10 modernist artists you should know about

Almost everyone knows the great modernist architects such as Gaudí, Domènech i Montaner or Puig i Cadafalch but not so many know the great painters, sculptors and other artists who worked with them or on their own great works. Today we share with you a selection of 10 Catalan artists of Catalan modernism that you should know.

1 Lluís Domènech i Montaner

Domènech i Montaner was not only a well-known modernist architect of his time, but also responsible for the training of other great architects of his time such as Gaudí and Puig i Cadafalch. He is known as one of the most famous and valued artists of Catalan Modernism, and several of his works have been catalogued as World Heritage by UNESCO. He is the author of buildings such as the modernist enclosure of Sant Pau, the Lleó Morera house and the Palau de la Música Catalana. 

2 Ramón Casas

Ramón Casas is one of the most famous modernist painters, especially for his well-known portraits of prominent figures. Among those who passed through his brushes, we can find Pablo Picasso, Puig i Cadafalch and Santiago Rusiñol. Ramón Casas i Carbó was born in Barcelona on January 4, 1866. He is known as one of the great painters of Catalan modernism for his various creations. From portraits to posters, postcards and even comics, they all form part of his work. Through his work, we can better understand the life of the early 20th century and its great artists.

3 Josep Llimona i Bruguera

Josep Llimona i Bruguera is one of the most famous sculptors of Catalan modernism and a famous collaborator of Gaudí. Josep Llimona is considered one of the main representatives of modernist sculpture. Among his prolific works, one of his most outstanding is "Desconsuelo", which won an honorary prize at the Barcelona International Art Exhibition in 1907. He also collaborated with Gaudí in Montserrat to create the sculpture "Cristo ressucitat". In 1920 the entire room of the Barcelona Art Exhibition was dedicated to him in homage. A few years later, he created the statue of St. George, considered one of his masterpieces.

4 Antoni Maria Gallissà

Antoni Maria Gallissà is an important modernist architect, a close friend of Josep Puig i Cadafalch and a regular collaborator of Lluís Domènech i Montaner. One of his most famous and well-known architectural works is the Casa Llopis Bofill in Barcelona. As for Gallissà, despite being an architect, it must be said that he also stood out a lot in the design of decorative elements. 

5 Josep Maria Jujol

Josep Maria Jujol i Gibert was a Catalan modernist artist and a regular collaborator of Gaudí.

During his studies, Jujol worked with architect and professor Antoni Maria Gallissà i Soqué (he was considered a great teacher) to carefully design decorative details. Josep Maria Jujol had not even finished his studies when he started working with Gaudí in places like La Pedrera, Casa Batlló or Park Güell. Besides maintaining a close relationship with great modernist architects such as Gallissa or Gaudí, Jujol also created a very personal style. He is characterized by his great attention to detail, his religious decorations and the colorism of his works.

6 Antoni Gaudí

Can anything new be said about the great architect of nature? Who does not know his work? We can tell you a couple of curiosities that not everyone knows. For example, Gaudí almost never designed his works on plans, but rather on three-dimensional models in full detail. This way, collaborators could see it as he had projected it in his mind. Another detail that we confess is that the famous technique of "trencadís" that we can see in his work, was invented by himself and was used for the first time in the construction of the Güell estate.

7 Josep Puig i Cadafalch

The young Puig i Cadafalch was one of Domènech i Montaner's disciples. He is considered one of the last representatives of Catalan modernism and one of the first representatives of Noucentisme. His works are usually divided into three periods: modernist, idealist, rationalist and memorialist. During his modernist period, he created famous works such as Casa Amatler, Casa Martí or one of his most famous works: Casa Terradas or Casa de les Punxes.

8 Pere Caselles

Pere Caselles i Tarrats was a very important modernist architect for Reus. When he was young he was an assistant to Domènech i Montaner and discovered architectural modernism directly in collaboration with the Pere Mata Institute. Most of the modernist buildings in Reus are attributed to Caselles, although not all were signed by him. As a municipal architect, he was not allowed to accept private commissions because it was considered incompatible.Many of his plans were signed by his friend, also an architect, Pau Monguió.

9&10 IIsidre Gili and Pau Salvat

These are not one, but two modernist architects who projected much of their work together.

A curious fact about Isidre Gili and Moncunill is that not all their work is in Catalonia, but they also have it in Logroño. His works in Barcelona are of small dimensions.  Most of his work can be found in Igualada. In this city he began to design projects with Pau Salvat and later they would also design in Lleida.

Pau Salvat was not only a great modernist architect, but he was also an editor, specifically of Salvat Editors, the publishing house he inherited from his father.

Salvat was the municipal architect of Igualada, where he designed several buildings with Gili.

Isidre Gili and Pau Salvat met for a few years in Igualada and later in Lleida and designed emblematic buildings in both cities.

What did you think? Did you know all these modernist artists? If you are still curious and want to know more, click on their name to discover our articles about them.

Modernist stained-glass windows, between innovation and tradition

The modernist artists recovered the old technique of decorative stained-glass and introduced it in their architectural works. This meant a revolution in their use, manufacture and traditional themes.


The passage of the decorative stained-glass from the religious to the civil area brought about a modernization of the existing themes and the creation of new ones destined to the decoration of spaces where until then it was not usual to find them as halls, offices, shops. 

With the modernist buildings appear new decorative motifs, among which the production of floral and plant themes predominate. During the Modernism, the stained-glass became popular and reached all the daily spaces, being incorporated in the furniture as a decorative element and going beyond the representations of religious character.


While the manufacture of the stained-glass continues to be a craft and the imprint of industrialization is very low, the same does not happen with the systems for processing the raw material: glass. The mechanization of the production of the glass plate involves: 

  • A wide variety of printed glass using new models with many textures and shades. 
  • The glass molds are produced in series from a matrix. These are small glass pieces that could have different colors and shapes (circular, square, rhomboid, etc) and were manufactured industrially. In the modernist stained-glass windows it is customary to use combinations with other types of glass. 


Parallel to the industrialization process, with their research the modernist glassmakers solve the problems of firing that presented the stained-glass windows of previous times and improve the ancient techniques of polychrome on glass. 

From the research carried out at this time, three technical contributions should be highlighted: cloisonné glass, Tiffany glass and “tricromía”.

  • Cloisonné glass: It is made from small glass balls that fill the holes created by copper filaments. Everything is glued between two sheets of glass.
  • Tiffany glass: It was created in 1900 and it is not dyed. Oxides are used in the making of the drawings and the pieces are baked.
  • Tricomía Glass: This is a superposition of glass composed of two or more sheets of different colors or primary colors. The result is a composition that weighs a lot, which caused it to be used less and less.
  • Mosaic glass: It is characterized by a minimal pictorial intervention in the glass. The glass is the protagonist and the plays of light and colors are obtained by combining glasses of different typologies and tonalities. 

On the other hand, lead, which until then had only been considered a basic element for supporting the glass plates, will become the main element of the design.

Unlike the glassmakers of previous periods, many modernist artists will receive academic training at the Llotja School in Barcelona. This education will provide the specialist with more training than the traditional medieval craftsmanship, developed within a guild structure. 

Did you know all these data about the modernist stained-glass windows? If you are interested in modernist craftsmanship you can't miss these 5 modernist smiths that you should know.

Pere Caselles i Tarrats, the modernist jewel of Reus

Pere Caselles i Tarrats was a very important modernist architect for Reus. Most of the city's modernist buildings are his work, although curiously not all bear his signature.


Pere Caselles i Tarrats was born on 1 November 1864 in Reus. During his youth, he studied in Barcelona and obtained the title of architect at the age of 25, in 1889. The following year, he was already the municipal architect of Terol and a year later, of Reus, a position he held for almost all his life. During this stage he became Domènech i Montaner's assistant and discovered architectural modernism first-hand with his collaboration in the works of the Pere Mata Institute.

Pere Mata Institute

Authorship controversy

Most of the modernist buildings in Reus are attributed to Caselles, although not all are signed by him. As a municipal architect, he was not allowed to receive private commissions, since he was considered incompatible. Many of his plans were signed by his friend Pau Monguió, the architect from Tarragona of his promotion. Some Monguió’s works in Tortosa were also signed by Pere Caselles, for the same reason, since the former was the town's municipal architect. The plans given to the owners that are still preserved do not coincide in terms of signatures with those of the building permit files, which is why it is difficult to ensure that some buildings were designed by him.


Casa Munné/Abelló, Estació Enològica, Casa Sagarra



Pere Caselles i Tarrats was murdered at the beginning of the civil war, on 28 July 1936. His file was destroyed during the raid on his office, the same day he died from a gunshot wound. Pau Monguió's archive was also destroyed by a bomb, so studying his relationship and the authorship of his works is a difficult task.


Do you know of any other examples of modernist authors with controversial authorship? If you found it interesting, we recommend you to discover Francesc Berenguer, the shadow of Gaudí.

Isidre Gili and Pau Salvat, the modernist tandem

Isidre Gili i Moncunill and Pau Salvat i Espasa were unconventional Catalan modernist architects who designed part of their work together.

Isidre Gili i Moncunill

A curious fact about Isidre Gili i Moncunill is that not all his work is in Catalonia, but he also has some in Logroño.

His works in Barcelona are of small dimensions, such as the Casa Ernest Castellar (1914-1915), a building between party walls, elongated and with a modernist decoration that includes sgraffito, ceramic decoration and plays of colours.

The most prolific and diverse part of his work can be found in Igualada, where we find several of his works of an industrial nature, modernist reforms such as "Cal Blai" or iconic houses such as the well-known "Ca la Mamita", also called "Cal Franquesa" (1905-1906). In this city he began to design projects with Pau Salvat and later they would also design in Lleida.

Finally, we find the work he did in Logroño, a four-storey house for the successful businessman Antoni Garrigosa Borrell, which became known as "Casa A. Garrigosa" (1902). In this house, workers and materials imported from Catalonia took part and to build the viewpoints it was necessary to modify a municipal ordinance. The ceramic decoration and the sgraffito on the façade of this building stand out.

 Casa Ernest Castellar / Can La Mamita / Casa A. Garrigosa

Pau Salvat i Espasa

Pau Salvat was not only a great modernist architect, but also an editor, specifically of Salvat Editors, the publishing house he inherited from his father. From 1916, the latter moved its headquarters to a building he designed himself.

Salvat, in addition to being an architect and publisher, was also very involved with the political and cultural contemporaneity of the time: he was president of the Association of Architects of Catalonia, of the Catalan Institute of the Arts of the Book and of the Centre for Intellectual Property. He was also a councillor of the Barcelona City Council for a while, until he had to retire for health reasons.

Salvat was the municipal architect of Igualada, where he designed several buildings with Gili and planned the cemetery of the poor (1909) and the Igualadí Athenaeum Theatre (1913). He designed the Casa Oller in Barcelona, with influences from Puig and Cadafalch and the Editorial Salvat building, among others.

Teatro Ateneo Igualadí / Casa Oller / Editorial SalvatTheir work in common

Isidre Gili and Pau Salvat met for a few years in Igualada and then in Lleida.

In Igualada, while Salvat was the municipal architect, they built the emblematic Igualada Slaughterhouse (1903-1905), a covered market, popularly called "La Pajarera" (1905-1910) and Cal Ratés (1908).

Igualada Slaughterhouse (1903-1905)"La Pajarera" (1905-1910) Cal Ratés (1908).In Lleida, they also built an emblematic building of the city, the Main Casino (1913-1920). This building is characterized by its historicist style and the columns with Ionic capitals on which the semicircular arches rest stand out.

Did you know these two modernist architects? Do you know more modernist architects working together?

Hydraulic ceramics, the modernist pavement

Have you ever noticed the floors of modernist buildings? Their decoration is so detailed that they look like carpets! Most of these floors are made of hydraulic ceramics, a type of handcrafted flooring very common during the Art Nouveau era.

Relation with Art Nouveau

Until the middle of the 19th century, noble floors were mainly made of marble. But at the Universal Exhibition in Paris in 1867, a new type of tile was presented that would largely banish the old materials: a tile that was made without firing, only with presses. This was the birth of hydraulic flooring. In Barcelona, the great expansion of this material coincided with Modernism. For this reason, great architects of the time such as Lluís Domènech i Montaner or Josep Puig i Cadafalch incorporated it into their buildings.


The hydraulic tile was manufactured piece by hand. It had three layers:

  • The visible, decorative layer, based on a mixture of white marble powder, white cement, sand and pigments. This is the visible surface. It was about 5mm thick. The colors of the designs were created by adding the color pigments to the mixture and adding a little of mixture to each segment of the mold to make the desired drawing.
  • The body, which was similar in thickness, was made only of gray Portland cement and sand, which absorbed excess water from the thin layer.
  • Base of the tile, made with gray cement and sand, about 12 mm thick, and is the layer that adhered to the floor. Its porous surface meant that it adhered easily when the tile was laid.


The entire mold with the three layers was placed in a hydraulic press, which consolidated it under pressure. Once the operation was completed, a hardening process began, which required the necessary humidity to strengthen the cement. The name hydraulics comes from being submerged in water for 24 hours and then kept moist.

The measurements of the hydraulic mosaics were diverse, there were 10 x 10 cm, 20 x 20 cm, 40 x 40 cm and even more measurements. Their designs often had floral and vegetal motifs inspired by the classic models. On the floors of the Casa de les Punxes you can find some of them designed and decorated by Enric Monserdà and other modernist artists and a small permanent exhibition on hydraulic flooring. You can also buy a replica of a tile from different modernist buildings in our shop.

Did you know about hydraulic flooring? How it was manufactured? If you want to know more about the pottery of the Casa de les Punxes, visit this entry about the secrets of the pottery of the Casa de les Punxes.

10 curiosities you need to know about Gaudí

You are probably familiar with the works of the world's most famous Catalan Modernist architect: La Pedrera, Casa Batlló, La Sagrada Família... His life is often much less well known. That's why we have made this compilation of 10 curiosities about Gaudí, so that you can get to know him a little better:


  1. Even today, where Gaudí was born is a mystery. Some biographies indicate that he was born in Reus, while others indicate that he was born in Riudoms.
  2. He was a very sickly child, who spent long periods of rest in the Mas de la Calderera, a family country house in Riudoms where he could have been born and observed the nature he would later use in his work.
  3. The director of his primary school, Francesc Berenguer, was the father of one of his great collaborators: Francesc Berenguer i Mestres.


  1. When he moved to Barcelona, he worked while studying to pay for his architectural studies, in which he did not stand out as a good student, but was rather irregular.
  2. When he finished his studies, the director of the School of Architecture, Elies Rogent, declared about him: "I don't know if we gave the degree to a madman or a genius, time will tell".
  3. Two years before he finished his studies, his brother and mother died. A year after finishing them, his other sister died, leaving a niece with serious health problems in the care of him and her father.


  1. His relationship with Eusebi Güell was not only one of patronage, but also one of his deepest friendships.
  2. He almost never designed his works on plans, but on three-dimensional models in every detail. In this way, the collaborators could see them as he had projected them in his mind.
  3. His famous "trencadís" technique was invented by himself and was used for the first time in the construction of the Güell estate.
  4. When he died, he was run over by a tram and nobody recognized him because of his careless appearance, until he met the priest of the Sagrada Familia in the hospital. 

What did you think? Did you know these curiosities about Gaudí? 

The modernist craftsmen of the Casa de les Punxes

Who designed the incredible ceramic panels? And who made the detailed and delicate wrought-iron flowers on the façade? Who made sure that the windows were one of the main atractions at the entrances to the house? Here we introduce you to the modernist craftsmen of the Casa de les Punxes and we answer all these questions.

Enric Monserdà

Enric Monserdà was in charge of all the decoration of Casa de les Punxes. This was not the first time he worked together with Puig i Cadafalch for the Terradas family. He had already been in charge of the decoration of the family's Mas Sobrevia in Seva. In this ancestral home, where he worked between 1901 and 1905, religious decoration was the main feature, as is usual in the decorations of Monserdà. His relationship with the Terradas family was so close that he had lived for long periods both in Mas Sobrevia and in the Casa de les Punxes, for reasons of rest and relaxation in the case of the former, and temporarily set up his studio in the Punxa Principal in the latter.

The peculiarity of his style is very present in the decoration of Casa de les Punxes, where we find representations of religious figures such as Saint George and several symbols that refer to the Church and the Holy Trinity. Of his designs in the Casa Terradas, we highlight the incredible ceramic panels, as well as the designs of the details of the stained-glass windows and the decorative elements of artificial stone and iron. Monserdà not only designed the decoration of the walls, façades, floors and ceilings, but also participated in the decoration of the furniture inside the house.


Casa de les Punxes

Amigó Workshop

It was known in its time as the most important glass workshop in Barcelona. The artists Josep and Joaquim Amigó, among others, worked together with Enric Monserdà, who was the artistic director of the workshop.

The works of the Amigó Workshop are present in such important works of Catalan Modernism as the Expiatory Temple of the Sagrada Familia or the Casa de les Punxes. In the latter, the windows of the entrances to the house are particularly noteworthy, with vegetable and floral motifs in different colors and textures. This vegetable decoration, together with the wrought iron details of the railings and the sgraffito motifs on the walls of the staircase, introduces nature into the house, creating continuity with the decoration of the façades.


Vitral taller Amigó modernist craftmens

Manuel Ballarín i Lancuentra

Ballarín was one of the main modernist forgers who existed in Catalonia. During his years of work he collaborated with different architects and artists of the time, but especially with Puig i Cadafalch. Their collaboration was so close that Puig and Cadafalch became partner in his workshop "Manuel Ballarin y Cia S.L.".

The Ballarin Workshop innovated and modernized the production of modernist forging, making pieces in series in a mechanized way. These pieces were arranged in a catalog from which you could choose predefined designs. This technique greatly reduced the cost and selling price of its pieces.

In the Casa de les Punxes we can find details of forging by Manuel Ballarín all over the outside of the house, on the roof, on the entrances and even in the Punxes. His motifs are always vegetable and floral, forming part of the nature that surrounds and forms part of the Casa de les Punxes.


Taller Ballarín modernist craftmens

Alfons Juyol i Bach

Juyol was a Catalan sculptor specialized in architectural decoration. He shared a prestigious sculpture and stonework workshop with his brother Josep Juyol known as "Juyol Brothers". He was a very perfectionist and had the peculiarity of making models of the decorations that he would make to the facades of the buildings that hired him.

Alfons Juyol collaborated with great modernist architects such as Puig i Cadafalch and Domènech i Montaner in buildings such as Casa Amatller, Casa Macaya, Casa León Morera and the Palau Baró de Quadres. Other great modernist artists such as the founder Manuel Ballarín, the sculptor Eusebi Arnau, Miquel Utrillo, the ceramist Maragliano and the decorators Moragas and Alarma also trusted their work.

Juyol collaborated very closely with Puig i Cadafalch in many of his works and the Casa de les Punxes is one of them. We can find details of his work such as the stone decoration of the Main Punxa with the anagram of Àngela Terradas Brutau, among others. You can discover it in this link from one of our guides.

Did you know all the modernist craftsmen who collaborated in the Casa de les Punxes? Which one is your favourite?


Panel cerámico Casa de les Punxes

The secrets of the Casa de les Punxes ceramics

The Casa de les Punxes stands out on Avenida Diagonal for its monumentality and unique style. One of the elements that stand out, apart from the reddish colour of its facades, are the Punxes characteristics of the building. Also at the top of the house are the well-known ceramic panels of the Casa de les Punxes, one of the decorative wonders of Enric Monserdà. Inside the house, other ceramic jewels are hidden waiting to be discovered. In this article we will make a compilation of the most significant ones.

  • Ceramic panels

The ceramic panels are one of the most impressive decorative details of the Casa de les Punxes. The panels are the exterior decorative element that reveals that the Casa de les Punxes, despite looking like a unitary building, is divided into several houses. At the Casa de les Punxes we can find five panels, two in Josepa's house, one in Àngela's house and the other two at the house of Rosa. In all of them, we can see symbols that indicate the relevance of each one of the houses to the three sisters, except in Saint George’s panel, in which we find a hidden reference in the architect of the house. In the next article of the blog we will learn more about the symbolism of these panels.


ceramic Casa de les Punxes


  • The Punxes

The Punxes majestically crown the Avenida Diagonal. On the main facade of the building, which overlooks Rosselló Street, we find a Punxes of a larger size than the others, which breaks the symmetry of the house. All the punxes are covered by ceramic tiles in the shape of scales. Those are made by hand and therefore are imperfect and even have different shades and colors.

These ceramics are attached to the surface of the tower one by one and lime mortar is used as a fixture. This allows expansion according to temperature without the structure being altered. Their arrangement allows to highlight the dome shape of the punxes. These scales are very delicate, so they have been restored several times following the traditional procedure. Here we can see a process of creating similar ceramic pieces. Also, noteworthy are the glazed ceramic pieces which, placed on the tiles, act as a link between the two sides of the roof. These stones are signed by J. Arpí. This indicates that they could be materials manufactured by the craftsman from Lloret, Pere Arpí Garí, with whom Puig i Cadafalch worked on some previous project.


ceramic Casa de les Punxes


Technicals innovations in the ceramic "Punxes" of Casa de les Punxes

Puig i Cadafalch applies a technical innovation in the punxes. In these, he uses iron to be able to collect, channel and divert the loads (internal and external forces) towards the foundations. On the one hand, Puig i Cadafalch uses reinforcement belts (made of iron) that act as containers for the forces and help to alleviate the flow of loads. As far as ceramics are concerned, we find the rings or strips of ceramic brick that work under pressure forming the internal skeleton of the tower together with the metal belts. In this way, the weight of the turn is perfectly channelled and distributed.

This constructive revolution is remarkable in the biggest Punxa, in which it takes the structural advances to a maximum extreme. The metallic structures are no longer supported on columns, but hang by means of metallic strips that work by traction. That transmit the loads of all the weight to the circular ceramic brick perimeter, making them work in compression. In this way, the floors of the towers "float" as they do not distribute all their weight on the perimeter walls. They are held in place by the metal strips working in traction.


ceramic Punxes interior


  • Ceramic tiles

In the Casa de les Punxes the ceramic tiles of its main entrances are well known, and we can also see them under the balconies of the facade. The majolica tiles, designed by Antoni Maria Gallissà, had been used before in another building designed by Puig i Cadafalch for the Terradas family: the Sobrevia farmhouse. He also used this same majolica in the Palau Macaya, as part of the decoration. The tiles, although independent, have a design that allows them to be combined to form another joint design.


Majolica ceramic


Did you know all these ceramics from the Casa de les Punxes? If you found it interesting, we recommend you also read the following article about the symbolism in the ceramic panels of the Casa de les Punxes.

Josep Maria Jujol and the colors of Catalan Modernism

Josep Maria Jujol i Gibert was a Catalan modernist artist contemporary with Puig i Cadafalch, Domènech i Montaner and Antoni Gaudí, among others. Jujol was a close collaborator of Gaudí.

Josep Maria Jujol was born on September 16, 1879, in Tarragona, from where he moved in 1885 to live with his parents in the Vila de Gracia. Since he was a child, drawing was one of his hobbies and his sensitivity to colors was evident. He studied at the School of Architecture in Barcelona between 1901 and 1906, when it was directed by Domènech i Montaner.

The relationship between Josep Maria Jujol and Antoni Maria Gallissà

While he was studying, Jujol collaborated in the elaboration of decorative details with the architect and professor Antoni Maria Gallissà i Soqué, whom he considered his great teacher. Gallissà was a great friend of Puig i Cadafalch, known for his great decorations. One of the colorful majolica designs of Casa de les Punxes is his, in which one can appreciate his great sensitivity to detail and the color that Jujol incorporated into his style.


Mayólica Antoni Maria Gallissà

Even before finishing his studies, Josep Maria Jujol started his collaborations with Gaudí in La Pedrera, Casa Batlló or Parque Güell, among others. The young architect was fascinated by Gaudí's work and put all his enthusiasm into his collaborations with him. The vibrant colors of Casa Batllo's façade are attributed to Jujol, as well as the design of the balconies of La Pedrera, among others. One of his most famous collaborations is the one with the Park Güell, where the colorful solution of the great undulating bench was the work of Jujol, as well as the soffits and the decoration of the hypostyle room.


Mosaico Park Guell Josep Maria Jujol Gaudí

Apart from his close relationship with great modernist architects such as Gallissà or Gaudí, Jujol built a very personal style. This was characterized by great attention to handcrafted details, his religiousness, and the colorism of his works. These characteristics can be seen in one of his most famous works, Can Negre, in Sant Joan Despí.


Can Negre Josep Maria Jujol

Throughout his life, Jujol suffered from various chronic ailments, which ended on May 1, 1949 due to an intestinal perforation. The modernist artist was buried in the family niche, with a tombstone he had designed himself.

Saint George, a multi-faceted hero

Saint George has a special relevance within the Catalan culture, that's why this festivity is very special and very celebrated in Catalonia.

He was and is one of the most popular saints, venerated by different religious confessions. Jacopo da Varazze wrote the legend of Saint George and the Dragon in the 13th century in his work "Legenda sanctorum", in which he collected fables of several saints. In a short time the legend had spread all over Europe.

An ancient legend

The legend of the knight who slays the dragon does not begin with St. George or the Christian imagination, but is believed to be an assimilation of much older legends. For example, we find a similar legend in a Sumerian epic from three thousand years before Christ. We can also find references in this legend to Ancient Egypt or the Roman Empire.

Today, the legend and St. George's Day are celebrated in many countries around the world. This saint is the patron saint of Catalonia and Aragon, but also of many cities and countries such as England, Russia, Poland or Greece, among others.

Saint George in Barcelona

St. George's Day is a very popular celebration. Its patronage of Catalonia is a common element in different Catalan artistic currents and expressions. This is the case of Modernism, which very often uses the figure of Saint George in its works. We can see representations and allusions to his figure or the dragon in several Modernist buildings in Barcelona such as Casa Batlló, Casa Amatller, Palau Güell or Casa de les Punxes. In the Casa de les Punxes we find a ceramic panel designed by Enric Monserdà. On it, the courageous knight with the sword over the dragon appears together with the inscription in Catalan: "Patron Saint of Catalonia, give us back our freedom".

This is not the only element that reminds us of the legend of the house. The scales of the fierce dragon's back come to life in the characteristic Punxes, besieging the house from the sky.

The brave knight was a very important figure for Catalan modernism, and especially for the work of Puig y Cadafalch and Enric Monserdà, the respective architect and decorator of Casa de les Punxes. That is why the Casa de les Punxes has a route designed to rediscover his legend, as well as to penetrate its symbolism, its history, Catalan modernism and the figure of its architect, Puig Cadafalch.