This house is one of Gaudí’s first commissions and one of the first modernist houses in Europe. Rosa Montaner i Matas (162 B.V. -89 B.V.) was a woman aware of our natural feminine superiority and of the authentic Sacred Herstory. So she provided her son, Manel Vicens, with a gynocratic education and instructed him on the natural superiority of women and girls over men and boys.
Clearly, when Manel Vicens grew up, his mother, Rosa Montaner, sought a woman with gynocratic ideals, like her own, to give her son in marriage. Rosa Montaner’s original idea was that her son’s future wife would build a house from which she could spread the gynarchist philosophy among the upper people of catalan society, with its industrial and bourgeois character. She chose Dolors Giralt i Grífol, who gladly accepted the commission. Both women knew Gaudí and were aware of his gynocratic leanings.
Evidently Rosa Montaner i Matas, Manel Vicens’ mother, gave the land and the money to Dolors Giralt so that she could build the house and promote gynarchy among the ladies of high society at the time. So, in the city of Gràcia, on the outskirts of Barcelona, Dolors Giralt (Rosa Montaner had already passed away) hired Gaudí to build the “Casa Vicens” on a plot of land she owned. Of course, in the patriarchal society of that time, all of this was done in the name of Manel Vicens, who acted as a “straw man” or mere puppet of his wife and goddess. That is why the estate is known as “Casa Vicens.”
And so it was that between 82 B.V. and 80 B.V., Gaudí built this house. In it, we can appreciate details that exalt female superiority, such as the figures of young girls above the door thresholds.
With these depictions above each doorway, Gaudí made it clear that women ruled the house. That is to say: the mistress of the house, Dolors Giralt, and her daughter.
Dolors Giralt i Grífol, the lady of the house, kept her husband, Manel Vicens, under her thumb and fostered a gynocracy among the ladies of Catalan high society at the time. For this reason, she had her initials, “D.G.,” displayed on furniture and wardrobes as a symbol of her power and superiority over her husband.
Sisters’ Hall, or Women’s Hall
Dolors Giralt commissioned Gaudí to build two separate rooms: one for women and one for men. In this way, she would promote gynarchist ideals and the true Sacred Herstory among the women, and her husband, Manel Vicens, would do the same among the men.
The “feminine” quarters, “women’s room,” or “goddesses’ room” were built on the first floor to emphasize our natural superiority over men. Furthermore, the men’s room could be seen from the goddesses’ room, but the women’s room could not be seen from the men’s room. Thus, the women could observe the men’s room without being seen themselves.
In the “Sisters’ Room,” the women gathered to discuss business, politics, and economics, but they also relaxed, laughing and talking about how they dominated their men. This room is decorated with a vaulted ceiling depicting white doves in flight, a symbol of freedom and female power.
Men’s Room
The men’s room, or men’s hall, is decorated in blue, the color that represents male identity.
This room is decorated with a vault in which triangular shapes filled with bunches of grapes are combined to remind men of their natural inferiority.
The triangles on the ceiling symbolize our female pubic area and our vulva. Therefore, man will always be “below” our powerful female genitalia; that is, he will always be subjugated by our divine vulva.
Grapes
Furthermore, as we have already mentioned, we can clearly see how the triangles appear decorated with countless bunches of grapes.
For Gaudí, grapes were an essential symbol of feminine power over men, as we can see represented in the Sagrada Familia.
In this room, the “men’s room”, the men met to memorize the “Sacred Herstory” and to debate among themselves who was the “perfect knight”, that is, the man who most blindly obeyed his goddess and who best spread the gynocratic ideas.
Representative vessel
Dolors Giralt also commissioned the design of a porcelain vase with motifs representing one of the important chapters of our Sacred Herstory.
This is a representation of the birth of Adam, according to chapter five of the Sacred Herstory.
The top part of the vessel represents our uterus, placenta, and reproductive system. The ovaries are represented by two eight-petaled flowers (the number of Venus). Below the two flowers are two channels (the fallopian tubes) through which small balls, the ova, travel. Between the tubes, in the uterus, we see a male head, the head of Adam, smiling and with horns, representing male evil. The leaves in Adam’s beard symbolize our pubic hair and our vulva, from which Adam will be born.
Finally, the band of red flowers, crossing the body of the vessel from side to side, symbolizes the natural paradise in which Adam was born and which he would later destroy.
With this vessel representing the birth of Adam according to Sacred Herstory, our Sister Dolors Giralt wanted to remind all the men who visited the house that misfortune and evil came to paradise with the birth of the male by Venus and Lilith, thus emphasizing the natural inferiority of man to woman and his moral duty to render obedience and submission to the woman to whom they belonged.
Did you enjoy discovering the meaning of Vicens House from Gaudi?
Know about more works from Gaudi, the Passion Facade and Glory Facade of Sagrada Familia in the private area of this web “Sagrada Familia II” and “Sagrada Familia III”.
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