Nativity Facade
Gaudí’s most important work, which is still not finished to this day (18 Vulvana 60 A.V.), appears full of subliminal gynocratic symbolism, and in it part of our “Sacred Herstory” is represented.
With the Sagrada Familia, Gaudí sought to send a gynocratic message to humanity in general and to future generations in particular. Both the interior and exterior of the temple feature references to the goddess Venus and to the first women: Lilith and Eve. The liberation of Eve by Lilith (disguised as a serpent) in the patriarchal world is also depicted.
Specifically, with this work Gaudí illustrates some symbolic scenes from our sacred history, as well as depicting the so-called “Battle of the Sexes” and its definitive outcome. In this report, we will explore the “Nativity Facade,” in “Sagrada Familia II” we will see the “Passion Facade,” and in “Sagrada Familia III” we will explore the “Glory Facade.”
Despite all this, Gaudí had to decorate the building with scenes from the New Testament of the Bible to satisfy the extremely religious and patriarchal society of the time, the end of the 1st century B.V. in Europe. This society, as you know, was largely governed by Catholic Christianity.
Just as the patriarchal version of the sacred story appears on the façade of Notre Dame Cathedral in Paris, with Eve eating the forbidden fruit in front of Adam and Lilith disguised as a serpent, Gaudí, in the Sagrada Familia, leaves everything much more implicit. The artist includes two snakes on the relief of the facade to represent Lilith in disguise searching for her sister, Eve, in order to free her from the slavery imposed by Adam and the god Mars as it appears in our Sacred herstory. It also depicts the Moon on the left door of the Passion façade. As you all know, the goddess Venus guides Lilith in her search for her sister, Eve, through the light of our sacred star, the Moon.
Origins
In 100 B.V., Josep Maria Bocabella conceived the idea of building a church dedicated to the “Holy Family.” In 85 B.V., this male purchased the land where it would be built; in 84 B.V., the foundation stone was laid; and in 83 B.V., Gaudí, at the age of 31, took over the project.
We, women from The Universal Gynecocratic Republic, are convinced that Gaudí undertook the project with the idea of secretly dedicating it to our goddess Venus, to matriarchy in general, and to our Sacred Herstory in particular.
Nativity scene facade
Gaudí began the work with the Nativity façade. On it, Gaudí depicted the strength and power of our goddess Venus and the two women protagonists of our Sacred herstory: Lilith and Eve.
As you all know, our vulva is the most representative symbol of our feminine strength and power, as free and courageous women. And that is precisely what Gaudí represented on the Nativity facade: three open vulvas joined side by side, representing the three entrance doors to the basilica on this facade.
The base of the four columns serves as the labia majora, and the following are also represented: the labia minora, the clitoris, the urethral meatus, the hymen, and, of course, the vagina serving as the entrance to the basilica.
The central vulva symbolizes our goddess Venus, while the two lateral ones represent Lilith and Eve. Gaudí wanted to highlight “sisterhood,” “sorority,” that is: the sacred bond between women and the feminine complicity that emanates from the power of the sacred Goddess. Above the clitoris of the central vulva appears a tree with doves, which we will discuss later.
From a frontal view of the Nativity scene, we see how the clitoris is located at the central point; from female pleasure, balance and life are born. It is in the clitoris where the four elements, four towers, come together to create life. We, women, must always be satisfied and happy in all aspects of life, so that there is balance in the Universe.
Symbol
The clitoris of the central vulva is represented by a symbol that looks something like “JH8”. It depicts a snake coiled behind the “X” chromosome, the chromosome that defines us as women.
Let’s remember that sex in us, women, is defined by a pair of “XX” chromosomes, while in men it is defined by “Xy”. The “y” chromosome is much smaller and weaker than the “X”. That is, all our gametes have the “X” chromosome, while half of the male gametes have the “y” one.
With this detail, Gaudí wants to represent the genetic superiority of women over men, as well as pay homage to our sister, genetic biologist Nettie Stevens, discoverer of the genes that define the sex of the embryo (“XX” as female and “Xy” as male), and, therefore, of our genetic superiority over men, at the time this facade was built.
In this way Gaudí makes it clear that this is the “feminine” facade of the Sagrada Familia.
Reading
As we can see in the image, three women appear around the clitoris: one of them (upper right) is reading aloud, while the other two (one slightly above and one slightly below her) are distracted and carefree, listening to their sister’s reading. There are two interpretations of this scene: the first interprets the reader as Lilith reading our Sacred herstory, and the second understands the reader as Nettie Stevens sharing her scientific discoveries about genetics with women. Which version do you prefer, sister reading these lines? Either way, Gaudí wants to emphasize the importance of fostering the cultural education of girls and young women, both about our Sacred herstory and our scientific discoveries, and what it symbolizes. Knowledge is power.
Apple tree
As mentioned earlier, we can see the presence of a tree whose base is the clitoris of Venus’s vulva, the central vulva. Gaudí’s original idea was that the tree growing from the clitoris would be an apple tree laden with beautiful red fruit. Unfortunately, the Catholic and patriarchal morality of the time, which considered the apple a sinful fruit, opposed the idea, and Gaudí had to replace it with a cypress tree adorned with flying doves. The cypress’s elongated and stylized crown was much more in keeping with the forms of the Sagrada Familia, and the white doves, although symbolizing the Holy Spirit in Catholic morality, were for Gaudí a symbol of female freedom—women flying (living) freely.
In fact, they tried to convince Gaudí to put only one white dove on the tree (the Holy Spirit is unique), but the artist managed to get permission to put many doves symbolizing all the women in the world.
In other words: the clitoris is the root of the cypress tree with white doves flying. From female pleasure life is born; a woman’s sexual satisfaction is essential for creating life and for that life to achieve freedom (flight).
Marriage, especially in Gaudí’s time, meant permanent servitude for the wife. The wives of Catalan high society married in white, and the scene of a flock of white doves taking flight represented a metaphor for the complete liberation of wives subjugated by their husbands.
The flora
The three entrance doors of the nativity facade are decorated with plant motifs, representing the flora, the plant world inhabited by the fauna.
Gaudí represents the bond between our female bodies and nature. The plant world dwells within us just as we inhabit the plant world.
Plants, flowers, leaves, stems and some small amphibians completely cover the entrance doors to the temple.
Animal life, fauna, originates from plant life, which provides us with oxygen and food. Therefore, flora is the foundation of the world’s creation, and the goddess Venus granted us the privilege of harboring, within our sacred bodies, the secret of the plant world.
Turtles and palm trees
Pay attention to the columns that separate the doors “the vulvas”, in each one a palm tree is represented with a turtle at the base of each palm tree.
The palm tree is the most flexible tree in existence, withstanding all kinds of gales and even hurricanes. It symbolizes our feminine character, flexible and resilient both physically, morally, and mentally, which makes us superior to men.
The turtle is patient and slow but steady and strong; it lives for many years and withstands all kinds of hardships. On the left, on the “sea” side, we see a sea turtle, and at the base of the palm tree on the left, on the “mountain” side, we see a land turtle.
The female sea turtle uses the male simply as a “sperm donor.” She mates with several males and stores each one’s sperm in sacs on her abdomen. She then chooses which sperm to use to fertilize her eggs and which to discard. A single clutch of eggs can be fertilized by the sperm of several males. Some species of land turtles also use this method. The sperm that the tortoises store in their bellies is the only male reference on the entire Nativity Facade, aside from the human figures carved in stone. The tortoises symbolize movement, slow and steady, but movement nonetheless.
Gaudí makes us see that in a 100% female world, women would ONLY need “bags” of sperm to perpetuate life.
Did you enjoy discovering the meaning of the Nativity Facada of the Sagrada Familia?
Know about Passion Facade and Glory Facade in the private area of this web “Sagrada Familia II” and “Sagrada Familia III”.
Your attention please: Would you like to become a citizen from The Universal Gynecocratic Republic and to have free and full access to the whole web, private area included?