Cinquena entrega del Cicle de diàlegs amb Lluís Domènech.
Amb Lluís Domènech Girbau, arquitecte i president de la Fundació Lluís Domènech i Montaner; Mireia Freixa, catedràtica d’Història de l’Art; i Marta Saliné, doctora d’Història de l’Art.
good afternoon in the continuation of these cycles that have been held during the domenec year of exchange of relations between the foundation of the hospital and the domenec and montaner foundation today we have to talk about a very specific subject which is the mosaics of the administration pavilion I will only make a short presentation so that marta and mireia talk about what they understand very well in the middle of the 19th century and at the end of the 19th there was a logical reaction of the crafts in front of the industry that is a phenomenon that has been studied but that we are not fully aware of as this flourishing this beginning of the industrial arts provoked a logical reaction in the artisans to assert their knowledge this flourishing of artisanal products goes from a hand was given in a way that ad more eh it was produced intertwined with a great collaboration between them so that this movement that had a European character was not only of one of a sector of a bunch but that all the branches of craftsmanship collaborated with each other architecture also throughout Europe due to all of this phenomenon and others was revolutionized because it needed to express itself again and use what was more at hand than they were precisely the applied and decorative arts, that is to say architecture, as you know, had had a very erratic evolution, let’s say not since the renaissance onwards and according to the countries, but it happened that as one what the historians explain as a reaction to the academicism of the neoclassical and there would be this search, this search for which expression would be the best, as you know, Domenic wrote that article in search of a national architecture that spoke of this, but that many times we do not understand it in modern times it happened in a natural way, a very intertwined way, it wasn’t a sudden revolution, but it happened little by little and when I act there is this craze for classifying things and classifying styles, well nothing happens You can call it modernist style, you can call it whatever you want, but in reality things were not so clear, Domenic and Montaner started very early introducing the new language of craftsmanship in their projects in their buildings in the most symbolic aspects the clearest case is the castle of the three dragons the cafe restaurant of the 88 exhibition when in addition to creating a structure with its own function and its own construction with a couple of friends alexandre riquer and the and the good one, I’ll remember it, look, you ‘ll make me good, and the one that’s leaving, no, and the one that’s going to England, the one that the council sent to England to study the arts in graphic good it’s the same sorry no it wasn’t in vil seca you guessed it the saint for and Michael was the yes no but good it’s the same the point is that the castle of the three dragons the the frieze of the top of all the castles of the castle is still an attempt at a new language and precisely the language is made using craftsmanship, shields, ceramics, everything, everything, everything, this technological aspect of craftsmanship, but in any case, we also fail to realize that this is not it was a strong position [Music] it was not a dogma but it was a new way that had been found by some architects who later called themselves modernists but who had the same appreciation and respect for the rest of the languages of history and domeni montaner professor of architecture school, when a student presented him with a neo-gothic or neo-classical project, he said no, no, yes, to me, you don’t need to do modernism, you’re lying, you’re doing it right, I’ll correct the neo-gothic, but if I find it’s badly done, he’ll suspend it just like you did a modernist building and it was done badly so this permeability was very great and here in the hospital there is already the there is the biggest statement of this permeability of craftsmanship and architecture not the amount of letters the pi la g de pau gil that they are everywhere is that you can find them from far away coming from barcelona to when you are anywhere eh corridor is the level here of the hospital and therefore Domenec had a rather curious way of decorating the facade, in other words he had no obligation to do it, he had no need to do it but he he liked to be in the era and the era offered him this way of doing things but this had a second derivative which was that the ornamentation was not done as such and the ornamentation always carried behind it a symbolic language of its own and here we enter the today’s topic, domenec, no, I don’t know exactly, maybe Marta, who knows a lot about it, will know and explain it to you, I don’t know why she came up with the idea of explaining the history of the hospital since its creation in the 11th century to the foundation stone of the hospital that we are here now and explain some kind of cartoon or tv or whatever you can call it now how do you call it yes well a comic now you know says a comic about this and so he made a comic and this comic told the story of the creation of the hospital in this sense that the architects of the time had such an integrated, they had such a global and intense vision of history of the architecture itself and of political history and that it didn’t cost Domenc anything to make a script written by his own hand that is preserved and he sent the painter La Barta to paint some cardboard boxes that would later be used for to execute the mosaics , that is to say that the architect did not sit down with the ornamentation he did, but instead he wanted to give a certain message message that with so many works that Domenic and Montaner did I give the floor to today’s speakers, yes, yes, yes, I guess Albert is ahead, not perfect, perfect, today we will talk about the cycle of the foundation of the hospital of Santa Creu Sant Pau, which will be discussed by Marta, who in fact is a historic cycle that you all know and that whenever we have talked to each other we have always said that it was designed one by one for an environment that is not the one now where people walked and before entering the hospital saw the plafonds that now everyone passes by by car or motorbike and doesn’t stop to see what they say, you have to understand that these plafonds were very well laid out, what do these plafonds do, they explain the story and of course we have to understand what it is this one maybe at albert albert I’m doing well eh and it doesn’t happen s a lot of manasses eh but really eh I’m going through albert yes yes and it doesn’t happen wait a moment ah let me wait a moment moment well what I wanted to explain to you is that, in fact, the history of art, its aim has been to explain it in an accurate way because when people did not know how to read, what they did was go to church and there they explained the catechism, that is to say, history has always had this sense of explaining already from its origins is to say what they are and now we will talk about iconographic programs eh what are they what do they explain what they explain what stories they tell because in principle they told essentially religious stories and little by little they told they went on to tell stories nationals especially from the 19th century when the new states were created and this is a bit of the process that we will see now I wanted to start with a building that you all know that we love each other very much which is the paranymph of the one of my university of the university de barcelona the paraninf does not exist without these historical panels that are next to it that these are the subjects I say it in Spanish because it is as it is written in the meme con de too de sill la civil del caliphate de Córdoba alfonso consellers de barcelona sol al the creed of the universe the cardinal cisneros a copy of the bible the study impulses the j of commerce this is what these panels explain there are two big ones the one you see there with the black and white photograph with the white photograph and black the one here is Cardinal Cisneros is when he presents the Bible of Alcalà and the other one that I present to you here with with with with color is the one that explains the schools founded by the Board of Trade this is very interesting this because here we see very well that behind every iconographic program there is an ideology of this program there was a project from 1868 just when the university was created we found it once with a single sheet in the university archive and I hope it has not been lost but this single sheet was a program in which explained the history of the university in Catalonia, the general studies, the one in Lleida, when is it when when the universe went away when the clothes did not go away when it was recreated, that is, it was a program of the renaissance and explained the history from the University of Barcelona, this is 1968 and then there is the revolution of 1968 and a whole process that precisely comes alongside the revolution of Spanishizing the country and then they are forced to change the topics and what these topics explain you here are the types of teachings that existed throughout the Spanish state, that is, we see very clearly that behind this there is an iconographic program and a very clear policy behind the fact that they face each other as we have seen here the cardinal cisneros when when he does the publication of the Bible of Alcalà and in front of him with the teachings of the school that the board of commerce proposed Barcelona at the time the university was in Cervera is It is very clear that there is a will to integrate what is this result of the renaissance within this new Hispanic image that was wanted to be given since the revolution of 68, well, here we have an example, but of course we can go back a long, long time very very old and here I put a little of my antics because I am from the terrace and when I was little we went to mass in Saint Peter one of my childhood dramas was to see this poor me eh saint the holy doctors that the poor unfortunately they put a black leg on it because in addition this was at the level of the child’s eyes because this this painting was there this fantastic conjunct by jaume huguet an extraordinary piece of international gothic art at that time it was a devotional piece still and what did he explain the well-known theme of the double saints eh santen and sant abdó and sant senen popularly known as sant nini and sant non who were the patrons before sant isidre of the peasantry sant perre de terrassa was a village of farmers and below is in the entire central part and below it is holy the holy wicks which are Saint Damian and Saint and now I don’t remember Saint Damian and Saint Cosma Saint Cosma and Saint Mià the holy doctors but what does the predella tell us how they are martyred here we have them and here the miracle they perform in the case of Saint Senen of Saint Abdó and Saint Senén is the same, they were nobles according to it seems that they came from Persia here they dress them as nobles as they could imagine that he was the la la Eastern iconography and around it tells us what the story of Saint Abdó and Saint Senén is, in other words it is a lesson and we all know this but sometimes we don’t think about it enough, in the same way a very important cycle of paintings that it is from the academy of bellar de sant jordi and which is now deposited in manac the convent of sant francesc here they have one this image of the convent has been taken from an old plan it is in the place where the military government is now in next to the sea wall, this over here was the sea wall behind the convent of Saint Francis in this convent of Saint Francis in the cloister the life of Saint Francis was explained with splendid paintings the the the the sop with saint clara are a series of twenty spectacular paintings of large dimensions and this is because they were in the cloister so that the monks could walk around the cloister and meditate on the life of Saint Francis, they already knew how to read, they already knew the life of Saint Francis, but they meditate on life de sant francesc, I mean, this was the goal of these cycles, I only put two of them, but we could trace the whole life from these big, these big panels, eh , but there is a very important change at the moment they are created the new nation states which is a typical thing of the 19th century then we could say that there is like a tome this this this this deit of history themes that had essentially been the religious theme even though the renaissance told stories of the big families and the baroque but essentially they were religious because many times he also used religious themes to explain civil themes remember sberan I don’t mean there is the theme of religion the basic one in the from the creation of the nation states what is wanted it is m to define a criterion of state then the pantheon of paris which was a church that after napoleon was secularized aa several painters among them pubis de chav ii the pv others are not commissioned to decorate it with paintings on the history of of the French monarchy but which is largely Saint Joba and Saint Joan of Arc means it seems to make them a bit of an agony to still use painting of civil type subjects with a building that had been religious and then they use the saint genoveva this is a saint oh this is saint genoveva looking at paris here she is obviously saint saint joan of arc and then the the or essentially what they do is the beginning of christianity linked to the justification of the monarchy and the French state means the objective is obviously political, it’s civil, let’s say it, but they use religious themes, eh, and I’ll give them another model: these are 19th century painters, the Nazarenes, eh, who essentially did religious painting, but they also did civil painting and for example this casino max mimo de rome they decorated it with themes from the divine comedy of the orant furioso de la jurem aada re jurem alibredada i.e. great themes from the history of literature and they are various painters they are various painters who work together some painters, Catholics, from the south of Germany, who are going to live, well, those who have done home history explain it a lot, they are going to live in Italy and there they want to recover the great value of the moral painting, I’m Italian, but what they will do above all is they will apply civil themes and the big change, I understand, would be in Victorian Britain because in Victorian Britain we find a little gem like this church that there is a small cemetery in a sass in the south of london it was done precisely by a woman artist by mary frisen tyler and this was done at the end of the century and this is a funeral chapel obviously with themes, the majority still religious themes but with an integration which is what you explained before with the very clear integration of the painting of the theme and the applied and decorative arts because what we have seen so far are pictorial panels that explain but here is something else here is this story it is explained with the structure itself with the architecture’s own dynamics it means that architecture and urn puntaciones volta from here you can see very clearly these angels who are angels very special musical angels they are the ones who raise the the the the the final judgment is a a very clear typography a very clear iconography of the of the funerary art but integrated perfectly within the vault and also in Victorian England we find the likes of William Morins Barne Jones etcetera he recovers already civil subjects and here what interests us that this subject is not painting but that this story of the grail blood is told through a tapestry means that apart from being perfectly integrated into the environment as we have seen before what is used is not painting but ‘use a tapestry like here mario mar agliano will use the mosaic means that there is this plurality of subjects and we are walking towards this don bueno let’s see I still have 10 minutes we are walking towards this idea of the integration of the applied arts and decorative eh then what happens in the era of modernism what happens in the era of modernism these iconographic programs change they will be literary iconographic programs I say epic and national eh it is always accompanied by the use of national techniques eh traditional techniques and what it is very important that they are new subjects that will be done on the periphery of modernism, that is, the modernism of brussels of de of de of paris eh ot banner eh in vienna in there they don’t have to search they don’t have to explain anything because they are in the center of the world but in these peripheries of modernism that are now being studied and that are emerging that are new regions like Catalonia and Finland and so on are trying to recover their own national histories and will give them an epic vision which is what we are going to see now for example in the first case first I put the building this is the pavilion of Finland eh from the year 1900 for the Paris exhibition so this pavilion eh has eh the the architects on g xellos Lingen Saarinen but the key figure of the pavilion is the painter al gallen that makes four frescoes with a legend and that this legend recovers the great the great the great Finnish local mythology recovered at the beginning of the 19th century by Herias Lord Doot means that it is to recover these stories these local myths this Madrid does not need it because already is in the center of power nor Paris Paris explain Santa Genoveva but on the other hand in Finland which has a very specific political situation at this moment which has the like the problem of Russia and the problem of Sweden that they want to eat it is fundamental that in the pavilion of finland let these stories be told these national myths for everyone to see i put a black and white photograph because this disappeared but these paintings have been redone and are kept redone with a museum of finland another case this is a housing a house that is on the outskirts of also finnish eh what also explains the work is by the same architects eh jess ling eren saarinen a house that is missing because during the war world war it didn’t disappear but it is totally very very bad condition and the interiors were lost then here what is he doing following the scheme of a one this in this case is a Swiss who was barred in Saint Petersburg but he explains the legends of the north and that is what we see in these houses in the interiors are decorated with these legends from the north, we see that we find it both with public buildings above all but also with private buildings and we have many more examples here in Catalonia in the Borés house that this is not the there is the legend of the story that of hansel gretel in in this in this beautiful this beautiful fireplace and also explained the walls eh another great half of the moment wagner wagner I’m only talking about Catalonia because here Wagner was fantastic here in Catalonia but we have the one store the store case music brick we could decorate it with betoben with I don’t know what but no it doesn’t cure it in Wagner the circle of the circle eh I say so the circle of lyceum the famous wonderful stained glass windows drawn by pei and the bagari association that was on the canuda street next to where you now have it which has been totally lost but which was decorated for in motifs in themes wagner but why wagner in catalunya why well we all know because wagner eh became with with a myth that could to be worthily copied and that is why operas were made imitating Wagner’s operas means that it is a German myth but that it is reinterpreted in Catalonia and obviously in Catalonia it is not on a public level it is calmly on a private level except for the Palau de la Musica that now we will see more examples in Romania in Romania legends and myths of Transylvania is this here a room is a this is a in Transylvania in the middle of Romania in the mountains of Romania and this splendid building you see up there that is still preserved because Romania had the advantage that the Communist era served to preserve everything because they didn’t touch anything, there is this salt in this room that you see here with splendid stained glass windows that also explain the legends of Transylvania and that people used to go there they already knew how to read but they interpreted and identified them and now going a little to our house in the lom mulera house for example inside the lom mulera house now so difficult to visit in eusebia arnau the sculptor who has always worked with with with with domenic and mountain man it must be understood that surely in agreement with domenic and mountain man explains the legend a legend that is a popular song that is the dida of the king here we see the infant king who kills the dida is around I won’t tell you the story but that it is the story of a child who was saved that it made a certain sense that they put him in this house because this family lost a child when he was a newborn and then they always wanted to remember him in the in the eh in the cultures that were all over the house eh more topics we have now talked about wagner’s popular themes eh an example of budapest are religious themes in this case a house in budapest that has the patron saint of hungary in front of all the patroness of Hungary, but she is the patroness of Hungary, it means she already has, that is to say, it is like here in the middle of Francoism, the mer deu de Montserrat was put on, which already had a meaning, I don’t want to say it was a civil act, a religious act, but that had a very strong political value when with a house you decorate it with the the exterior doing what had been done since the Roman stage since the Baroque period instead of doing it in painting is done in mosaic because the mosaic is more loser then here is the time when there is that way in the talk that Marta will give later, how the mosaic is a way of explaining it but how it is much more lasting than the painting that can be put on the outside because it withstands everything except the misfortunes of the architects, eh it looks like we said the other day eh more examples eh eh eh nature or here the what I have followed most are the themes not la la nature with a city that is in Switzerland eh with the salon bler es decur with themes of nature but with themes of nature m of the environment means that it also makes sense to revalue the lo lo lo popular and we finally go to finish ours when it comes to Domenic and Montaner with your two maximum buildings which are the peace of music and the hospital of Sant Pau obviously in this case in mosaic they explain to us how things outside like the palace of music is known as the house of the orpheon as the house of songs as the maragall said a large decorative panel is explaining to us the central theme which is the orpheon this is beautiful because it’s funny how the gentlemen are all dressed in tuxedos the girls are very well dressed in gala and but what’s also here the the muse that represents popular music is under the Catalan flag and under the tree of music which is the same one we see here in the corner with this splendid sculpture of Blay which is the popular song the popular song and above Sant Jordi a holy jordi, what a place to go on horseback, go on foot, but it is clear that it is full of symbols that have an added value in the Catalan case, here we are talking about a stained glass window that tells stories, but you can also tell stories in the middle saint the sculpture or as you will see in the center that this is the in the in the the splendid stage that Lluís calls it like the door of hell that we have traditional Catalan music that is to say what is the basis of palace of music popular song and contemporary music at the time that is the valkyries Wagner and below that this is a subject that Marta loves very much eh the music of the world she has made a beautiful article that defines each of the instruments and each of the costumes applied sculpture and mosaic techniques eh it will be at the hospital of sant pau and now let’s open the door let’s open the door to marta’s talk where it’s already the maximum let’s call it this mosaic eh this is the same one we had there which is the laying of the first stone which is one of the most beautiful mosaics there are now in a splendid state and which are telling us the whole history of the hospital and that there is the exhibition below that explains it perfectly that as we have said, as you have told us many times, it is because Domenec knew a lot of history, he didn’t have, he didn’t have, it didn’t matter to him to waste time to know what it was about because he knew more history than what was written in the books at that time and then because Barta knew how to interpret them and Mar Agliano executed them, that is to say a fully integrated team, but the other day I also thought that the father domenic roure that I always see behind that must be vindicated vindicate vindicate in the convalescent home he does the same in the convalescent home oh in the convalescent home he also tells the story of the convalescent home the photos I have are bad because I got them on the internet the other day I went and didn’t think to take pictures but he explains with some ceramic panels also the house of convalescence that is to say the interior not the exterior and he explains how as well as the as in the as here in here the administration pavilion explains how the hospital of Santa Creu is made etcetera there it does the same in the convalescent home it means it is this also this idea of telling stories well I had a good time maybe a little sorry now very well this is the the m the now I have the m I the m I can bite forward no or do I have to it’s good eh yes I think I can already already come and if not we one eh micro the micro the micro, excuse me, mm, with all that the audience explained and that told me that we had to work on the idea of iconography, I started talking about the exhibition because it’s also an idea that you already have below and So you can go and see a little bit of things that have been left hanging and that need to be explored more, there are many possible dialogues because Dominic never ends, eh and other things that were left a little in the in the in the bag pending work, I’ll leave that to Miquel because Miquel found me many that we had to stop because it was really unviable, so talk about all these subjects within the exhibition, but let’s start with the iconography and we’ll just go in the house of convalescence but the old house of convalescence the one that would be today in the institute of Catalan studies and that at the entrance of this wonderful house there are all a few panels that are of the type baroque and that they were made by a very important workshop of the baroque period which is in pasoles the the the the workshop of oles these these baroque images eh let’s continue with the idea of the mireia eh it’s a preamble a narrated story one one one history that people should know, not like the Romanesque with all the stones that also tell us the story of the religious and in this case there is a similarity who pays for the house of convalescence eh of the old house of convalescence is says Pau Ferran and he also wants to dedicate the name of the house of convalescence to Saint Pau, in this case what he takes is the idea that the story will be told through religion and therefore what he will do is the explanation of the life of saint paul the life of saint paul from when he falls from the horse no and does his conversion until his death that he died by accident because he was a martyr i put only this panel in addition i took it also from the internet I indicate it because it is very difficult to take photographs of ceramics because you always have reflections etcetera etcetera and really I found this panel that looked very good and in addition it is doing something very important for what would be the hospital and for what it was the old hospitals of the holy cross that is eh m giving food is beneficial to the poor eh domenec obviously knew it eh it was a very important historical reference but it is so well known that even inside the perata the the services administration pavilion also copies one will not do the historic panels but one of the repetitive elements that is this shell and already applies it inside the pavilion also if I am not mistaken the house of the houses the garden also has these tiles of agreement therefore it was an important vindictive subject for the subject of baroque architecture eh on the other hand the second peace also what it does is eh indicates that what he wants is for this hospital to also bear his name sant pau d OK, so we are at the same moment also what we have is a peace and another peace that wants to leave testimony of his of his funding to do some charitable works but hey in this case we will find ourselves at a difference a difference technique because we previously had the ceramics as background is stage and instead now we have the mosaic the ceramic mosaic yes yes in addition to the differentiation of the techniques the ceramic technique was absolutely hygienic which is why also the hospital of sant pau me’ I go a little, I expand a little the the the the the the comments all the buildings are covered with ceramic inside the interiors of what would be the pavilions for the sick why because it was an absolutely hygienic issue in the house of the common the essence passes the same but the frieze does not need to be so hygienic because what I do is another function the function that Luís has commented on in the castle of the three dragons or the restaurant of the exhibition what it does is advertising not what it does it’s with shields, uh, blue, medieval type, it doesn’t say that they can have a drink there, for example, no, or they’re with a soldier who were drunk at the time and therefore it’s advertising in the same way that we’re advertising here ‘another way through a story or a comic book a book etcetera etcetera in this case because we have an important difference the technique we start talking about functionality advertising and in addition there is another big difference and that earlier than more or less, more or less, the viewer has already explained it to us previously, the main character of the story is religious or has a religious aspect, while when we get to the hospital of Sant Pau, here the religious aspect at the level of the story is lost because it is the person who does charity that is represented on these panels, that’s why I put the first and the last one I also looked at let’s go let’s go with that we’ve come to agree, we’ve put the first image and the last image that he draws lluís domen here montaner en buixa 14 and then leaves two slopes ehm but the most important of this is that it is the civil frieze eh eh made in mosaic more important in Catalonia there is no other eh obviously there are churches such as for example sant josep oriol the tibidabo that we will see we will see exterior friezes in which religious stories and themes are represented but civil ones there are none although sometimes not when we enter the hospital and we also see images of sant jordi of sant cosme sant damián also makes us doubt whether this is civil or not, it is not civil, but in the case of the frieze it is absolutely civil, uh, we also agreed because, uh, continuing with the iconography, we discovered that Huguet really does what he does, uh, forgive me, barta, what what he does is get inspired by drawings from log guet and why because they are really from the period he was drawing and that the domenec told him to draw that period what is he doing so he goes to look for these erm these baroque paintings huh at the outset they are all very famous and very important and he is picking up points and making similarities with the drawings that are in these eh in these in these paintings we repeat but this one is much talked about as a toy it was important that’s why I went to look for it yes yes yes and in addition the terrace church eh the terrace churches are of great importance at the moment and therefore they are recognized as spaces that must be recovered even at the level of the mosaic pavement also in agreement therefore they are mirrors in which the architects, the decorators, the painters, etcetera, etcetera, etcetera, etcetera, etcetera, etcetera, etcetera, etcetera, etcetera, etcetera, etcetera, are reflected in it, well, I put this image of King Martí of Aragon, no, it looks very similar, but if you go to the pavilion I keep saying surgery, I don’t know if it still owes him that, but we see St. Cosmas and St. Damian side by side and it’s the vivid image of these two figures made in mosaic, this one is the same as the senator m yes eh until i everything sometimes copies copies not only the characters but the gestures in this case there is this transfer of what Isabel would be and the first the first wife of what Ramon Baranguer would be and then if you look I think that yes we put it on top, we could see perfectly that he is not only copying the images more or less from the time but even the postures at another time, we continue to evolve, but the frieze is what it does to evolve just iconographically with what it needs to represent and therefore this one which is already well-known the vicarage of Mari Fortuny which more or less represents the same moment which also highlights the idea of refinement when the panel is just talking about numerous legacies that from the 19th century onwards they are needed because the kings and men have already been put aside a little and what they need is for other people to make bequests and give money so that there is maintenance of the hospital in what would be written on the other hand, he tells us about the popular people who can also help with fairs or with other events that later this will be emphasized in the second period because that’s how we divided the two stages the second period we see again eh we keep updating and we keep updating the characters of such so with that the idea of the exhibition was a bit to see where everything was represented all the panels no and here we have Pau Gil again his image and if we look at the Pau Gil of the year that is making the will at the Spanish embassy in Paris because it turns out that it is very similar, what’s more, a mosaic portrait is being made, a mosaic with stone, a painting with stone, so forgive me, and on the other hand, we also agree with the one with the Pantheon in Paris but in this case I have put it because it is a very symbolic element of Paris and exact and from the window that must therefore represent the embassy that miquel looked at it to see if it could be or the house of the own pau gil if it could be the embassy but there had been a lot of movement of spaces and maybe it is simply a symbolic act representative of this we have seen that from the the the minute one of the frieze what they are not is religious figures are those people who help the destitute with all the senses and then well here we also see this representation of reality that is getting closer and closer eh finally this panel this panel that really dominates it doesn’t draw there are two panels that let me say without indicating that there must be but hey if I remember correctly and it was many years ago when he was trying to do all the description of mosaics etcetera etcetera he got to a point where he says ehm at the level of what he has to to be within the representations, there is no need for me to say anything else, you can finish it, let’s say it as you want, okay, to say eh sant jordi lès sant martí lès etcetera etcetera in this case it also seems as if I’m making this up, eh obviously the reading, you finish these two panels with what would be the crowning of the tower eh from the year 1909 and the other would be the first stone of the church eh m it’s incredible the synthesis ability of luis dè aquí montaner eh I can’t, it’s an impressive thing the capacity for knowledge that your great-grandfather comes to have in the architect and the way he transmits it and here comes the great ability to transmit ideas I think of his collaborators then he he has a very clear idea of what should be evidently on these walls and these walls and in this this historic frieze but hey in his friend it is very beautiful the word friend labarta is very beautiful because he is not a simple collaborator he is a friend is a person who is interpreting what I am doing and I want him to develop it, he doesn’t care about this whole list that was the same list that is in the other one in the other plan, eh, even so, the paper looks good what happens to him and he says from here on you agree and he simply sketches in the plans that he also in the archive has provided us with all the information all the plans all the possible details and for good then he teaches us that he makes a small sketch that is very far from what the sketch of the Palau de la Música Catalana would be because that sketch has to be published and instead in this case he simply makes a few lines indicating that there will be figures like these they are the collaborators, obviously the first big collaborator that sometimes I forget him and Lluís scolds me, he is Lluís they have a mountain man here because the Frenchman Labarta participates 100% who is the one who will be the cartoonist Ignacio Alfonso Vicente who does the letters or we come to the detail of a gentleman who is later a heraldist or who was already at that time and who really does the letters and the mic himself which is Mario Marello and all that Francisco eh he then dedicates himself to becoming a drawing teacher, and here we see, in the panel on the left, we see some stripes that are how he separates the drawing and then transfer it to the real one, or these photographs of what would be the library of Catalonia are very very interesting because they give us details of the execution and mario marano who has always dedicated himself to making mosaics but who also takes photographs of different elements that exist in the hospital of sant pau and later on many occasions publish them to Alfonso Vicente Mario Marano I think I’ve written it down copper 13 1 kicks to the bar about 5,000 kicks and Alfonso Vicente also has here his note of the hours he works and we also see these letters that they are gothic and that possibly the last two panels, also miquel, who looks also with, not with the microscope, it turns out that they are a little different and possibly those are not made by vicente, this would be the balance of all the parts of the director of "orchestra of the thousand and one ways that the architect himself has been called, he doesn’t think, he has the head, what he wants to do, he passes it on to Labarta, and Mario Marello passes it on with a drawing, and I copied that from Don Miquel, who gave us he did the great favor of being able to offer us this example in which you can see how the drawing or the architecture put what would be the drawings the photographs and the mosaic they are contemplating all this you have in the ‘exhibition I think is one of the things that clarifies everything more and this panel that does not exist the description by domenec but that labarta draws it therefore it is from the time and mario transforms it with what it would be then this this is this frieze is so beautiful oh forgive me yes this frieze that represents I think it is the tribute to Domen here Montaner in this sense it is the finished work something that cost so much to do many times no because it is like a small practically a tribute to the architect, we don’t know if it’s true or not, but we’ll see an image later, the Domenic wiki, eh, it’s a Domenic wiki, go to the archives of the College of Architects and Costa a lot of knowledge to begin with and when you put two or three chips in there you say oops I ‘m off I’m off I’m very loaded I can leave it’s terrible the amount the amount of material that this gentleman and his collaborators I understand was a bigger team and you will know this much better, you have a lot of material, an ability to discover everything and this front page or the comic book of the baron de guitard mosaic that has been practically I have gone crazy there was a thesis that he also told me a couple of fragments but it’s like the first hospital that exists in Barcelona and that’s what it’s called and it’s true that there’s a late baron who more than that if I remember correctly because now it’s already many days that we have done this, he went to fight against the Moors , etc. that we’ve looked at things eh it’s terrible other things like this I won’t tell you the details of the panels that are I find very suggestive the idea of the third barangay himself who wants to go and die in the hospital for the poor eh eh in the At the time, we found that the third barangay seems to want to go to the hospital in Santa Eulalia to die, and here they put the one in Santa Creu, because after all, in the end, Santa Eulalia is part of the group of hospitals that merge into the holy cross but also my domain that locates it domain that says the burning of this eh of the hospital that was very very very important even though there was only one death and that these are events that in 1888 are collected and what later they do it but he finds it or he says it or someone says he wants they want this and that to come out I said earlier that apart from the vicarage or the image of the refined bourgeoisie, there are also other collaborators of things that can help the beneficence of the hospital from the biner to the fair here is one of the jewels, there was also the pig fair or theater tickets, so everyone who lived in Barcelona needed a hospital and they are all part of this civil frieze, well, all the information that can be found in this frieze is very likely there was an organization behind it that was the hospital itself that also helped but given the curriculum eh he has the luscious Domenec and Montaner we could say that really they alone would do very well I erm eh we had planned now I’m finishing and I’m going fast how I’m here early, let’s see, I had raised other topics with Miquel that will involve many dialogues, many topics to study, and among them is the idea that as a citizen who lives in this neighborhood of the bare mountain, it is a topic that It took me a lot and that it wasn’t possible to work at the time because half the exposure was already eaten, then miquel said let’s do something closer let’s do the issue of water the issue of water was even worse because they eat we started to talk about the water of the difficulties of the domenec eh at the time let’s see yes well first eh domenec no no domenec and the marmes don’t come and see the terrain but then they have to qualify almost this terrain is well, so there is a very important process here the environment the environment is drawn by luís domain here I will put the hole in the middle and there are all these small images I go quickly because they are subjects to be studied this is also what the page would be website of the hospital there are many small references and perhaps the one that we know the most is the today the masques de noves school which was previously the hotel that Casanovas and that is why we call the street mas casanoves eh I want to say that or for example the civic center of the guinardó ok or that is things that luís domen here montaner draws as if it were a wonderful photograph eh theme of the water well we left i lost miquel taking things ii difficulties iii the even though he buys two mines and another other place where there is water the problem of water the issue of hygiene the issue of the need for water at the time that now we open a tap and we have everything very easy, the water bottled by the guell itself to see if I could get some ceró, eh, a source also of parla grace, eh, all the sources we found here in the lap of the guinardó and here we stopped, we said this can’t to be this is a subject for another day eh also a healthy space everything that is the environment of the hospital later years they worked on subjects such as for example the medical and pedagogical institute which I think still exists or the forest school the second forest school which was a civil school also of great modernity and then both the forest school and the sea school disappeared or the simple idea that we citizens of Barcelona came because I, in another life, had probably already been there, and I was from Auca, he went on a trip one day, he left the store and, going to the bare mountain, he really found that it was an animal take a horse-drawn carriage to get here to have rice and a rib but when he returned home he was so calm and liked it so much that after a few months the stevet came out because he wanted so much to say that the bare mountain has a history and this is a very quick graphic history because you have them in the exhibition but I think these images are wonderful here he said la mireia don’t you see the photograph on your right this is the the the the street of sant antoni maria claret doesn’t have anything to do with the banana tree that we have now that we can’t take photographs, okay, so this environment that today is so unknown exists at the moment itself and is ideal for making a hospital ui that doesn’t want me and to read the images and to read the images and well we won’t punish you anymore I’ve put you here with the one with the book kneeling and see if you really want to participate in these dialogues that only we have talked about so far, ok, thank you very much for coming and I wanted to thank the archive because without the exhibition, I know miquel la sara could not have done so much oh and then also the restoration company that also left us images and told us things about the mosaics etcetera etcetera well simply and in tone you just finished the introduction that I had forgotten well thank you very much very well then maybe because it’s already half past nine, we can adjourn the event and continue with another dialogue, thank you very much