{"id":4504,"date":"2025-05-14T14:00:44","date_gmt":"2025-05-14T12:00:44","guid":{"rendered":"https:\/\/blog.sagradafamilia.org\/?p=4504"},"modified":"2025-05-15T10:43:02","modified_gmt":"2025-05-15T08:43:02","slug":"how-are-the-sculptures-for-the-chapel-pf-the-assumption-being-made-and-symbology","status":"publish","type":"post","link":"https:\/\/blog.sagradafamilia.org\/en\/how-are-the-sculptures-for-the-chapel-pf-the-assumption-being-made-and-symbology\/","title":{"rendered":"How are the sculptures for the Chapel of the Assumption being made and what do they symbolise?"},"content":{"rendered":"

Along with the completion of the tower of Jesus Christ and construction of the columns supporting the towers on the Glory fa\u00e7ade, which will be the main entrance to the Basilica from Carrer de Mallorca, work is currently under way at the Temple to build the Chapel of the Assumption and the adjoining section of the cloister<\/strong>, which Gaud\u00ed envisioned as a contemplative setting away from the city noise.<\/p>\n\n\n\n

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A chapel dedicated to the Virgin Mary<\/h3>\n\n\n\n

In the middle of the cloister that runs parallel to Carrer de Proven\u00e7a, behind the apse, Antoni Gaud\u00ed decided to build a chapel with a square floor plan and an exterior praising Virgin Mary. One of the most characteristic elements of the chapel is the 30-metre blue dome<\/strong>, which represents the Virgin Mary\u2019s mantle, held up by four angels. As if a cape offering shelter against cold and rain, the mantle symbolises Mary\u2019s protection for those in need<\/strong>.<\/p>\n\n\n\n

To design the dome, Gaud\u00ed drew on the Virgin\u2019s bier that sculptor Llu\u00eds Bonifa\u00e7 created for the Girona Cathedral (a bier or catafalque is where the Virgin Mary is traditionally depicted before ascending into Heaven). The architect explained this in a conversation with Mart\u00ed Mantlleu in 1922, which was published in Temple magazine.<\/p>\n\n\n\n

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On the top left, the figure of Our Lady of Mercy in Reus; and on the bottom left, the bier of the Virgin of the Assumption by Llu\u00eds Bonifa\u00e7. In the centre, Antoni Gaud\u00ed\u2019s sketch of the Chapel of the Assumption published in Temple magazine in 1929 with the study of the internal force lines. On the right, a virtual view of the completed chapel. <\/sup><\/p>\n\n\n\n

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In addition to laying the foundations for the chapel, work is currently under way on some interior sculptural elements, dedicated to the earthly life of the Virgin Mary, and the exterior praising Our Lady of Mercy, patron saint of the architect\u2019s home town of Reus<\/strong>. To create them, the Temple chose the artistic proposals through a contest by Merc\u00e8 Riba, B\u00e9atrice Bizot and Teresa Riba<\/strong>, three sculptors with their workshop in Catalonia.<\/p>\n\n\n\n

So, on the inside, Merc\u00e8 Riba is in charge of the bas-reliefs that depict four scenes from the life of the Virgin Mary<\/strong>: the Presentation of Mary in the temple of Jerusalem, Wedding at Cana, Death of Saint Joseph and Dormition of Mary<\/a><\/mark><\/strong>. Outside, above the two doorways, there will be figures of two saints who dedicated their lives to those in need: Saint Joseph Oriol<\/strong>, also by Merc\u00e8 Riba, and Saint Roch<\/strong>, by B\u00e9atrice Bizot. Teresa Riba is creating the four angels holding up the Virgin Mary\u2019s blue mantle<\/strong>.<\/p>\n\n\n\n

But how are they making these sculptures and how do they go from clay to the final stone figure?<\/p>\n\n\n\n

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Dormition of Mary<\/strong>: the end of the Virgin Mary\u2019s life on Earth. According to belief, before ascending into Heaven, Mary didn\u2019t die, she fell asleep (dormition<\/em> comes from the Latin for sleep). The Catholic Church celebrates this event on 15 August with the feast of the Assumption of Mary.<\/p>\n<\/div><\/div>\n\n\n\n

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Creating the sculptures<\/h3>\n\n\n\n

1. Clay model<\/strong><\/p>\n\n\n\n

First of all, the artists create models of their figures in clay or similar materials, following guidelines from the Temple\u2019s Art and Theological Committees regarding the symbolic language.<\/p>\n\n\n\n

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Clay model of one of the four angels for the exterior of the Chapel of the Assumption. By Teresa Riba.<\/sup><\/p>\n<\/div>\n\n\n\n

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Clay model of one of the four angels for the exterior of the Chapel of the Assumption. By Teresa Riba.<\/sup><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Clay model of the Wedding at Cana altarpiece for the interior of the Chapel of the Assumption. By Merc\u00e8 Riba.<\/sup><\/p>\n\n\n\n

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2. Scanning<\/strong><\/p>\n\n\n\n

Then, a scanner is used to get a computer image from the clay models. This digitalisation process allows the figures to be studied in detail and to see how they will be integrated into the general architectural project<\/strong>. This is when any adjustments are made to ensure the sculpture fits perfectly in the space allotted. This task is carried out by the Sagrada Fam\u00edlia projects team, coordinated by architect Xisco Llabr\u00e9s. When that it finished, the virtual file of the piece is sent to the workshop to be made in stone.<\/p>\n\n\n\n

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Escaneig del model de fang de l\u2019escultura de sant Roc, de B\u00e9atrice Bizot, que s\u2019ubicar\u00e0 en una de les portes d\u2019acc\u00e9s de la capella de l\u2019Assumpta<\/sup><\/p>\n\n\n\n

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3. Roughing out the stone<\/strong><\/p>\n\n\n\n

The artistic proposals are transformed into stone in the workshops of Granits Barbany, a family-run company in Llinars del Vall\u00e8s that has been working with the Sagrada Fam\u00edlia for many years. First, a robot roughs out the piece, meaning it takes a big block of stone and removes the excess to get the basic shape of the sculpture<\/strong>. Computer software tells the machines where they need to be positioned to carve the stone, a difficult, demanding task to do by hand.<\/p>\n\n\n\n

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Block of stone before roughing out <\/sup><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Robot working on an altarpiece for the inside of the Chapel of the Assumption at the Granits Barbany workshop<\/sup><\/figcaption><\/figure>\n\n\n\n

4. Nuances<\/strong><\/p>\n\n\n\n

Once the machines have done their part, it\u2019s time for the hand carving. The stonemasons are in charge of giving the sculptures, which only have a rough finish from the machines, all the nuances and character the artist intended<\/strong>. This task hasn\u2019t changed and is still very necessary, explains the latest generation in the family business Arnau Barbany. Barbany explains that the stonemasons are \u201clike the artist\u2019s hands\u201d.<\/p>\n\n\n\n

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Hand carving the Wedding at Cana altarpiece for the interior of the Chapel of the Assumption.<\/sup><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Hand carving the Wedding at Cana altarpiece for the interior of the Chapel of the Assumption. <\/sup><\/figcaption><\/figure>\n\n\n\n

5.\tStoring until they are put in place<\/strong><\/p>\n\n\n\n

If necessary, the sculptor puts the final touches on the stone<\/strong> and then the finished piece is taken to the external work site in Galera, in the town of Gai\u00e0 (Bages), to be stored until it is ready to be put in place.<\/p>\n\n\n\n

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Finished Dormition of the Mother of God altarpiece for the Chapel of the Assumption<\/sup><\/figcaption><\/figure>\n\n\n\n

Artists and model makers, essential for testing and correcting<\/h3>\n\n\n\n

The Temple\u2019s artists and model makers<\/strong> are also involved in creating the Chapel of the Assumption and its sculptures, always working jointly with the architects.<\/p>\n\n\n\n

The model makers create scale prototypes<\/strong> of everything built at the Basilica and all the decorative elements. They use Antoni Gaud\u00ed\u2019s empirical model, based on testing and correcting to achieve perfection. The architect used this method to experiment with new shapes or see how his proposals would behave when exposed to light<\/strong>, issues that can\u2019t be seen on plans, but in three-dimensional models.<\/p>\n\n\n\n

The artists, then, are in charge of adding any manual elements to the models that can\u2019t be made with computer software or 3D printers, such as sculptures or elements on the pinnacles and spires.<\/p>\n\n\n\n

Generally, Gaud\u00ed had 1:25 scale plaster models made. This size allowed him to study what he was testing in considerable detail. When necessary, however, he had models made to 1:10 scale, which is just ten times smaller than life size. These allowed him to test elements even more precisely. This is how the architect worked and this is still how the Temple is being built today.<\/p>\n\n\n\n

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Models of the interior and exterior of the Chapel of the Assumption in the Sagrada Fam\u00edlia model workshop<\/sup><\/figcaption><\/figure>\n\n\n\n
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