The Basilica of La Sagrada Familia in Barcelona. An amazing structure, quite, or perhaps almost, unique

We have been staying in Sitges for the last five days, enjoying the sun and the warmth, although as our perverse climate would have it, the temperature in southern England shot up to 25c, whilst in Spain only 20c but nevertheless very agreeable.

We took the train into Barcelona, which proved very straightforward, not to mention cheap in comparison to the steep fares charged around the London area. The journey took about forty minutes. I had already bought timed tickets for the Sagrada Familia on line before I left home. What a boon that proved to be as the crowds queuing for tickets when we arrived were formidable

We were, of course, very early, so time for a coffee, and a stroll round the outside of the building, taking in the details. We were last here twenty years ago, and the place, even inside, was a construction site. High up in the heavens magnificent cranes are working with the sensitivity and lightness of touch that you might expect from an artist.

After lunch and another stroll, our tickets allowed us to enter and we went inside. I don’t often use the word “breath taking” but we were looking at a masterpiece.

We associate this building, sometimes called the third cathedral, with Antoni Gaudi, the incredible architect in the Art Nouveau style, who adapted Gothic architecture to produce this wonderful building. He took over the project in 1883, and stayed with it until his untimely death in 1926. During all this time he is also completing other large projects for the Guell family and also for the Church.

So much has been achieved since our last visit. The nave with its paraboloid arches which seem to reach up into the heavens, will be my enduring memory. Colour is everywhere, as the light streams through stained glass. Detail is everywhere, small animals, leaves, vegetation as well as so many human figures representing the Nativity and other stories. Gaudi was devoted to nature. He was also extremely devout, and his interpretations of the liturgy, I found moving. So much detail, too much to record here.

In the cloister which surrounds the building, is situated the museum, now open, which records the timeline of the whole construction period. Gaudi’s models are on show and his drawings, which enabled successive craftsmen to carry on his work. Still much to do, with a projected finish date of 2026. I wonder if I will get back to see that. Could do, I certainly hope so