{"id":190198,"date":"2026-02-06T10:52:41","date_gmt":"2026-02-06T09:52:41","guid":{"rendered":"https:\/\/bellesguardgaudi.com\/?p=190198"},"modified":"2026-02-06T10:52:22","modified_gmt":"2026-02-06T09:52:22","slug":"did-you-know-the-women-of-gaudi-clients-and-a-saint","status":"publish","type":"post","link":"https:\/\/bellesguardgaudi.com\/en\/did-you-know-the-women-of-gaudi-clients-and-a-saint\/","title":{"rendered":"Did you know? The women of Gaud\u00ed: clients and a saint\u2026"},"content":{"rendered":"

By Ferran Garc\u00e9s<\/em><\/p>\n

\"\"<\/p>\n

Gaud\u00ed, still a student, took part with some friends in a school magazine (see: El Arlequin<\/em><\/a>). One of his drawings is the one shown in the header. Who is this woman? We do not know. What we can say is when it was made: Friday, 22 November 1867. The following year, Gaud\u00ed left Reus and went to Barcelona, determined to study architecture, a career in which he would relate to the women we are about to meet. This article complements the one published last Friday, where we looked at the women closest to Gaud\u00ed\u2019s personal sphere (see: family members and the impossible love<\/a>).<\/p>\n

Saint Teresa, the \u201cspiritual\u201d client<\/strong>
\nCollege of the Teresianas (1887\u20131889)<\/strong><\/p>\n

We begin with an \u201cindirect\u201d client. She, born in 1515, did not commission Gaud\u00ed, logically, but the project was carried out in her name. Indeed, only ten years after obtaining his degree, between 1888 and 1890, Gaud\u00ed would build the motherhouse of the College of the Teresianas, at the request of Enric d\u2019Oss\u00f3, founder of the Company of Saint Teresa of Jesus. This building is known as a \u201ccollege\u201d, but it is also a convent and the motherhouse of the order. Both spaces, the school and the convent, are inspired by The Interior Castle<\/em>, an influential spiritual book by Saint Teresa. In fact, around this time Gaud\u00ed began a progressive spiritual transformation that would translate into a gradual increase in liturgical and mystical symbolism in his work, including his civic buildings (see: The other source of inspiration of Gaud\u00ed<\/a>).<\/p>\n

Isabel Bolet i Vidiella<\/strong>
\nThe Sagrada Fam\u00edlia (around 1891)<\/strong><\/p>\n

The full name of Gaud\u00ed\u2019s most famous building is the Expiatory Temple of the Sagrada Fam\u00edlia, because its purpose was to be financed through popular donations. Gaud\u00ed assumed the direction of this unusual work in 1883, at the age of thirty\u2011one. Unfortunately, the first contributions were not as expected. The project was in danger, debts accumulated and, unexpectedly, in 1891 a surprising contribution of half a million pesetas arrived, an extraordinary sum at the end of the 19th century. The magazine El Propagador<\/em>, in 1926, the year of the architect\u2019s death, stated that the author of the miracle answered to the name \u201cdo\u00f1a Isabel\u201d, without providing any further information. Who was she? For decades, her identity and memory faded over time.<\/p>\n

After a long investigation, in 2022 Juli\u00e0 Bretos, a Gaud\u00ed enthusiast, completed her name as Isabel Bolet i Vidiella, which allowed him to provide more personal details in a book that received great attention: The Lady Without a Face<\/em>, published by Almuzara. In an interview, Bretos highlights that this amount changed the course of the works, since until then the project Gaud\u00ed was building was that of a \u201csmall church\u201d. In contrast, the mysterious donation gave wings to the architect. He could now \u201cthink big\u201d (1). Ricard Opisso, then an assistant to Gaud\u00ed at the temple, also expressed the same opinion in his memoirs (2).<\/p>\n

Isabel Bolet i Vidiella was born in Vilanova i la Geltr\u00fa. Despite her humble origins and being an orphan, she married Ignasi Marqu\u00e9s, owner of an important forge in Sant Josep de Sants. Her residence was located at number 6 Passeig de Gr\u00e0cia, in a building that no longer exists: it was demolished to build the current El Corte Ingl\u00e9s in Pla\u00e7a Catalunya.<\/p>\n

After her husband\u2019s death, in 1885, Isabel Bolet left in her will that the money obtained from the sale of the forge should be destined to the Sagrada Fam\u00edlia. She died in 1888, aged sixty\u2011three, of pneumonia, but the will was not executed immediately. Some relatives contested it and a legal battle was required to enforce it. For this reason, the money did not reach its destination until three years later. In other words, the \u201clady without a face\u201d never saw the result of her donation and, moreover, she did it without seeking glory because, in her will, she added the condition of remaining anonymous (2). Recently, Bretos succeeded in having a commemorative postage stamp issued by Correos with the image of this mysterious benefactor.<\/p>\n

\"\"<\/strong><\/p>\n

Juliana Pint\u00f3<\/strong>
\nCasa Calvet (1898\u20131900)<\/strong><\/p>\n

At the end of 1897, the architect accepted the commission for his first house in the Eixample. It was requested by Juliana Pint\u00f3, widow of Pedro M\u00e0rtir Calvet, and her children, owners of the cotton factory Hijos de Pedro M\u00e0rtir Calvet. The resulting work was the only one for which Gaud\u00ed received a prize during his lifetime, awarded by Barcelona City Council for the best building of the year 1900. However, very little has been said about this project and even less about this owner. She has no article on Wikipedia and, in biographies, she is only \u201cthe widow of Mr. Calvet\u201d. No photograph has been preserved either.<\/p>\n

Isabel G\u00fcell i L\u00f3pez<\/strong>
\nHouse on Junta de Comer\u00e7 Street (1901)<\/strong><\/p>\n

The following anecdote is one of the most frequently repeated in the architect\u2019s life. Before mentioning it, however, it should be remembered that Isabel G\u00fcell, the eldest daughter of Count G\u00fcell, was a professional pianist and composer, like her sister Maria. Her musical adaptations of poems by Jacint Verdaguer stand out, as well as two religious works: a Stabat Mater<\/em> (1917) and a Te Deum<\/em> (1918). Consequently, the presence of a piano in her home was no whim.<\/p>\n

So, that said, the anecdote. Isabel G\u00fcell i L\u00f3pez lived in the Palau G\u00fcell with her parents and siblings from adolescence until she married, on 19 January 1901, Carles Sentmenat i Sentmenat, Marquis of Castelldosrius. Then the new wife went to live at her husband\u2019s residence, at number 19 Mendiz\u00e1bal Street, now Junta de Comer\u00e7. It was a house halfway between the Castelldosrius palace and the Palau G\u00fcell. The new residence was quickly decorated by Gaud\u00ed and, once the renovation was completed, Isabel realized that she could not fit her wedding gift: an \u00c9rard grand piano. Then, it is said, the composer asked the architect for a solution. His answer became famous: \u201cMadam, play the violin\u201d.<\/p>\n

The anecdote we have just recounted has been placed in other works by Gaud\u00ed: the Palau G\u00fcell, Casa Batll\u00f3 and Casa Mil\u00e0. However, it seems that the setting was the one just mentioned. This is affirmed, among other sources, by the tourism website of Barcelona City Council and a specific biography of its protagonist, Isabel G\u00fcell i L\u00f3pez (3). In 1914, the poet Josep Carner, in his book Auques i ventalls<\/em>, included a poem that collected this anecdote: \u201cL\u2019auca d\u2019una resposta del senyor Gaud\u00ed\u201d. Finally, it should be remembered that Isabel G\u00fcell i L\u00f3pez was also an excellent organist and, as such, used to play the organ at the Palau G\u00fcell where she had grown up.<\/p>\n

\"\"<\/strong><\/p>\n

Mar\u00eda Sagu\u00e9s i Molins<\/strong>
\nCasa Figueras or Torre Bellesguard (1900\u20131909)<\/strong><\/p>\n

Bellesguard refers to the name of the former castle of Martin I the Humane, from which Gaud\u00ed took inspiration to create the current building. Figueras, as in the case of Casa Calvet, refers to a husband who had died at the time of construction (see: Maria Sagu\u00e9s<\/a>). In the guide by Barcelona City Council, Dones de Sarri\u00e0-Sant Gervasi<\/em>, written by Isabel Segura Soriano, we read:<\/p>\n

\u201cYears passed, centuries passed and the building took on various forms and transfers of ownership, until it reached Maria Sagu\u00e9s, the owner who, in 1902, commissioned architect Gaud\u00ed to carry out the total reconstruction project of the building, as we see it today. Maria Sagu\u00e9s, despite being a widow at the time, was responsible for contacting Gaud\u00ed and commissioning the project. Betting on innovation in architectural language, the house is known more by the name of the already deceased husband, Figueres, than by her own name. This is not an isolated case in the memory of the city, a memory that is often very selective when it comes to remembering women\u2019s initiatives\u201d.<\/p>\n

\"\"<\/strong><\/p>\n

Am\u00e0lia God\u00f3 i Belaunzar\u00e1n<\/strong>
\nCasa Batll\u00f3 (1904\u20131906)<\/strong><\/p>\n

The case of Casa Batll\u00f3 seems an exception to the rule we mentioned earlier. Here, the owner was alive during construction and it was he who hired Gaud\u00ed. As in the cases of Juliana Pint\u00f3 and Maria Sagu\u00e9s, very little is known about Mrs. Batll\u00f3. Only that she was a member of the God\u00f3 family, founders of the newspaper La Vanguardia<\/em>, and that she married Josep Batll\u00f3, a businessman in the textile sector. The couple lived on the main floor of the house until the death of both (1934, the husband, and 1940, the wife). The children did not take long to sell the house.<\/p>\n

\"\"<\/strong><\/p>\n

Roser Segimon Artells<\/strong>
\nCasa Mil\u00e0, or La Pedrera (1906\u20131912)<\/strong><\/p>\n

At La Pedrera, the pattern already seen at Casa Calvet and Casa Figueras is repeated, where the husband\u2019s name has survived instead of that of the legal owner. However, unlike them, Roser Segimon is the protagonist of a life well known enough to have an entry on Wikipedia. For example, she also provided the money to build La Monumental, a bullring inaugurated in 1914. Her fortune came from her first husband, Josep Guardiola, a merchant who, like so many others, had made his fortune in the Americas. After her wedding to Pere Mil\u00e0, her second husband, someone spread a joke that quickly became famous in Barcelona society: whom did Mr. Mil\u00e0 marry, \u201cthe widow Guardiola\u201d or \u201cthe widow\u2019s money box\u201d?<\/p>\n

Be that as it may, Mr. Mil\u00e0 died in 1935 and Roser in 1964, at the age of 94. She always lived in the house that bears her husband\u2019s name, but in an apartment very different from the one Gaud\u00ed had designed. Already during the construction of the house, relations between her and the architect were not good.<\/p>\n

Firstly, the architect wanted to crown the fa\u00e7ade with a sculptural group over four metres high, representing a Virgin of the Rosary. When the Mil\u00e0 couple refused, the image was never completed nor placed in the intended position. Secondly, after Gaud\u00ed\u2019s death in 1926, Roser Segimon got rid of a large part of the furniture designed by the architect and, as if that were not enough, remodelled the home in another style, altering ceilings, floors, shutters, doors and windows. Recently, previously unknown documents from 1927 have been discovered that reveal the extent of the renovation (5).<\/p>\n

\"\"<\/strong><\/p>\n

Notes<\/strong><\/p>\n

(1) March, Hector (18\/12\/2025), \u201cLa misteriosa dona que va finan\u00e7ar la construcci\u00f3 de la Sagrada Fam\u00edlia\u201d<\/a>, rac1 website.<\/p>\n

(2) Opisso Sala, Ricard (1952), \u201cLa naturaleza en la obra de Gaud\u00ed\u201d (III acc\u00e9sit), in the V Certamen Centro de Lectura. Volume II. Publication of Revista del Centro de Lectura<\/em>, Reus, pp. 600\u2013601.<\/p>\n

(3) Bretos, Juli\u00e0 (consulted 4\/02\/2026), \u201cTestamento de Isabel Bolet\u201d<\/a>, Juli\u00e0 Bretos\u2019s blog.<\/p>\n

(4) Sanhuesa Fonseca, Mar\u00eda (2016), \u201cIsabel y Mar\u00eda Luisa G\u00fcell y L\u00f3pez, dos compositoras en el Modernismo. Vida, entorno y cat\u00e1logo de sus obras\u201d, RACBAS, Bolet\u00edn<\/em> XXX, University of Oviedo, p. 51.
\nEditorial staff: \u201cRuta dones de Ciutat Vella \/ Isabel G\u00fcell i L\u00f3pez\u201d<\/a>, barcelonaturisme website.<\/p>\n

(5) Editorial staff (consulted 4\/02\/2026), \u201cEls sostres desapareguts de La Pedrera\u201d, La Pedrera website<\/p>\n","protected":false},"excerpt":{"rendered":"

By Ferran Garc\u00e9s Gaud\u00ed, still a student, took part with some friends in a school magazine (see: El Arlequin). One of his drawings is the one shown in the header. Who is this woman? We do not know. What we can say is when it was made: Friday, 22 November 1867. The following year, Gaud\u00ed […]<\/p>\n","protected":false},"author":6,"featured_media":190171,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[173],"tags":[],"class_list":["post-190198","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-did-you-know"],"acf":[],"yoast_head":"\nDid you know? 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