Gaudí has always been an enigma. Although he has been disassociated from any type of "Masonic affiliation", the facts show that at least in an initial moment of his life he was an "initiate".

Above, philosopher's stone and atanor in Parc Güell. Below, stepped pyramid, stelae and crosses in the upper part of Parc Güell. Both works are designed by Gaudí.

Sagrada Familia, by Gaudí.

Gaudí, like Ildefons Cerdà (although it is not proven that he was a Freemason, but his daughter, Clotilde Cerdà, was indeed one of them), would have belonged to a long chain of tradition that preserved much of the legacy of the ancients. In the case of Cerdà, he embodied the Masonic symbol of the double A in the urban map of Barcelona.

The double A of Cerdà, in the map of Barcelona's Ensanche.

A double A identical to that of Cerdà in a Catalan petroglyph.

The bisectrix that divides Cerdà's double A in half passes through this statue (a bull that thinks, of Josep Granyer), located at the confluence between the Rambla de Catalunya and the Gran Vía de Barcelona.

The vertex of the Double A of the Ensanche designed by Cerdà is located in the old lighthouse of Barcelona.

The old lighthouse of Barcelona is now a "clock tower".

The A, and especially the double A, has a very powerful symbolism. The A derives from the Phoenician Alpu, or from the Hebrew Aleph, which means "bull" (the A is a bull's head turned upside down). Hence the "thinking bull" in the Rambla de Catalunya, in the bisectrix of the double A planned by Cerdà. By the way, the vertex is located in the old lighthouse, currently the "clock tower" of the fishing pier of the port of Barcelona.

The symbolism of the A was preserved in the shaft of the statue of Columbus, in Barcelona, erected in 1888. Here we see an A in a pentacle, inside a circle, with roses (symbol of the secret) at the upper and lower ends.

The A in the shaft of the statue of Columbus, by Gaietà Buïgas (1888).

A year later, in 1889, coinciding with the first anniversary of the French Revolution, the great universal A was inaugurated in Paris, which as in the port of Barcelona (whose lighthouse was the apex of the double A drawn by Cerdà in its urban map) is literally a "beacon of the enlightened world".

The Eiffel Tower of Paris (1889), between the two antlers of the bull that gives name and sense to the Alpha.

Of course, this similarity between the monument of Columbus (1888) and that of Eiffel (1889), that is, the A that gives meaning to both of them, is not merely coincidental. The symbolism of the lighthouse that illuminates the world is common in esoteric environments. For example, Alan Kardec (Genesis, chapter II) says of God that he is the "beacon whose rays extend through the entire univers".

The Eiffel tower with its lighthouse in a frame of the film The Da Vinci code.

A lighthouse, with a "luminous delta" (triangle with circle) in the foreground, in the film The testament of Orfeo, by Jean Coucteau.

But let's continue. The double A is a universal symbol that refers to intelligence, knowledge, and civilization. That's why we find her in a scene from the curious film called The man without age (by Francis Ford Coppola, from a book by Mircea Eliade).

A double A on the blackboard (between two signs of parentheses), in this frame of The man without age, by Francis Ford Coppola. Note also the large A to the right of the board.

In Girona there is a double A on the façade of the Cinema Museum (work of Joan Brossa). The first A is associated with a column, symbol of the "foundation".

The "great initiates" have known and have embodied the double A in their work. Leonardo da Vinci did it repeatedly.

Leonardo drew a double A linked to a circle (that is what the double A expresses: a given point in the circle, which represents the beginning and end of a cycle).

Leonardo could be influenced by the cultural substrate that developed in Florence in the time of Lorenzo de Medici. A contemporary and friend of Marsilio Ficino (perhaps Leonardo's teacher), Giovanni Pico della Mirandola (1463-1494), alludes to the double A in the following (enigmatic) terms: "If the double aleph that appears in the text Does not take you out of the center, etc., is joined to the double aleph that is in the text God possessed me at the beginning, and to the double aleph that is in the text The Earth was empty, we will understand by way of the Kabbalah that there Jacob spoke of the true Messiah who was Jesus of Nazareth" (Conclusiones mágicas y cabalísticas, Ediciones Obelisco, page 91).

Later another great mystic, Nostradamus (1503-1566), mentions, in an enigmatic phrase, this phantasmagorical secret society: "Sect obstinately deplored fear of two wounded by Aleph and Aleph" (quatrain XCVI, X century). If we look closely at this issue, both Pico della Mirandola and Nostradamus make coincide the "millennium" (the end of the world) with the beginning of the year 2000. In this regard Pico writes: "If there is any human conjecture about the last times, we can investigate it through the most sacred way of the Kabbalah, by which we know that the end of time will happen in five hundred fourteen years and twenty-five days "(which coincides approximately with the dawn of the year 2000).

Nostradamus, in turn, considers that The Expected will arrive at the dawn of the new millennium (year 2000), which will be accompanied by great convulsions: "In the revolt of the great number seventh Hecatomb games will appear in time the great millenary age when the buried ones will leave their tombs "(quatrain LXXIV, century X). Note that the "great seventh" could represent a geographical area, with the shape of the Near East (if we look at a map of the profile of the territory that extends between Israel, Syria and Iraq, we will see that it constitutes a large number 7).

This messianic tradition lasted over time. Eliphas Lévi considers that "messianism is the consummated Christianity" (Curso de Filosofía oculta, page 58), and adds that the "end of time" will come to the year 2000: "When will that final judgment come? After the year 2000, without a doubt, and will precede the messianic kingdom announced by all the prophets and, above all, by the apostle Saint John "(Curso de Filosofía oculta, page 163).

Millenarianism, and messianism, is a characteristic of the Rosicrucian currents. Dante echoes the symbolic rose (which we see in the shaft of the statue of Columbus, in Barcelona). Of her she says: "The rose that incarnated the divine verb is here, with the lilies that, fragrant, marked with their smell the good way ... The name of the flower that I always invoke [the rose], morning and evening, pushed to my spirit to the contemplation of the greatest focus "(Divine Comedy, Heaven, VIII, canto XXIII). Nostradamos echoes the Rosicrucian affiliation, since in the XCVI quatrain, Century V, identifies The Expected one with an adept of the Rosicrucian Brotherhood (which officially did not exist yet): "In the middle of the great world the rose, by new facts public blood spilled: To tell the truth you will have a closed mouth [the rose symbolizes the secret], when necessary The Expected will be late. "

However, Rosicrucian millenarianism, unlike the Catholic doctrine, does not have a unique beginning and end in time. Rather, they are the beginning and end of a cycle in time, prior to a new cycle.

The double A represents a cycle: the A is the beginning and the end of a cycle, in opposition to the Christian conception of the linear process of history, with a beginning (the Alpha) and an end (the Omega, or End of the Time).

In a pre-Romanesque church of the Catalan Pyrenees we find represented both the Alpha and Omega, as well as the double A.

Usually the Christian notion of History is associated with the Crismón, an Alpha and an Omega that accompany an X and a P (Ro) interspersed, which allude to the name of Christ.

A typical Christian Crismón, with an Alpha and an Omega, associated with the linear vision of History.

It is therefore very strange that the new cross of the façade of the Passion of the Holy Family (by Gaudí, in Barcelona) has on one side and the another of the Crismón, not an Alpha and an Omega, but two Omegas.

The façade of the Passion of the Holy Family is culminated by a Crismón with two Omegas on one side and another!

The two omegas in the Crismón of the façade of the Passion. Note the presence of sexifolias (the flower of life).

What's the point? To understand it, we have to take into account the symbolism that its designer, the Catalan sculptor Subirachs, imposed on the whole of this façade.

The façade of the Passion of the Sagrada Familia, designed by Josep Maria Subirachs, has numerous initiatory symbols. From top to bottom, the labyrinth, the magic square (33), the column and an Alpha-Omega that presides over the whole. Add to them the rooster, the snake, etc.

So what is the meaning of a double Omega at the apex of the Façade of the Passion of the Sagrada Familia in Barcelona?

It must be taken into account that Alpha and Omega are like the two sides of a door, or of the Roman god Janus. A point in a circle is always the end of one cycle and the beginning of the next. That is why the Omega of a cycle (its end) represents the Alpha (the beginning) of the next cycle. In this way, two Omegas are equivalent to two Alfas. They are represented as a way to disguise the symbolism of a double A, just as in the Hollywood movies the number 555 is mentioned to refer to 666.

In this way, the "masters of the world", or of the "knowledge", have left their stamp in the city of Barcelona to say "here we are".

What implies about arrogance, imposture, puerility, warning or threat, is something that I leave to the free judgment of the reader.

Perhaps it means simply an "alimara" (sign for those seeking light). In Barcelona there is a hotel with this name associated with bull antlers and a gigantic double A, near the labyrinth of Horta.

Hotel Alimara, next to the Labyrinth of Horta and the Double A by Joan Brossa (Barcelona).

Double A by Joan Brossa (Barcelona).

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