Interesting facts about the Sagrada Familia that you probably didn't know

The Sagrada Familia is undoubtedly Antoni Gaudí's masterpiece and the symbol of Barcelona. It is a treasure trove of secrets, religious symbols and architectural wonders, but it also seems to hide a less mystical and much more mundane story: an architectural error that few people know about. This error resulted in the asymmetry of the bell towers on the facade of the Nativity scene, which Gaudí simply did not care about. Of course, this does not detract from the value, beauty and significance of the building, but it is a cultural and historical curiosity.

The background of this incident was revealed in the memoirs of one of the master's closest collaborators, the Catalan illustrator and painter Ricard Opisso.

The Bethlehem facade, the first facade to be completed, is crowned by four bell towers. If you look closely, the two towers on the left are closer together than the two on the right. A subtle but undeniable asymmetry.

For a long time, there was speculation about whether this irregularity was due to some theological message or if a hidden symbolism inherent in the complexity of the work. However, Opisso dispelled these doubts in his biographical notes. The reason for the discrepancy in distances was nothing more than a "mere blunder", a technical error. The setting out is the process of transferring what is drawn on the plan to the actual scale on the ground, and it was there, at that crucial moment, that the master made the mistake regarding distances.

The most surprising thing in the story is not the mistake itself, but Gaudí's own reaction when he discovered it.

When architect Antoni Maria Gallissà asked Gaudí about the reason for the unequal distance between the bell towers, the genius's answer was firm: "In the end, it was of no importance, considering that this irregularity of distances can also be observed in the Parthenon itself, where the distance between the columns is never equal".

In fact, since the Bethlehem façade was not symmetrical, the Passion façade, built later, had to follow the same asymmetrical pattern in order to preserve the structural logic and unity of the transept. The big question now is what will happen to the Glory façade, the main façade, which, by its structure, suggests symmetry.

Opisso, the assistant who discovered the error, was born in 1880 and began working with Gaudí at the age of 12, witnessing Gaudí's life and the development of his work until 1904. His accounts are now a key source for understanding the master's personality and working methods.

His life was always linked to art and illustration; he was much more than Gaudí's assistant on the scaffolding. As an illustrator, he left a huge legacy in the press of his time, working for publications such as L'Esquella de la Torratxa, La Campana de Gràcia and the legendary Madrid humor magazine Blanco y Negro.

His work is characterized by the depiction of everyday life, humor and elegant style, which made him a visual chronicler of the bohemian atmosphere of Barcelona, especially during the Els Quatre Gats period. His memoirs, which allow us to see a more human and less idealized image of Gaudí, are true treasures for understanding a key part of the city's history.