New York , NY, Estados Unidos : New York Graphic Society, 1965.

cxxvii, 124 p. : il. ; 23 cm.

Preface. -- Introduction. -- Early background 1852-78. -- Early work 1878-83. -- The casa Vicens. -- The Mataro cooperative. -- Urban Worl. -- Religious work. -- The projects. -- Social relationships. -- El capricho (Comillas). -- Te Alella project. -- The Expiatory Church of the Holy Family. -- The Güell pavilioms at Pedrlbes 1885-88. -- The Palacio Güell 1888. -- The Colegio Teresiano 1889. -- The Episcobal Palace at Astorga 1893. -- The Casa de los 'Botines' and the Tangier project 1895. -- The Casa Calvet 1900. -- Bellesguard 1902. -- The Parque Güell 1903. -- The Restoration of Mallorca Cathedral 1904. -- The Primer Misterio de Gloria at Monserrat. -- The Casa Batlló 1905. -- The Facade of the nativity 1906. -- The Casa Milá 1910. -- From the bench in the Parque Güell to the Crypt at Santa Coloma. -- The Crypt of the Colonia Güell 1914. -- Last years: 1914-26. -- Reus Museum Manuscript. -- Antonio Gaudi's Diary (Extracts 1876-79). -- Listo of plates. --

Tomado de la introducción: "Since the publication of the Spanish edition two years ago, I have continued research along my original lines. The thesis has been advanced of using the Crypt of the Colonia Güell as a starting point for an understanding of Gaudi rather than the Sagrada Familia as has hitherto been the case. It is a daring thesis, courageuses as Alberto Sartoris has described it, and I shall try to justify it here. This Preface is, in some ways, the result of the two years which I have spent in reflecting on the Gaudi who now appears to be freed from traditional interpretations. The contention that the Sagrada Familia is the synthesis of Gaudi's art is impossible to sustain today. Even if the history of this church, set against a background of reaction, has not yet been written, there already exists a sufficient number of facts, without taking into account Gaudi's actual work, which make it possible to reconstruct the broad outlines of the dramatic adventure of a genius born out of time. The Sagrada Familia did not appeal to the taste or ideas of its time, but Gaudi was genius enough to avoid open clashes with his contemporaries. The page which Albert Schweitzer devoted to Gaudi in Out of My Life and Thought is quite clear if one analyses it in this light and indeed developed this point in my article