Our Saviour described the Kingdom of Heaven as something that can be taken by force. He made this intriguing remark when talking about the mission of John the Baptist, as the last of the prophets, and a bridge to the Christian age: until then, the Kingdom of Heaven belonged to those who obeyed the Law given through Moses, from now the Kingdom belonged to the striving ones, those who persevered in search of virtue, using sometimes surprising methods (Matthew 11,12). This idea of perseverance as a paradoxical way of actively seeking the divine Grace is also mentioned in the parable of the unjust judge, who decides to make justice to the widow just because of her insistence.
When entering Sagrada Familia in Barcelona you get the same feeling of witnessing the work of a tormented believer who strives in a siege for the Kingdom of Heaven, not with the established methods of religious architecture, but with the weapons of modern art. Brilliant decorations, ingenious abstract forms make up a continuous theme, that repeats and asserts itself like Ravel’s Bolero, until everything starts to vibrate. Here modern architecture is turned into a liturgy in stone, giving shape to the words inscribed on the outside spires: “Sanctus”, “Excelsior” and “Hosanna”.
The inside of this cathedral is as impressive as disappointing its outside is. The reason might be that the inside bears the imprint of Gaudi’s genius, while the outside is yet to comply with master’s vision, who wanted it vividly painted and, of course, still has some decades until being finished. There are three monumental entrances, each with a facade dedicated to a major allegorical theme: The Nativity, The Passion of Christ and the Glory of God, each corresponding to the three Christian virtues, named by Apostle Paul: Hope, Faith and Love. Only the Nativity facade is the work of Antoni Gaudi, the third being yet to be finished.