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Barcelona's popularity in recent decades has made the Temple of the Sagrada Família, regarded unreservedly by many as Gaudí's masterpiece, the tourist Mecca and the architectural symbol of the city. But the building most frequently admired and loved by the citizens of Barcelona is this one: the jewel of Catalan Gothic, Santa Maria del Mar. In Catalonia and the Catalan-speaking regions there are many architectural gems of this period (roughly late 13th-early 16th Centuries), mostly in the form of cathedrals, monasteries, universities, and sundry civic buildings. None, however, are more exquisite in conception and audacious in ambition as Santa Maria del Mar.
Construction of the present building began in 1329 on the site of a much older church known as Santa Maria de les Arenes (Holy Mary of the Sands). The name suggests that the sea was much closer to this spot in those times than it is today. The remains of the city's patron saint, Santa Eulàlia had been moved from this church to the Cathedral, and it was decided to build in its place something utterly divine. The first architect was Berenguer de Montagut, who was later replaced by Guillem Metge in the latter stages of the construction. The immediate neighbourhood, known interchangeably as the Ribera or Born, was then the city's commercial heart. Trades are evoked in many of the names of the streets: silversmiths, glassmakers, milliners. The small square opposite the façade, Plaça de Santa Maria, does not allow the visitor to stand back far enough to appreciate the splendour of its composition. The sense of harmony in the proportions and austerity in the ornamentation are explained by the relatively short time it took to build. In contrast, the building of the Cathedral spanned from 1298 to 1448, and then saw the construction of a neo-gothic façade between 1885 and 1915. Santa Maria del Mar was built in just 55 years. It is said that most of the city's able-bodied men took part in its construction. This deep civic involvement has contributed to its enduring popularity.
It is ironic that this peaceful, silent edifice has benefited from violence: anarchists during the Civil War burned the baroque altarpiece and images, revealing an austerity so poetic and a rectilinear structure so awesome in its purity, that the magnificence of the original design is now fully revealed. The sheer scale of the nave is overwhelming to the visitor, powerfully enhanced by delicately shafts of morning light as entrancing as the octagonal columns that hold this marvel together. The spacing of the columns - 13 metres - is the widest of any Gothic church in Europe. The sensitive visitor will be both humbled and exalted in the presence of this visionary edifice.
If you have time for just one religious building in Barcelona, this is the one to see.