"Plate 95. Schools of the Sagrada Familia church, 1909. Gaudi's warped forms were not an artistic affectation, but a simple means of obtaining greater structural efficiency with less material." ("Antonio Gaudi," by George R. Collins)
"Plate 96. Furniture for the chapel of the Marques of Comillas near Santander, 1878. Out of the medieval repertory Gaudi is already selecting that which will make his carpentry seem most alive, architectural and spatial in effect." ("Antonio Gaudi," by George R. Collins)
"Plate 97. Furniture for the chapel of the Marques of Comillas near Santander, 1878. Out of the medieval repertory Gaudi is already selecting that which will make his carpentry seem most alive, architectural and spatial in effect." ("Antonio Gaudi," by George R. Collins)
"Plate 98. Furniture for the chapel of the Marques of Comillas near Santander, 1878. Out of the medieval repertory Gaudi is already selecting that which will make his carpentry seem most alive, architectural and spatial in effect." ("Antonio Gaudi," by George R. Collins)
"Plate 99. Furniture for the chapel of the Marques of Comillas near Santander, 1878. Out of the medieval repertory Gaudi is already selecting that which will make his carpentry seem most alive, architectural and spatial in effect." ("Antonio Gaudi," by George R. Collins)
"Plate 100. A chaise lounge from the Palacio Guell which illustrates Gaudi's early use of the extravagant curvilinear shapes of the Art Nouveau." ("Antonio Gaudi," by George R. Collins)