and The Façade of Passion to the opposite side because of the sunset. “In 1900, this façade reached 32 meters. There are three doors. The first one on the left represents hope, the central one, Jesus’ birth, and the right one represents faith. Matemala helped Gaudi, in

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