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The exterior walls that form the different
façades of the palace were made of grey granite,
whereas in its interior, Gaudi used load-bearing walls,
piers with capitals, rib vaults an ogive archs.
Except for the main doorway that has splayed
archs, the construction forms a unity of composition. The
different turrets contribute to the verticality of the palace.
The slender exterior view of the building is due to the
Neomedievalist use of corners.
On the cellar there is a magnificent large
room, with a gloomy severe atmosphere, that supports all
the beauty that can be found on the upper floors. Here Gaudi
was influenced by his preference for the Neo-Mudejar style,
materialized in the austerity of the stone piers, the simplicity
of the brick decorations and the creativity of the vaults.
The first floor, which has the perfect shape
of a Greek cross, includes the most beautiful rooms, intended
as places to live, work, relax and be secluded. The throne
room is the most important room, for its outstanding height,
slenderness and well-proportioned forms. The study is noted
for the reddish tones on the glass windows. The dining room
is full of the light that comes through the large and diaphanous
stained glass windows on which are represented allegories
with fruits and flowers sorrounded by inscriptions. The
Chapel is the key piece in the Neo-Gothic structure of the
building. On the exterior it forms a triple apse with stained
glass windows, flying butresses, gargoyles, superposed lattices
and slender solid abutments. In its interior predominates
a mysterious and secluded atmosphere. The walls are decorated
with large frescoes on the side walls, Modernist tiles,
polichrome glass windows, influenced by a variety of styles,
and a magnificent altar dedicated to the Virgin.
Unfortunately Gaudi never completed this
work. When the bishop who had commissioned him the palace
died, the architect gave up the project. Nevertheless, those
who continued the works, tried hardly to follow the project
dreamed up by Gaudi.
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