Super & Spain: 8 Cities in 12 Days, Beautiful and Delightful

**For the Beautiful, Delightful People**

Read ten thousand books, travel ten thousand miles. Among words, before ancient buildings, on the streets, in the soft words of locals, that is the right way to open a history and understand a city. This is also the journey I wish for you—to see more, think more, and grow spiritually, both through subtle influence and through enlightening breakthroughs like a butterfly emerging from its cocoon. A sentence in a book, a street in a city, may be such a契机.

Taking you to measure the world—the books you read, the roads you walk, the people and events you encounter, and the stories of time you feel—are all small seeds sown in the heart. When you in the future again touch certain figures, places, histories, or customs, you can say with a light brow and a smile: 'Oh, these old friends...'

Flights: Enter from Barcelona, exit from Madrid. The overall itinerary covers three of the six regions on the Spanish coat of arms, the ones with the most exciting stories and the most direct influence on Spain: Castile, Aragon, and Granada.

Itinerary design: After much consideration, I removed Lisbon, adjusting from Spain-Portugal to a single Spain itinerary. The main reason was that Lisbon, whether by car or flight, is somewhat inconvenient for traveling back and forth with small children. So we will skip Lisbon, Sintra, and Cabo da Roca for now—'The land ends here, the sea begins here'—leaving a small regret as an opportunity to return.

The main itinerary is Barcelona - Granada - Ronda - Seville - Córdoba - Toledo - Madrid.

The reasons for this choice: first, the smoothness of the itinerary; after one flight, the rest is all self-driving, making luggage handling and hotel changes less tiring. Second, these cities are of great importance in Spanish history; each, to some extent, influenced the changes of the Iberian Peninsula in its own period.

**Beijing, Departure**

The children prepared carefully for this trip, packing their own luggage with a full set of pretend-play toys, electronic devices, and study supplies.

On the evening of the second day of the Chinese New Year, we arrived early at Beijing Airport, both adults and children filled with anticipation for the trip to Spain.

Flying from Beijing, the journey takes 12 hours, with a 7-hour time difference. Departing early morning from Beijing, we land in Barcelona the same morning.

The terminal was spacious and empty, with not many tourists.

**Barcelona (Day 1 to Day 3)**

Day 1: After landing, we found our hotel from the airport and checked in. The main focus today was adjustment and transition, wandering around the city and some scattered sights. The planned highlights were the Old Town and Columbus Square, originally intending to walk all the way to the sea port. But our companions were quite tired on the first day, so we ended up not going to the port or the market for a big meal; instead, we went back to the hotel to cook dinner and rest early.

Main check-ins: Plaça de Catalunya, Gothic Quarter, Barcelona Cathedral, Plaça Reial, Columbus Monument.

Day 2: The highlight—Gaudi's architecture: Sagrada Família, Casa Milà, and Casa Batlló on the Block of Discord.

Main check-ins: Casa Milà, Casa Batlló, Sagrada Família.

Day 3: In the morning, we went to Park Güell, then to La Boqueria Market, followed by a visit to Els Quatre Gats for a dose of artistic atmosphere. We skipped the planned Plaça d'Espanya, as we would later see Plaza de España in Seville, which was already enough to look forward to.

Main check-ins: Park Güell, La Boqueria Market, Els Quatre Gats Café.

**Granada (Day 4 to Day 5)**

Day 4: We arrived in Granada by plane at noon. In the afternoon, we wandered through the Albaicín district and the old town, looking around, eating, and soaking up the atmosphere of this thousand-year-old city, tracing the historical traces of the Moors.

Main check-ins: Albaicín, Granada Cathedral.

Day 5: Morning: Alhambra Palace, the pinnacle of tourist attractions in Spain, experiencing the end of 800 years of Moorish rule over the Iberian Peninsula.

Main check-in: Alhambra Palace.

**Ronda (Day 5 to Day 6)**

Day 5: Afternoon: We rented a car and arrived in Ronda around evening. We stayed overnight in Ronda, experiencing the 'most suitable for elopement' town from the cliff edge.

Main check-in: Puente Nuevo (New Bridge).

**Seville (Day 6 to Day 7)**

Day 6: From Ronda to Seville, we had lunch and then strolled around the city, enjoying the atmosphere of this most tourist-friendly city. The highlight was watching a flamenco show in the evening, shouting 'Olè!' to the rhythm.

Main check-ins: Seville old town, Plaza de España, Flamenco Museum.

Day 7: We explored Seville in detail, then headed to Córdoba for the night.

Main check-ins: Old town, Seville Cathedral and Alcázar area, horse-drawn carriage ride.

**Córdoba (Day 7 to Day 8)**

Day 7: Arrived in Córdoba in the evening, went to the old town to find a good restaurant and eat the famous oxtail stew.

Day 8: Visited the Great Mosque-Cathedral of Córdoba, left after lunch to head to Toledo.

Main check-in: Mosque-Cathedral.

**To Madrid (Day 8)**

Day 8: Went to Consuegra to see Don Quixote's windmills. Arrived in Toledo in the evening, staying in a castle hotel.

Main check-ins: Consuegra windmills, Toledo Castle Hotel.

**Toledo (Day 8 to Day 9)**

Day 9: Morning: explored the old city of Toledo. Afternoon: visited the outlet mall on the outskirts of Madrid. Night: checked into Madrid.

Main check-ins: Toledo old city, Madrid Las Rozas Village outlet.

**Madrid (Day 10 to Day 11)**

Day 10: Madrid—visited museums and squares.

Main check-ins: Prado Museum, Puerta del Sol.

Day 11: Madrid—visited markets and the palace (aesthetically tired, didn't enter the palace), rested in the square, watched street performers.

Main check-ins: Plaza Mayor, El Rastro flea market, Royal Palace area.

**Return, Madrid (Day 12)**

Five people, two large pieces of luggage. To avoid hassle, we booked a private car through a travel website. We got up early; it was quiet on Passeig de Gràcia.

At the airport, we queued until 7:00 AM to start processing tax refunds. First, we needed to have the tax refund forms verified before security, at counter 197.

After security, we went to the bank counter with the tax refund forms to get cash. A sigh of admiration for Tencent's power!

Read ten thousand books, travel ten thousand miles—no mistake. In 12 days, thousands of miles by air and hundreds by car, the children clearly grew.

It's really nice to travel together.

Round rooftops, Latin dawn. Colors ambiguously seductive, I'm already tipsy. / Fiery red skirts twirling on shady paths. Even footsteps, flamenco sounds. / Small wine bottles hanging on the window frame, gently swaying. Softly responding to the wind, love can be silent.

Barcelona is located in the northeastern part of the Iberian Peninsula, bordering the Mediterranean Sea. Legend has it that more than two thousand years ago, an ancient Roman fleet arrived at the coast of present-day Barcelona. The people on the ninth ship landed and settled there, and the place name derived from the ancient Roman words for 'ninth ship' (Barca Novena); after evolution, the current 'Barcelona' is composed of the Catalan words 'Bar' (bar), 'Cel' (sky), and 'Ona' (wave).

The main tone of this trip to Barcelona is 'style'.

In "The Boundless Traveler," Yu Qiuyu assigns Barcelona a spiritual temperament of wandering, but forcing Gaudi and Columbus into the image of wanderers is rather far-fetched. First, Gaudi was not a wanderer but deeply rooted in this city; second, Barcelona does not belong to Columbus but to Gaudi, Picasso, Dalí... At first glance, it may not be understood, but once seen, it's unforgettable. It does not compromise, does not conform, and has its own style. The entire city is imbued with the strong personal character of the Barcelonans, so intense that they must define themselves as 'Catalonia' rather than simply 'Spain' in Iberia. (I looked into the background and I find it hard to agree. There are many things in the world that don't need understanding, but need respect.)

I like the 'passionate Latin race' persona of Spain: singing and dancing are compulsory courses for Spaniards, and drinking in bars is their usual leisure activity.

For tourists, Barcelona also has an iconic label known to all: 'architecture'.

Every city has its crucial moments. For Barcelona, the crucial moments were the first and second World Expos at the end of the 19th century. Taking this opportunity, Barcelona completely transformed from an ancient, dilapidated small town into a proud, modern metropolis. To attract tourists, magnificent monumental buildings, hotels, and cultural centers were built, and the people of Barcelona became more cosmopolitan and ambitious.

After a direct flight of more than 12 hours, we boarded the plane in Beijing at 2 AM. Due to the time difference, it was only 7 AM local time when we arrived in Spain. We cleared customs very early, then calmly waited for our luggage at the airport, eating some bread, biscuits, and fruit as breakfast.

During the Spring Festival, it is winter throughout Europe. Although Spain is on the southernmost Iberian Peninsula of the European continent and has a relatively warm climate, it is still the off-season for travel in Spain.

There weren't many tourists at the airport.

We took a shuttle bus from the airport to the R2 line to reach downtown Barcelona.

The distance wasn't far, and the map was clearly marked. We carefully noted the route and stations, as three days later we would take the same R2 line to fly to Granada.

The train station wasn't crowded, and trains were frequent. We could sit together, which was quite spacious and comfortable.

Sunshine accompanied us all the way. A beautiful 12-day journey began on a sunny morning.

The sun was bright, and so was our mood.

The beautiful and delightful trip to Spain officially started.

We got off the train/metro at Passeig de Gràcia station. Coming up from the platform, directly across the street was Casa Batlló.

First time in this place—photos, memories, check-in.

Although we would visit it again in detail later.

I fell deeply in love with the layout of Barcelona's streets. Even today, many days after returning home, if I were to summarize the Barcelona itinerary, I would put Passeig de Gràcia at the top, even before all of Gaudi's buildings.

Barcelona's urban planner was Ildefons Cerdà, who was originally a bridge and road engineer. He advocated a city of openness and inclusiveness, breaking the boundaries of class and wealth, so that city citizens could share urban resources and facilities. To achieve this goal, the primary solution was a radial pattern of urban planning. Like our cities—Ring 1, Ring 2... Ah~ Ring 5, you are one less than Ring 6...— with rings come centers, with centers come distances.

People compare class and wealth status by naming districts and ring numbers, turning a huge city into a target on a pillar, with everyone aiming at the exact center.

Let me share an aerial view of Barcelona. From my perspective as an IT engineer, it's modularization, a decentralized design concept. Looking from God's perspective, every small octagonal block forms its own space, even with open squares. Plus the small shops and supermarkets scattered in each block, it presents a microservices design philosophy.

Cerdà, this guy, would definitely be a top programmer if he were alive today.

I like Passeig de Gràcia purely out of personal preference. Hindsight tells me that Barcelona's architecture as a whole might be somewhat exaggerated, but that's another story.

But Passeig de Gràcia made me love it genuinely from the first day. The central pedestrian walkway is extremely wide, flanked by single-lane one-way roads for vehicles, forming a city's main thoroughfare centered entirely on people.

The middle pedestrian path is several times wider than the vehicle lanes. Standard seating is a given, and even outdoor restaurant terraces can line up all along the street. The whole street, though not luxurious, is bustling enough. And because the street is very long and the city center is decentralized, there is no need for shops to compete for one spot, naturally avoiding traffic bottlenecks.

Even walking five abreast under the sun doesn't inconvenience other pedestrians.

On both sides, vehicle roads run, and beyond them, shops line up densely.

Dragging luggage, we encountered Starbucks and recharged our energy.

Following GPS, we easily found the hotel, located at a corner of one of those octagonal blocks.

Since check-in wasn't until noon, we left our luggage first and went out to find lunch.

Considering adaptation to the local environment, we conservatively chose McDonald's for our first meal in Spain.

Noon of the first day in Barcelona, we checked into the hotel.

After lunch back at the hotel, to be honest, as our first stop in Spain, we were slightly amazed by the hotel.

Historic building with stone walls, solid wood doors, and iron decorations.

The apartment had an old-fashioned elevator, the kind with a folding gate often seen in old movies.

If we took the stairs, we noticed that the apartment's interior decoration was quite refined, with details showing the traces of the former owners' love for life.

An atrium reaching all the way to the top—to be honest, a bit dangerous for kids.

The front desk gave us a warm, cozy feeling, more like a tasteful living room and dining room than a hotel reception.

As for the hotel room, it continued the style of the front desk. Spacious, with a home-like layout. The large living room provided ample shared space.

Pulling back the curtains, sunlight fell on the sofa, making us too lazy to move.

From the balcony, we could see the streets of Barcelona.

After a short rest, fully recharged, we started today's sightseeing along Passeig de Gràcia.

On the central pedestrian walkway, outdoor restaurant terraces were starting to open, and the atmosphere was livelier than before.

The streets of Barcelona, though all the buildings are neat and beautiful, are actually quite indistinguishable. Most buildings look similar in layout and appearance, making it hard to tell where we are at a glance.

In travel guides, a main label for Barcelona is architecture and design.

But from the street statues, indeed, it's modernistic, even somewhat sexy.

Although occasional Mobike bikes are seen in Spanish cities, Barcelona actually has its own comprehensive local bike-sharing system.

On the pedestrian walkway, kids stopped to feed pigeons, unwilling to move.

During this 12-day Spain trip, we developed the habit of feeding pigeons everywhere at any time.

Continuing along Passeig de Gràcia toward the general direction of Columbus Square. The plan was to pass Plaça de Catalunya, Barcelona Cathedral, and the Gothic Quarter in turn.

At a wide intersection, what really attracted us were the shops on the four corners. I had previously read about this intersection in a paid cultural serial, 'The Commercial War of the World's Three Major Fast Fashion Brands at Barcelona's Street Corner.'

The four corner shops are: H&M, ZARA, Massimo Dutti, and Uniqlo + MANGO.

We chose the most beautiful building, H&M, to browse and feel the shopping vibe of Spain.

**Plaça de Catalunya**

Not far ahead, we reached Plaça de Catalunya. It deserves to be called Pigeon Square—the kids were completely captivated by the pigeons.

Plaça de Catalunya is located in the heart of Barcelona. As the large square in the old city, it is also known as Pigeon Square, famous for its flocks of pigeons, sculptures, and fountains. It is also a very important transport hub in Barcelona, close to most of the city's popular attractions, such as La Rambla and Casa Milà. Plaça de Catalunya marks the starting point of La Rambla, with the old city on the left and the new city on the right, leading straight to the port.

The central point of the square is a huge fountain area. Apple Store in the distance serves as a visual backdrop to the fountain.

Although it was winter in Spain, the temperature remained around 15°C, enough for flowers and plants to survive the winter.

On one side, there was a small pond without much character.

Adjacent to the pond, there was a statue of a woman riding a horse and holding a ship, representing the administrative region of Barcelona.

Continuing from the square, we entered a lively commercial street, completely pedestrianized, wide and neat, with clothing shops on both sides.

As we walked further, the streets became narrower and the shops smaller, but still densely packed with customers.

As we delved deeper, the buildings became older and more chaotic. Further ahead, we entered the old city, or the Gothic Quarter.

This area is the most original part of Barcelona's history.

We laughed a little at the ceramic tile image on a street corner.

Shopping in Barcelona is quite enjoyable. Not to mention the good quality and reasonable prices, but the colors and styles alone delight our eyes.

**Barcelona Cathedral**

We happened to catch the weekend flea market in Barcelona, similar to a vintage market in China, but not as noisy.

The items were also like collectors' items, not really selling used goods; they were all antique second-hand sales.

Barcelona Cathedral is the seat of the Archbishop of Barcelona, built from the 13th to 15th centuries, taking about 150 years to complete.

The most pleasant thing was not visiting the cathedral but sitting on the steps like locals, whiling away the time idly.

The cathedral is primarily Gothic in style, with slender lines, while the dome and interior structure show Neo-Gothic influences. An elevator beside the dome takes you to the top, offering a panoramic view of Barcelona's old city.

The cathedral's overall layout is large, with the surrounding area belonging to the cathedral precinct.

We didn't go inside the cathedral.

At the entrance, there is a bronze sculpture of the letters 'Barcelona' in Catalan, said to be the work of Subirachs, the successor builder of the Sagrada Família, called 'The Poem of Barcelona.'

There are seven letters, all made of pure copper, each with a different shape. The letter A is a pyramid shape with an accent; C is a crescent moon; N is shaped like a sailboat pointing north; O is a sun shape, symbolizing the Mediterranean. It represents Barcelona's welcome to tourists.

At Plaça de Sant Jaume, we saw the Palau de la Generalitat de Catalunya. This square is an important venue for Catalan political activities. It seemed there was some political activity going on, but we weren't interested and didn't pay much attention.

The Gothic Quarter is the center of Barcelona's old city. Except for some changes in the 19th and early 20th centuries, many buildings date from the Middle Ages, some even from Roman times. The Gothic Quarter preserves a complex street plan, full of narrow streets and squares. Most of the area is closed to regular vehicles, only service vehicles and taxis. Walking here, you can directly feel the ancient atmosphere. A short walk will lead you to Barcelona Cathedral, Plaça Reial, or the ruins of the Temple of Augustus.

This small square with a commemorative statue turned out to be the work of a famous artist, commemorating five heroes of the anti-French invasion. The victory angel relief above was also done by another famous artist.

It's hard to imagine that this street was once the main street and axis of Barcelona.

Gothic archways: a spot where many tourists gather for photos, and indeed the iconic photo spot of the Gothic Quarter.

Actually, just a few steps away.

Sunlight was wonderful, casting long shadows. Warm and cozy, our mood was the same—leisurely, not rushed.

We slowly headed toward our destination, Columbus Square.

We unexpectedly came across a square that we really liked. Checking the map, it turned out to be Plaça Reial, another attraction in Barcelona.

A perfectly square plaza enclosed by three-story buildings on all sides.

I strongly suspect that the design of the Xiannong Courtyard and the renovated Minyuan Stadium in Tianjin's Fifth Avenue district are based on this.

These lampposts are very famous, designed by Gaudi. I couldn't understand them—strange objects.

They don't look as pleasant as the unnamed buildings on the side.

[Info] Early work of master architect Gaudi. The helmet with wings on top of the lamppost symbolizes Hermes (Mercury in Roman mythology). Legend says he threw his staff between two fighting snakes, and they immediately made peace, so he is also the god of commerce. Below the helmet, we can clearly see two snakes with wide-open mouths coiled around the lamppost.

**La Rambla**

The word 'Rambla' comes from Arabic, meaning 'riverbed' (raml). La Rambla is nearly 2 km long and is divided into five sections, each with a name that tells the story of how this avenue evolved from a riverbed to a riverside district and finally to one of Europe's most vibrant pedestrian streets: La Rambla de les Canaletes, La Rambla de les Estudis, La Rambla de les Flors, La Rambla de les Caputxins, and La Rambla de les Santa Mònica. These streets are collectively known as 'Las Ramblas.'

La Rambla is a bustling tree-lined pedestrian avenue in the heart of Barcelona. Spanish poet Federico García Lorca once described it as the only street he wished would never end. It starts at Plaça de Catalunya and ends at the Columbus Monument.

[Info] Connecting Plaça de Catalunya and Columbus Monument at the old port, it is considered by many to be one of the most famous streets in the world, comparable to the Champs-Élysées in Paris. Passeig de Gràcia is the most bustling street in Barcelona, equivalent to Fifth Avenue in New York or the Champs-Élysées in Paris. During the day, it is packed with tourists and street artists, with flower shops, food stalls, and craft shops lining the street. At night, it sheds its touristy commercial atmosphere, revealing a charming scene of dappled light through trees and drinks that captivate the senses.

Following the GPS, we saw the intersection with the Customs building, which marks Columbus Square.

Actually, beyond Columbus Square, there is a short stretch of road leading to the port.

**Columbus Square**

La Rambla ends at the Columbus Watchtower. From here, looking east, you can see the port building of Port Vell. To the southwest is Barcelona's Customs building. The Columbus Watchtower was designed and built for the Barcelona Universal Exposition. It is a tall cylindrical monument made of brown marble, 60 meters high, with the words 'Glory to Columbus' and 'Homage to Columbus' engraved on it.

The watchtower is a composite Roman column. At the top, a statue of Columbus points with his left hand to a nautical chart and with his right hand to the port, the old port of Barcelona where, in 1493, the Catholic Monarchs awaited his report of his westward voyage's discovery.

At the base of the column, four seated statues represent the four regions of the Kingdom of Spain: Catalonia, León, Aragon, and Castile.

The coat of arms and surrounding figures depict important figures from Columbus's discovery of the Americas.

The reliefs below record important events of Columbus's voyage.

On April 17, 1492, the Catholic Monarchs signed the Capitulations of Santa Fe after meeting with Columbus.

On August 3, 1492, Columbus set sail from the port of Palos in southern Spain, bidding farewell to the crowd.

On October 12, 1492, Columbus set foot on the American continent, kneeling with a Spanish flag in one hand and a sword in the other, thanking Christ for his protection; before him were indigenous people.

I organized the cities and places on this trip that intersect with Columbus.

Spain is the country that most worships and positively praises Columbus, but many American countries view him as a conqueror and a devil. Looking at his life, he possessed many of the vices of a successful person. I deeply dislike him. It was the Portuguese Prince Henry the Navigator and Vasco da Gama who started the Age of Discovery, following the mysterious call of the East after the Cape of Good Hope; it was Magellan who proved the earth is round, with the western endpoint being the eastern starting point. Columbus's contribution was the discovery of the Americas, followed by the bloody curtain of plundering American wealth and destroying gentle civilizations, building the invincible Spanish Armada and the Spanish Empire with American gold. It was self-serving; his contribution to human civilization is negligible. Instead, he caused the Aztec and Inca civilizations to disappear from the long river of history.

In fact, the part of Columbus's story that I truly admire is the vision and boldness of Queen Isabella. The 'Catholic Monarchs' period, reclaiming the peninsula, expelling the Moors, funding Columbus, and worldwide colonization—there is no doubt that the era of Queen Isabella was the glorious beginning of Spain, and the pinnacle of Spanish brilliance in history. Columbus was a speculator. After being refused funding for his westward voyage three times, it was a woman who single-handedly convinced Spain to sponsor Columbus's westward voyage, which inadvertently opened the discovery of the Americas. Moreover, for us modern people living under the rule of law, the Capitulations of Santa Fe are a great example of the practice and compliance with the spirit of contract.

History goes on for thousands of years, irrelevant to our brief passing through Spain. Success or failure is just street gossip for us.

Sunshine was brilliant, our smiles as bright as the sun, and our mood as bright as our smiles.

A strange city, a foreign building, at the foot of the steps, watching the bustling crowd—this is our travel story.

First Evening in Barcelona

Tired, although the distance wasn't far, we chose the metro to return to the hotel.

(There might be people looking like homeless people, enthusiastically helping you use the self-service ticket machine—of course, a tip is unavoidable.)

After getting off the metro, we did some shopping at the supermarket. After a long day, we didn't want to eat out for dinner. Instead, we wanted to go back to the hotel, relax, and eat warm food while chatting.

Pizza, wontons, fruit, eggs, corn...

About daily routine: Spaniards typically work from 9 AM to 2 PM, have a siesta from 2 to 4 PM, work from 4 PM to 8 PM, and have dinner at 9 PM.

At 10 PM, chefs in many countries have already taken off their aprons and are ready to close, but in Spain, people are enjoying their delicious dinner with garlic shrimp and Madrid-style stew (chickpeas, pork, sausages, etc.). The restaurants on the streets are busy and lively, with clinking glasses and laughter. Most tourists think that Spain's unusually late dining habits are due to the Mediterranean country's leisurely attitude, but the real reason is less romantic. It's a unique Spanish lifestyle that has existed for over 70 years because they live in the wrong time zone. Looking at a world map, Spain and England are on the same longitude, meaning they are in the Greenwich Mean Time zone, but Spain uses Central European Time. Thus, the daily schedule is about an hour later than the geographical time zone.

**Impression of Gaudi**

Barcelona is inseparable from its Gaudi; one could even say it's Gaudi's Barcelona.

Gaudi (1852–1926) was a great modernist architect of Spain, a representative figure of the Art Nouveau movement. He is known for his complex, novel, unique, and strongly personal architectural works, and is called 'God's Architect.'

Gaudi was contemporary with Spain's 'Generation of '98,' but linking them is far-fetched (I disagree with Linda's 'Spanish Travel Notes' on this). The Generation of '98 was more akin to the cultural reflection between the Sino-Japanese War and the May Fourth Movement. Gaudi was lonely, an individual detached from social life. I see his architecture as an outlet for his emotions, a dialogue with nature, love letters to himself, and an equal exchange with another spiritual soul outside his body. If I could transcend into his mind, watching each completed building, I would, with my Eastern romanticism, exclaim, 'I see the mountain so charming; the mountain sees me as such.' He believed 'only a madman would try to depict something that doesn't exist in the world,' but his faithful depiction of nature created his greatness. Thus, he shaped 'Gaudi's Barcelona.'

It can be said that Gaudi shaped Barcelona's character. Seven of his works are listed as World Heritage sites, six of which are in Barcelona.

Gaudi was not the taciturn person Linda described; he was passionate, though shy and introverted or quiet. But after seeing his architecture, you deeply understand where his passion lies—it is integrated into his works, into his nostalgia for his hometown of Barcelona. As Liang Xiaosheng once said, some people live a calm life but have a stormy inner sea, as if they have traveled through thousands of waters and mountains.

As the classic guidebook writer, Dan Brown set 'The Da Vinci Code' in the Louvre in Paris, 'Angels & Demons' in the Vatican, 'Inferno' in Florence and Istanbul, and his recent 'Origin' features a lot of Gaudi's architecture in Barcelona. See 'Spanish Guidebook: Dan Brown's Origin.'

In the early morning, despite the chill, I set out tea and coffee on the balcony in a showy manner, pretending to be a local watching the city slowly wake up.

We had pre-purchased tickets for Casa Milà, Casa Batlló, Sagrada Família, and Park Güell, all with scheduled entry times, and printed them out.

We had also watched some videos beforehand.

On the road, we saw locals hurrying by. Like the Spanish football team, Spanish men generally have good looks, and what's admirable is their commitment to staying fit.

Rarely did we see overweight locals.

**Casa Milà**

The keyword for Casa Milà is 'sculptural.' A dull and mundane apartment building, under Gaudi's hand, takes on the sculptural quality of irregular walls.

Casa Milà has no right angles; the roof is uneven, and the entire building resembles a turbulent sea, full of dynamism. On the roof, chimneys and ventilation ducts take on bizarre shapes. Inside and out, Casa Milà is extremely strange, even absurd. Yet it is still considered by many to be the most representative and original building of modern architecture, one of the most important buildings of the 20th century.

The hotel was very close to Casa Milà, about 300 meters away. Soon, we saw Casa Milà across the intersection.

Excerpt from 'Spanish Travel Notes' about Casa Milà: People see from outside to inside, from below to above, even drilling to the top floor onto the roof. On the roof, chimneys and vents are turned into a twisting group of elf statues, rough yet delicate. Casa Milà is the last private residence designed by Gaudi. The weight of the building is entirely borne by columns; neither internal nor external walls bear the weight, so the interior can be freely remodeled. The central light wells and the external street allow each unit double-sided lighting. The rooms are almost all circular. The rooftop is one of the biggest highlights: the fantastically shaped chimneys against the endless blue sky make for a stunning photo. On rainy days, the rooftop might be closed, so those planning to go should choose a sunny day.

[Info] The building's façade is like an architectural sculpture. Casa Milà is famous for its magnificent stone façade. It looks like a huge wave emerging on Passeig de Gràcia, a giant sculpture 30 meters high and 84 meters wide. Based on renewable elements, Gaudi gave full creative freedom to create abstract sculptural ironwork for the balcony railings, making us feel like we are in a plant paradise, perhaps with floating sea plants in the distance.

Dan Brown's 'Origin' has long descriptions of Casa Milà. In the novel, the penthouse of this building is the home of protagonist Edmond Kirsch, where Professor Langdon later finds clues to decode Kirsch's password.

'Origin': Casa Milà is one of Gaudi's most famous buildings, a dazzling and creative 'house' with layered façades and undulating stone balconies, like a hollowed-out mountain. That's why it has the popular nickname 'La Pedrera,' meaning 'the quarry.' Although the neighboring community initially laughed at Gaudi's shocking modernist design, the art critics universally praised Casa Milà, and it quickly became the brightest pearl of Barcelona's architecture. The wealthy businessman Pere Milà who commissioned the building lived with his wife in the irregular main apartment for thirty years while renting out the remaining twenty apartments. To this day, Casa Milà is considered the most unique and desirable apartment building in all of Spain.

As we approached Casa Milà, right in front of the main entrance, there was an advertisement board.

Alipay, 'Fortune'; Alibaba, 'Serve!'

We were not only impressed by China's influence but also by our internet companies that have already gone global and are strong in international competition.

Since we had booked our visit time in advance, we got in quickly despite the queue. Spain's relatively closed tourist attractions generally use a reservation system, with the entry time marked on the ticket. But how long you stay inside is completely free.

This system effectively manages the queue order and visitor flow, especially within the attraction, avoiding overcrowding.

[Info] The courtyards are like colorful, vivid nature. In Casa Milà, the courtyards are spaces where everything becomes vibrant. The walls are true shapes, images made of light and color, in stark contrast to the simplicity of the façade. The murals that decorate them feature mainly floral patterns, also seen on the ceilings and the side walls of the two entrance halls and the main staircase, with some mythological references and natural scenes. Don't forget to look at the spectacular staircase to the main floor.

'Origin': In the next thirty seconds, Langdon saw waves sculpt the mountain into Casa Milà, its unique appearance like a living organism. Then the waves surged into Casa Milà, carving out caves and grotto-like rooms. In these rooms, waterfalls sculpted stairs, vines began to spread. Under the vines, moss grew, covering the entire floor, while vines twisted and turned into iron railings. Finally, the camera pulled back to the vast sea, showing the full panorama of 'La Pedrera' sculpted into a majestic mountain.

'Origin': The entire exterior of Casa Milà resembles the mathematical infinity symbol—a wavy line forming a loop, creating two undulating light wells that run through the entire building. Both open light wells are about a hundred feet deep, their wrinkled shapes looking like partially collapsed tunnels. From the top, they look like two huge drains. Langdon stood at the bottom of the narrower light well, looking up. The visual effect was absolutely unsettling—it felt like being stuck in the throat of a giant beast.

We took the elevator directly to the Gaudi Space. The promotional material says 'Examine Gaudi in a magical space.' Indeed, it was this space that made me prefer Casa Milà over Casa Batlló later.

[Info] The attic of Casa Milà is the most characteristic space in Gaudi's architecture. Entering it feels like going into a giant creature, breathing and welcoming us. Again, natural elements become evident, represented by the 270 catenary arches shaped like a whale skeleton. But besides that, in this magical space, there is also the only exhibition dedicated to Gaudi and all his works; you will learn about the most unique lines of his architecture and the keys to his genius through audio-visual materials, design models, floor plans, exhibits, and designs.

At the entrance, there was a projector introducing the architectural concept and interpretation of Casa Milà through video.

Catenary arches are a frequently used architectural structure in Gaudi's work, a very interesting theory based on experience in an era without computer simulation.

'Origin': Langdon looked up at the curving ribbed arches, again feeling as if standing inside a living organism.

At the end, there was a video introducing not only Casa Milà but also all of Gaudi's architectural concepts and works.

I strongly recommend that everyone watch the entire video patiently; it's absolutely stunning.

I felt that Casa Milà subconsciously considered itself as the firstborn of Gaudi, duty-bound to introduce its father to visitors and show off its siblings. So visiting Casa Milà first, then Casa Batlló, Sagrada Família, and Park Güell, is a very wise and correct order.

The Gaudi Space contains models, structural drawings, and design elements of Gaudi's various works.

Here, you can see the structural skeleton of Sagrada Família, Park Güell, and Casa Batlló after removing bricks and tiles.

It shows you Gaudi's works stripped down.

Some small model details are adorable.

There was a mirror and a chain to explain the principle and method of Gaudi's catenary arch. A freely hanging chain forms a curve called a catenary, which looks similar to a parabola. Galileo initially mistakenly thought it was a parabola. When weights are hung at equal intervals along the chain, it becomes a parabolic curve.

Gaudi used chains with equidistant weights to create hanging models, from which he calculated the shape of the curves and their load-bearing capacity. He used mirrors or photos to invert the shape, thereby designing balanced arches. This type of arch can be seen in the interior model of the Sagrada Família.

From the Gaudi Space, we went to the rooftop terrace, which for most visitors is the soul of Casa Milà.

No words needed; first, a panoramic view.

[Info] The rooftop terrace is a unique and extraordinary work. It is a symbol of Barcelona, where you can admire the magnificent view of the city. It is an artistic and unusual space, out of place with the architecture of its time. The staircases appear as the earthly forces of nature: earth, water, fire, air... and the chimneys, as guardians of the building from ancient times, come to life and tell the origin of architecture. All these elements have dynamic and symbolic representations, open to free interpretation, but always fulfilling a preplanned practical function.

The helmeted warrior image is often described as an alien. Many travel magazines and guidebooks like to use this image on their covers.

In Barcelona, postcards, fridge magnets, and small models in kiosks and souvenir shops featuring this image are the most popular.

We lingered on the terrace for a long time, then went downstairs to the 'Period Apartment' as per the guide.

[Info] Life a hundred years ago. This apartment on the fourth floor is like a journey through time. As you stroll through it, you get a close look at the lifestyle of a Barcelona bourgeois family in the early 20th century. The old furniture and household items recreate the atmosphere. The apartment also shows the interior layout and decorative elements designed by Gaudi (knobs, handles, moldings, doors, floors, etc.). The tour also includes audio-visual displays showing the rapid transformation and modernization of Barcelona in the early 20th century.

[Info] The exhibition hall was the former home of the Milà family. On the main floor was the residence of the Milà family, who were the first owners and commissioned the project from Antoni Gaudi. Although few original elements remain on this floor because Mrs. Milà replaced most of the decorations after Gaudi's death, you can still see some carved stone columns with wave patterns and inscriptions, as well as fragments of the impressive ceiling, which Gaudi intended to continue the undulating rhythm of the façade.

Then, seeing we still had time before our scheduled entry to Casa Batlló, we leisurely shopped at the souvenir shop.

From this spot, we could see the intersection across the street, with tourists taking photos.

Our own photos couldn't capture the beauty of Casa Milà, so we attached photos of the commemorative wallpaper works.

[Info] The Block of Discord

Casa Milà and Casa Batlló are about 500 meters apart, and the area is quite famous.

On Passeig de Gràcia, there is the famous Block of Discord (Illa de la Discòrdia). Why is it called that? Because in this short stretch, three buildings of very different styles by three master architects are gathered: the dreamlike Casa Batlló, the dignified Casa Amatller, and the graceful Casa Lleó Morera. These three buildings stand side by side, creating a striking contrast. Even the streetlights on this street are ornate ironwork, giving the whole street an artistic atmosphere.

Since we're talking about Casa Amatller, we should mention that on the ground floor of Casa Amatller there is a beautiful café (which we didn't enter).

Entering the hall, you see century-old Catalan-style floor tiles, and at the end is the bling-bling Faborit café. Faborit is a Spanish chain café known for 100% healthy coffee and food, and they put effort into the environment. Their motto: Drinking coffee is a pleasure.

**Casa Batlló**

If Casa Milà represents power and roughness, then Casa Batlló is extreme refinement.

Excerpt from 'Spanish Travel Notes' about Casa Batlló: We involuntarily looked up, and there it was—a familiar spotted wall, like Impressionist pointillism, along with the exquisite windows, balconies, the small roof shaped like a fish spine, and the decorative turret. Casa Batlló is astonishing. Gaudi had the ability to preserve the masculine vigor and solidity of the artistic soul while achieving the fragile beauty of craftsmanship to an impeccable degree. Today's architectural decoration, if it uses curves, is usually two-dimensional and planar. But Casa Batlló, inside and out, is three-dimensional twisting. There is an energy, a tension trying to break out of the walls, present in every corner. Casa Batlló took 2 years, Casa Milà 6 years, and Park Güell 14 years. Apart from devoting himself to Sagrada Família, where did Gaudi's time go? As an architect, Gaudi also designed the furniture and interior decoration of his buildings. In Casa Batlló and the indoor parts of Park Güell, the flat ceilings are designed in swirling shapes. From chandeliers combining shells and coral shapes to ceramic discs and sea urchin patterns. Gaudi's use of lines is unexpected but traceable. You can see where his curves come from, but you never imagine they would be used here in this way.

Of course, a good designer knows how to play with concepts and tell stories. Gaudi was no exception. He used this six-story apartment building to tell a fairy tale: a beautiful princess is trapped in a castle by a dragon, and the Catalan hero Saint George kills the dragon to save the princess. The dragon's blood becomes a red rose, which Saint George gives to the princess. Every detail of this house pursues symbolic meaning and style elements.

The bubble-like colored windows under the sea theme make visitors feel like they are underwater, looking out from inside the dragon's body. Though not obvious, it can be sensed with a hint.

The main hall was relatively empty, but with more tourists than before, I couldn't find a good angle for a stunning photo.

The exterior was being renovated; from the outside, the balcony with skull shapes was not visible, and from the inside, the scaffolding spoiled the view.

Let me share an online photo of the hall and balcony.

Casa Batlló's audio guide is very interesting, using AR technology. When you view Casa Batlló through the screen, it overlays past furniture or reveals Gaudi's biomimetic elements.

For example, simple window railings: through the guide, we learned that their opening and closing, ventilation, and breathing are all biomimetic of fish gills.

We wrote our feelings and mood in the visitor guestbook.

The garden, in my view, was unremarkable.

Going up the stairs to the top floor, the glass, railings, and wall tiles on both sides try hard to imitate an underwater world.

With lighting, visitors are immersed in the atmosphere.

And the tiles in the light well, gradually deepening in color, like a deep pool of clear water.

Catenary arches again.

Casa Batlló's terrace is much smaller than Casa Milà's, far inferior in space and functionality.

Its most famous feature is the dragon-back design.

Choosing a good angle, we could capture the dragon and the sword in the same frame. This is also the typical framing strategy for many travel photos.

When descending, we could view the past living scenes of the apartment.

Downstairs, there was a video, the documentary of Casa Batlló.

Second day in Barcelona, lunch. Following the recommendation of a travel guide website, we specifically went to a highly rated Spanish restaurant in the Block of Discord area. The restaurant was big, and most of the customers seemed like locals, at least no tour groups.

Based on our previous knowledge of Spanish cuisine, we ordered typical Spanish specialties.

Actually, the taste was... so... so...

But at least we got full.

However, it was dinner time during the Chinese New Year holiday. Eating Spanish food while scrolling through friends' various dinner posts on WeChat...

You can imagine our feelings.

There is too much to say about Sagrada Família. For details, see 'Barcelona's Sagrada Família.'

Because Sagrada Família is so beautiful, both 'knowing' and 'feeling' require different chapters. So the knowledge and interpretation of Sagrada Família will be in a separate chapter, 'Barcelona's Sagrada Família.' In this travelogue, I will provide as many photos as possible for readers to experience directly.

Before coming to Spain, I had seen many churches.

St. Peter's Basilica: in terms of the building itself, the square layout, historical status... I think it is undeniably the first, after all, the Pope resides here.

Italy, Florence: Santa Maria del Fiore, beautiful.

Italy, Venice: St. Mark's Basilica, dignified, but not as dear to my heart as St. Mark's Square.

Germany, Cologne: Cologne Cathedral, majestic.

France, Paris: Notre-Dame, famous for its story.

England, London: Westminster Abbey, famous for the people buried there; the building itself is not particularly special, but the English souls interred there make it extraordinary.

Spain, Barcelona: Sagrada Família, splendid! Regardless of Gaudi's contribution, just its lighting effects are stunning enough.

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Before the trip, my impression of Sagrada Família was of an illegal building, a project under construction for three centuries and still unfinished.

After researching the background of Barcelona's attractions, I deeply felt that this is Gaudi's prayer to God, a love letter to the city of Barcelona.

Sagrada Família is a must-visit for every tourist in Barcelona. Excerpt from 'Spanish Travel Notes': We visited this church on winter mornings and nights, respectively. Especially on a cold, clear night, the cathedral is like a sleeping giant. You feel its solidity, its thousand-year religious foundation; it is also modern, with its most peculiar shapes, its tips adorned with Gaudi's colorful mosaics, shimmering in both sunlight and moonlight.

There is too much to say; I will compile it separately, see appendix 'Barcelona's Sagrada Família.'

Similarly, Dan Brown's 'Origin' also writes about the Sagrada Família in Barcelona. The mysterious exhibit containing the encrypted secret left by protagonist Edmond Kirsch is to be displayed here, and the climax of the story also occurs here.

'Origin': The Sagrada Família occupies an entire block in the heart of Barcelona. Despite its huge size, the church seems to float weightlessly above the earth, its intricate, perforated spires soaring effortlessly into the sky. The spires vary in height and complexity, making the church look like a bizarre sandcastle built by mischievous giants.

'Origin': In addition to traditional religious iconography, Gaudi used countless surprising forms to reflect his reverence for nature—turtles carrying columns, trees growing out of the façades, and even giant stone snails and frogs proportionate to the church's size.

'Origin': Once completed, the tallest of the eighteen spires will reach a dizzying 560 feet (higher than the Washington Monument). Sagrada Família will then become the tallest church in the world, a full hundred feet taller than St. Peter's Basilica.

'Origin': The church's main body is shielded by three huge façades. The east-facing façade is the colorful 'Nativity Façade.' This façade climbs upward like a hanging garden, adorned with lush plants, animals, fruits, and figures.

'Origin': Despite the strange exterior, the real surprise is only seen when you step inside the church. Once inside the nave, visitors stand amazed, their eyes following the twisted, tree-like columns upward to the suspended vault, a kaleidoscope of geometric patterns at 200 feet, like a crystalline canopy floating above. Gaudi said he created a 'forest of columns' to encourage people to reconnect with the thoughts of early hermits, for whom the forest was God's church.

We entered the church through the Nativity Façade, which is the Gate of Saint Joseph.

Opposite, the statue above the door of the Passion Façade is the Virgin Mary.

Sunlight streams through the stained glass windows; overall, the color scheme on Saint Joseph's side is bluish-green, while on Saint Mary's side it is orange-red.

The Glory Façade is not yet complete; the statue above its door is Saint George, the patron saint of Barcelona. On its back, there are no stained glass windows but large clear glass panes.

The interior of the church is so overwhelming that we planned to stay inside for a long time, so we first walked across to visit the Passion Façade.

The door of the Passion Façade is called the Gospel Door.

'Origin': Langdon pondered while looking at the raised printed letters on polished metal panels. The panels contain over 8,000 3D bronze relief letters. The letters are arranged in horizontal lines, forming a large area of text with almost no spaces between words. Although Langdon knew the text was describing Christ's Passion in Catalan, it looked more like a National Security Agency encryption key.

'Origin': Langdon's eyes slowly moved up, following the faint 'Passion' façade upward. The 'Passion' façade was designed by artist Josep Maria Subirachs. The whole façade consists of a group of gaunt, angular, downcast sculptures that are unforgettable. The central sculpture is the emaciated Jesus crucified on a cross, tilted forward, creating a terrifying effect of the cross about to fall on the viewer.

'Origin': As they approached the door, Langdon frowned at the church's most gruesome decoration: a huge statue of Jesus being flogged tied to a column. Then he quickly looked up at the carving above the door—two Greek letters, alpha (α) and omega (ω).

'Origin': In sharp contrast to the Nativity Façade, the west-facing 'Passion' Façade is plain, made of bare stone skeletons, carved to imitate muscles and bones.

Regarding the very different styles of the Passion and Nativity façades, Subirachs, the successor builder of Sagrada Família, faced much criticism. He responded: 'Personally, I don't like the Nativity Façade. Gaudi, like all other great artists, is extraordinary, but born in the wrong era. I don't think it's his best work.' I agree with this statement; at least the Nativity Façade he built should not be his best work.

This view does not diminish Gaudi's greatness; it is not about belittling a predecessor to showcase one's own character.

First, the finished Passion Façade is nearly identical to Gaudi's original drawings; Subirachs did not arbitrarily interpret or extend Gaudi's design.

Second, Gaudi wanted to convey too much through Sagrada Família, to show too much to the world. As a result, the Nativity Façade became a pile of elements, beautiful individually but chaotic overall. It really is not as good as the Passion Façade, which highlights the story clearly without overwhelming the overall façade. The Nativity Façade depicts one biblical story after another, actually limiting Gaudi's own imagination; the exterior is always executed in a meticulous but routine manner.

On the other hand, inside the church, free from so many symbols and appearances, the simple catenary arch hall with colorful stained glass light is already a stunning and unique creation, a one-of-a-kind Sagrada Família, a one-of-a-kind Gaudi. The moment visitors enter the church, they are captivated by the riot of colors. Compared to the highly intricate Nativity Façade, the nave feels simple and pure. The strong contrast creates a sense of time travel.

Traditional Christian cross layout, with Christ standing at the center of the cross. Above the altar, the roof is designed with a circular opening; sunlight enters through this hole, creating a golden halo of light floating in the air, mysterious and holy. Two huge pipe organs stand at one end of the church; light shines through the stained glass, making the organs glow with flowing colors.

'Origin': Most modern baldachins use solid structures, but Sagrada Família chose a cloth canopy. This umbrella-like canopy seems to float miraculously above the altar, and suspended from it with ropes is the statue of Christ crucified.

'Origin': Parachuting Jesus. Langdon had heard this description. Because this statue is one of the most controversial details of the church, Langdon was not surprised to see it again.

Some areas near the Christ statue are roped off with seats, and religious personnel maintain order, forbidding wandering and loud noise.

We also sat on the chairs, quietly listened to the audio guide, and felt the atmosphere of Sagrada Família.

The Nativity Façade faces east, symbolizing birth. Its glass uses cool tones.

The Passion Façade faces west, with warm-toned stained glass, especially the afternoon sunlight that makes the warmth even more pronounced.

It's hard to describe the beauty of color. For the first time, I was deeply shocked and felt sacred not just by the architecture itself but simply by the colors.

Inside Sagrada Família, the high vaults, colorful light, and lavish decorations everywhere continuously convey the sacred and solemn presence of God. A sense of splendor and depth washes over you. Gaudi once said that color is the moving aspect of life, and this is the unique quality expressed by Sagrada Família.

'Gaudi specifically designed a new type of stained glass window, overlapping three primary colors of glass to create new tones.'

I won't describe much; just look at the pictures and feel it yourself. If there are any shortcomings, it's due to photography skills.

Standing in the center of the nave, it feels like being in a vast forest, creating a strong religious atmosphere. To allow visitors entering from the main entrance to see the nave, crossing, and apse's vaults directly, the heights of the vaults increase gradually by 15 meters. The church follows a Latin cross plan, using no flat surfaces; abstract shapes are composed of smooth curves and jagged nodes. You can vaguely see the shadow of traditional Gothic architecture: pointed rib vaults, flying buttresses, large windows with stained glass depicting biblical stories, cross-shaped plan, and slender clustered columns.

The ceiling, themed 'nature,' is supported by many tall columns that imitate tree trunks, tilted at an angle and spiraling to avoid mechanical rigidity. Gaudi turned the interior of Sagrada Família into a huge forest; the branches of the columns spread out precisely, showing the lush and natural shape of trees. This unique and ingenious architectural structure creates a magnificent aesthetic effect. The interior of the entire church looks like a vast tropical rainforest, with rays of light filtering through the vault and colorful stained glass windows, casting dappled shadows on the floor, constantly changing the light, astonishing visitors.

Gaudi's Sagrada Família structural design is the most unique in the history of church architecture. The catenary arches and the branching columns provide sufficient support, so unlike Romanesque or Gothic churches, Sagrada Família does not need buttresses or flying buttresses. Yet it can still build high towers and large windows to achieve the height and brightness of Gothic churches.

Inside, geometric shapes like circles, triangles, and diamonds are symmetrically arranged on both sides of the central axis. Mosaics made of Venetian glass form various small elements.

In an under-exposed error photo, I unexpectedly saw the starburst design of the ceiling lights.

Elevators to the top are located in the side halls of the Latin cross, with two separate elevators ascending to the Nativity and Passion façades, not connected.

You must strictly follow the scheduled time to ascend. The platform cannot hold too many tourists.

The platform is covered with protective netting to prevent accidents. The Christ statue faces away from the platform, looking out over Barcelona.

You need to extend your phone through the net to barely capture Jesus's profile.

The platform is small with few sights and strong wind; you can't stay long.

Descending, there is no elevator; you must walk down. You can see the symbolic decorations on the spires: wheat ears and bread represent the holy body, grapes and chalices represent the holy blood. Seasonal fruits represent the Holy Spirit: spring and summer fruits like almonds, peaches, plums, cherries, loquats, and pears; autumn and winter fruits like pomegranates, chestnuts, apples, persimmons, oranges, and figs.

I thought this perspective looked like an advertising image for Tmall.

The dizzying spiral staircase of Sagrada Família once made National Geographic's list of 'the world's twenty most deadly staircases.' It ranked third, after the precarious stairs of Angkor Wat in Cambodia and the mossy stone steps by the Devil's Well waterfall in Ecuador. The stairs have no railings, only ankle-high inner lip walls.

The real highlight is the spiral staircase installed on one side of the main hall. It looks like a masterpiece of nature, like a giant spiral nautilus. Spiral shapes also appeared in Casa Batlló.

'Origin': Sagrada Família's dangerous spiral staircase is well known. The stairwell is dizzyingly steep—a narrow round hole plunging sharply down, like a giant spiral nautilus. In fact, the stairs have no railings, only ankle-high inner lip walls that offer no real protection.

Back inside the main hall, we sat and chatted, ignoring the crowds of tourists.

We look forward to the completion of Sagrada Família, when we will return.

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Exiting from the Passion Façade, there was a park. Let's call it Sagrada Família Park for now. Unlike the park opposite the Nativity Façade, it has no sleeping area but has a children's playground.

Many local children were playing in the park.

In the background, the majestic Sagrada Família; in the foreground, mothers watching their children play.

You play, I smile—this is what childhood should be like.

There were not only pigeons but also many large parrots. They were not afraid of tourists and would come close to beg for food, just like pigeons.

Nearby, a Barcelona FC shop.

Second Evening in Barcelona

No suitable bus or metro lines, so we walked back to the hotel.

The buildings along the road had some character, but we were already suffering from aesthetic fatigue.

By the time we got back to the area near Casa Milà, it was getting dark.

But near the hotel, especially on Passeig de Gràcia, the pedestrian walkway was brightly lit and lively. This atmosphere lasts until after 11 PM.

Having tried Spanish cuisine for lunch, we chose to buy groceries at the supermarket and cook ourselves back at the hotel.

A simple meal was fine.

Our jet lag was mostly adjusted; we slept early and woke up relatively early in the morning. There were almost no pedestrians around.

Park Güell is a bit far, so we took the metro.

After getting off the metro, there was a long uphill walk. The park was originally intended as a high-end residential area with beautiful surroundings, but due to its remote location and lack of facilities, the houses went unsold, and it was later turned into Park Güell.

Park Güell is located in the northern part of Barcelona, covering 20 hectares. It was originally a high-end residential community planned by Eusebi Güell and designed by Gaudi, but only two houses were built. One of them, which no one bought, was eventually purchased by Gaudi, who lived there from 1906 to 1926. Although unpopular at first, this World Heritage site is now a must-see destination for tourists worldwide. The Gingerbread Houses, the serpentine fountain, the mosaic lizard, the Hall of a Hundred Columns, and the world's longest curved bench are all must-visit spots.

We entered the park probably through the back gate. On both sides, there were semi-carved, semi-natural environments: dirt paths, slightly dusty and dry.

As usual, we entered according to our scheduled time, arriving at a square, probably where the ceramic bench corridor is. Under construction, dusty, not very beautiful.

The central square of the park is located above the Hall of a Hundred Columns, extending out like a platform from which you can see the 'Gingerbread House' and 'Tile Tower,' and overlook downtown Barcelona.

The mosaic benches around the platform are continuous, seemingly randomly curved but actually designed with ingenuity. This is the world's longest bench, actually the edge of the roof of the Hall of a Hundred Columns. Gaudi combined the wall and bench to create a lace-like zigzag seating area, decorated with colorful ceramic tiles, creating a rich visual experience and a lively atmosphere. When chatting on the bench, the different curves create small private spaces that don't disturb each other.

Excerpt from 'Spanish Travel Notes' about Park Güell: The building at the entrance, like a small church with a cross on top, shows Gaudi's giant hand gently and appropriately molding the wall. Then, in the almost fingerprinted curves, Gaudi, like a naughty child, uses his special color sensibility to press small, shiny, colorful mosaics into the soft mud.

'Origin': Tonight, looking at the satellite image of Gaudi's famous Park Güell, Langdon recalled his first visit as a college student—the twisted tree-like columns under the walkways, the nebula-shaped bizarre benches, the dragon- and fish-shaped grotto fountains, and the undulating white walls. The entire wall has a distinct flowing design, looking like a huge wavy single-celled organism. Walking through it feels like being in a dream world.

After passing this strange corridor, we reached the main entrance of the park, where the Gingerbread House seen from the platform is located.

Facing the entrance, there are two peculiar three-dimensional fountains: one is a chameleon, the patron saint of Catalonia, and the other is a giant lizard, the emblem of Catalonia. Both are decorated with mosaic tiles, bright in color and vivid in shape.

Going up the stairs after the fountains leads to the Hall of a Hundred Columns, which is supported by 86 stone pillars. The ceiling, undulating like clouds and waves, is entirely decorated with mosaic patterns.

We made the star sign gesture like everyone else.

The Gingerbread House is actually the information center and souvenir shop.

Speaking of Park Güell, naturally, we think of Güell. Geniuses are often not good at socializing; Gaudi was no exception. He had no hobbies besides work, and was even a bit foolish or mad in daily life. Güell was his only close friend, his patron, and his ally. Güell firmly believed that Gaudi was a genius: 'Normal people often have no talent, but geniuses are often like madmen.' Thanks to Güell, Gaudi could fully express himself without worrying about financial constraints. As always, a peerless genius and a high-powered devotee—a perfect match that goes down in history. Just like Marx and Engels.

Overall, I'm puzzled: Sagrada Família is undoubtedly a World Heritage Site; Casa Milà's architectural pioneering and ingenuity can barely qualify; Casa Batlló is a bit petty; and Park Güell is so simple it's almost ugly. I wonder why it was designated a World Heritage Site.

**La Boqueria Market**

Exiting Park Güell, we took the metro to Passeig de Gràcia station.

About two-thirds of the way from Plaça de Catalunya to Columbus Square, we found the bustling La Boqueria Market.

La Boqueria is the oldest and most authentic food market in Barcelona, a paradise for local foodies and a sensory feast for tourists worldwide. Especially in the morning, it offers a rich variety of fresh vegetables, fruits, seafood, meats, and cheeses, attracting crowds of food lovers. Visitors to Barcelona should not miss the local Iberian ham (Jamon Iberico), sheep cheese, and the famous paella.

Raw ham? Hmm... I didn't finish it.

The high-saturation photos impact visitors' vision.

**Passeig de Gràcia**

Exiting La Boqueria, we leisurely strolled along Passeig de Gràcia. This is the Barcelona atmosphere I love.

Occasionally, we saw a few buildings on both sides. I knew 'Palau Güell' was among them, but I was too lazy to look for it.

Instead, the street vendors on the walkway charmed me more.

Haha, a greasy heavyset man, dressed vulgarly, stood on a windowsill imitating Marilyn Monroe, even lifting his skirt to tease passersby. The door downstairs indicated an 'Adult Museum.'

Around here, we found a highly rated buffet restaurant.

Surprisingly, it tasted better than the famous dishes we had searched for. It seems our taste doesn't match Spanish cuisine.

We were full, even stuffed.

We sat by the window, drinking beverages, watching the flow of people on Passeig de Gràcia.

Across the street, there was an ice cream shop (actually right at the entrance of La Boqueria).

We ordered ice cream and enjoyed it slowly.

**Els Quatre Gats Café**

Discussing the itinerary, we decisively gave up Palau Güell and Palau de la Música Catalana and chose to go to Els Quatre Gats Café.

Famous for Picasso, Els Quatre Gats opened in 1897 and was once the center of Barcelona's Modernisme movement, a salon for the city's literati. Before Picasso became famous, he not only held his first solo exhibition at Els Quatre Gats but also designed a poster for the café, which later became the cover of its menu.

According to the guide, the café is located on the ground floor of Casa Martí, with a Baroque-style carved doorway and a menu featuring the old poster, displayed for passersby to browse.

Although it was afternoon, the café was deep in the alley and dimly lit, so the hall lights were always on.

[Info] 4 Gats is Catalan, meaning 'Four Cats' in English. It is located on an inconspicuous side street off Carrer de les Àngels, with an air of 'good wine needs no bush.' It is not only an artistic spot in itself but also known as Picasso's Café.

Few tourists; occasionally, customers looked like regular locals.

We entered the café; the dim but not dark lighting allowed us to see the walls clearly. The decorations were said to be manuscripts and works of masters who had been here.

The interior decoration has an artistic atmosphere, with warm lights and many works of art on the walls.

The outdoor seating area was not crowded, very quiet. Further inside, there was a large dining area actually full of customers.

We ordered some coffee at the café, and the children got some free coffee cookies from the counter.

Other customers, like us, were in small groups, well dressed, with elegant hair and beards. They exuded elegance, and notably, many couples were wearing matching outfits.

[Info] The café represents Barcelona in the late 19th century, a golden age that many yearn for, Picasso's 'Blue Period,' and the café where architect Gaudi, musician Isaac Albéniz, and others spent time, daydreaming, creating, and passionately discussing. The café is not just a building; it holds the spirits of those great figures from the golden age.

[Info] Around 1900, young Picasso often whiled away time in this café. He liked to draw exaggerated and strange portraits of his friends and hang them on the wall. He hung out here for about three years, eventually gaining recognition from the artists and radicals, holding his first exhibition, and creating the café's promotional poster—a man in an overcoat drinking coffee.

**A Leisurely Afternoon**

Exiting the café, we found ourselves on the shopping street connecting the Gothic Quarter and Plaça de Catalunya.

A Disney store successfully captured the children. Their dads stayed to watch them, while the two moms took the chance to go to ZARA to shop for clothes.

There were also many small trinket shops, nothing special; they had the same brands and styles as in China.

We encountered pickpockets. They operated in groups of 2-3, pretending to look at souvenirs while getting closer to tourists to steal. We noticed when a pickpocket opened our bag. Once discovered, the thief stopped immediately, unperturbed, and walked away.

Back at Plaça de Catalunya, we continued feeding the pigeons, lingering for a long time.

By the time we returned to the hotel, it was evening and streetlights were on.

Our flight was early; when we left the hotel, the city was still half-asleep.

The R2 line took us smoothly to the airport.

On the wall, there was a sign in multiple languages: 'Hope to see you again soon!'

Goodbye, Barcelona!

Luggage needed self-check-in.

At the airport's Barcelona FC store, the main poster was of Coutinho, not Messi!

Plane takes off, plane lands; the southern Iberian Peninsula is in sight.

Goodbye, Barcelona.

Granada means 'pomegranate' in Spanish.

The theme of the Granada leg is 'memory.' This is not only because of guitarist Francisco Tárrega's 'Memories of the Alhambra' and Washington Irving's 'Tales of the Alhambra' and 'The Conquest of Granada,' but also because of the real historical entanglement between the Iberian people and the Moors for centuries—the sigh of the Moors as they retreated and the spiritedness of the Catholic Monarchs taking the keys to the Alhambra... Looking back at Granada, its value and significance lie not only in the exquisite Alhambra but also as a crucial node in a great era of change, representing the diversity and coexistence of cultures and civilizations.

To understand Granada, you first need to understand the Moors. The term 'Moor' comes from Catholic Spain, referring to the Islamic conquerors in Europe.

In the 7th century, the powerful Arab Empire swept across Asia, conquered North Africa, and was separated from Spain only by the narrow Strait of Gibraltar. The indigenous North Africans adopted Arabic as their mother tongue and together with Arabs bred the 'Moors.' The Visigoths, in a struggle for the throne, invited the Umayyad Moors to help (like Wu Sangui opening Shanhai Pass to let the Qing army defeat Li Zicheng's rebels). The Moors crossed the sea, burned their ships, and with determination and ambition stronger than the Qing, conquered Spanish land south of the Pyrenees in 10 years. Fortunately, under Moorish rule, Islamic Spain, centered on Andalusia, was more like a civilized center of Europe compared to the medieval continent, blooming brilliantly and beginning 800 years of Muslim rule, which greatly weakened the dark shadow of medieval religious domination over the Iberian Peninsula.

Christianity gradually revived. During the Reconquista, Saint Ferdinand once laid siege to Granada. The Moorish king alone went to the Christian camp, appeared before King Ferdinand, frankly declaring he was the king of Granada: 'Trusting in your good reputation, I put myself under your protection. Take all I have and accept me as your servant.' He knelt and kissed the king's hand to show loyalty. Ferdinand accepted his vassalage and granted him autonomous territory. This is why Granada, though ultimately conquered by the Catholic Monarchs as the last Moorish stronghold, still retains the pomegranate in the Spanish coat of arms.

Granada is our first stop in Andalusia (region), where God meets Allah. The Moorish culture and Mudéjar architecture are authentically represented here. It is an area where Eastern and Western cultures, especially Arab and Christian civilizations, collided and merged, creating a unique cultural atmosphere.

Andalusia, located at the southernmost tip of Spain and continental Europe, was once a melting pot of Christians, Arabs, Jews, and other civilizations. With its warm climate, gentle coastline, fertile land, and snowy mountains, it attracted ancient empires to establish capitals, giving birth to a brilliant exotic culture different from continental Europe. Andalusia borders the Atlantic Ocean to the west, the Strait of Gibraltar to the south, and the Mediterranean Sea to the east, just 17 nautical miles from Africa, serving as a bridge connecting Europe and Africa. As Spain's second largest autonomous community, its special geographical location continuously attracted various ancient civilizations to settle. During Muslim rule, it was Europe's largest gold distribution center, a political, economic, and religious center. Even after the Moors finally left Spain, Islamic culture was deeply rooted in traditional Spanish culture; the Moors brought their architectural art and aesthetics from their homeland, leaving many precious architectural legacies.

From the airport, we took the airport bus for about 50 minutes to reach downtown Granada. The drop-off point, we later realized, was at the midpoint between the Albaicín district and the old town, very close to Granada Cathedral. This bus stop is not large, but many bus routes seem to stop here.

A few dozen meters ahead is the Plaza Isabel la Católica, with a statue of Columbus paying homage to Queen Isabella in the center. This square seems to be the geographical center of Granada.

This statue likely depicts Columbus meeting the queen. Since that moment, Columbus probably had a knightly feeling towards Queen Isabella. In his navigation diary, he always referred to Spain as 'Castile,' which was just one of the kingdoms, but indeed the queen inherited it.

Before the trip, browsing background materials, I found that the historical relationship between the queen and Columbus has been repeatedly depicted, even inspiring multiple famous paintings (for a long time, Europe was largely illiterate; knowledge, culture, and religion were mainly transmitted through painting and sculpture, not text). In one particular painting, all the attention is on Columbus, with only the queen shyly looking down, heavily romanticized.

Brief biography: Ferdinand II and Isabella I, King of Aragon and Queen of Castile. Their marriage successfully created the unified Kingdom of Spain, an absolute monarchy. They expelled heretics including Moors and Jews, funded Columbus's discovery of the Americas, and initiated the Age of Discovery and global colonization.

From Plaza Isabel la Católica, turn right to Plaza Nueva.

Going straight up leads to the Albaicín district. Following the riverside path recommended by the taxi driver, if not for the buildings on the left, it would feel like being in China for a moment. Cities like Granada, with babbling brooks and shady trees, are rare in Spain!

The Albaicín is as labyrinthine as any maze. Before you lies the entire city of Granada; across the hill, the Alhambra; at your feet, white-walled Moorish buildings rising in layers, dazzling and mesmerizing. Along the cobbled streets, white-walled courtyards are beautifully decorated, flowers in full bloom, dogs barking in the alleys, filled with a sense of tranquility. We lingered, unwilling to leave.

Granada lies among three hills, facing each other. The Alhambra sits on the highest point of one hill. The area we were in, with its narrow, winding streets resembling medieval Moorish lanes, is the Albaicín district, a World Heritage site together with the Alhambra. From the Alhambra, you can clearly see the beautiful white houses where we were, and looking up from here, we could see the Alhambra complex on the hilltop.

The Albaicín's streets are so narrow that... they still have bus routes.

Pedestrians on both sides have to press against the walls to let vehicles pass. Both pedestrians and vehicles do so without panic or impatience, naturally coexisting.

Almost at the end of the path, we found our pre-booked hotel easily with GPS.

The atmosphere was similar to the hotel in the Korean drama 'Memories of the Alhambra.'

We booked an apartment-style hotel located in an 18th-century historic building. As we dragged our luggage into the front hall, we were amazed by the ambiance, like a former Granada home, refined and tasteful.

Entering the guest room, we were not disappointed. Spacious and bright.

The best part was the hotel's location: opening the window, we looked down onto the streets of Albaicín.

We joked that it would be perfect for a scene like Pan Jinlian and Ximen Qing meeting at the window.

Directly across was the Alhambra. Whether opening the window in the living room or stepping onto the balcony, we had a direct view.

[Info] Eight hundred years of Moorish rule in Spain were mostly spent in internal struggles. The Alhambra and Albaicín, facing each other across two hills, staged a brilliant confrontation in the 15th century Granada. The Moorish Kingdom of Granada, controlling only the area around Granada, was already a flickering candle, buffeted by the Christian Reconquista led by King Ferdinand and Queen Isabella. But the Moors still wasted their limited strength in internal strife. At that time, the Moorish sultan Abu l-Hasan's son, Boabdil, was told at birth by astrologers that he would ascend the throne of Granada but that his kingdom would fall during his reign. Henceforth, the prince was hated by his father and was called 'El Zogoibi,' meaning 'the unfortunate one.' At the instigation of a concubine, the sultan intended to kill the unfortunate prince. But the prince's intelligent and brave mother instructed a trusted servant to wait under the Alhambra at night with a horse, tied the ladies' shawls and scarves together, and lowered the young prince from the tower. The prince led his army to drive the king out of Granada. The sultan then gathered his forces and retook the Alhambra. Finally, the prince and his mother occupied the Albaicín, which supported them, while the sultan stayed in the Alhambra. Within one city, father and son were enemies, all while the Christian Spanish army nibbled away at the fertile lands of the Kingdom of Granada.

Little girls are little girls; before leaving, they put on the new coats bought in Barcelona and applied the children's lipstick bought on the plane.

All very solemn and serious.

We initially planned to go toward the old town, but we were attracted by the noise from the opposite direction and took the children to explore.

A folk artist was blowing bubbles. Two thin wooden sticks, with several long and short cotton strings tied between them, fluttered in the wind, sending large and small bubbles floating.

Under the sun, the bubbles floated gently. Not just children, but adults also enjoyed the atmosphere.

The bubble artist moved gracefully like a dancer. The children chased the bubbles, competing to pop them. Especially when a big bubble burst, they would let out a collective cheer.

Many tourists voluntarily gave tips. We did too, feeling it was worth it, giving our trip warm and bright memories.

Years later, this sunny afternoon will still bring a smile.

[Info] Here, you can see a completely different Spain. The Albaicín is Granada's oldest Islamic quarter. After the construction of the Alhambra, it became a residential area for a mix of social classes. Muslims built their great Kingdom of Granada here.

Walking along the riverside path, it didn't take long to reach Plaza de Santa Ana. It has no special features, but its contrast with the narrow Albaicín streets made it feel spacious.

It vaguely reminded me of the Korean drama 'Memories of the Alhambra.'

The children rested in the square for a while.

The adults took the chance to stroll. To be honest, the line of Nike, Adidas, etc., was exactly the same as in China.

Vendors selling counterfeit goods were all black people.

The artists in Granada were the best we encountered in Spain. Perhaps the city, with both Catholic and Moorish cultures, has given locals a warm and cheerful character.

Both performers and spectators were relaxed, enjoying themselves, exchanging happy feelings, with tips as the medium.

Our main goal now was to find lunch near the square. There were many restaurants on both sides, not too expensive.

Hungry... so hungry...

Objectively, this meal turned out to be the most delicious we had during the entire trip, even though we later visited a Michelin-starred restaurant.

It was a weekend, and on the TV behind us, highlights and interviews from La Liga were playing. We tried to think of a Granada football team, but couldn't recall one.

Ironically, after coming back home, I started to pay attention to Granada FC, and it turns out they are doing pretty well.

On the way to the old town, the roads were wider, and the buildings felt more modern.

Of course, there were many craft shops along the roadside, whether in Albaicín, on the way to the old town, or in the old town itself.

Entering from near the bus stop, we soon saw Granada Cathedral in the distance. The surrounding buildings felt different from Albaicín but were equally old but not dilapidated, with a 'sense of history.'

Hand in hand walking on the stone city roads, the evening sun in front of us cast long shadows. The environment was bright but not hot, very comfortable.

A street artist was selling CDs. He neither solicited customers nor interacted with the crowd. He just immersed himself in playing his instrument, non-stop.

I don't know what the instrument was, but its deep tone matched the old city perfectly.

Behind the artist was the Royal Chapel of Granada.

This is the burial place of the Catholic Monarchs: Queen Isabella I of Castile (1451–1504) and King Ferdinand II of Aragon (1452–1516). It is one of the most important royal tombs in Spain. The sacristy museum of the chapel exhibits many precious treasures, including relics, portraits, tapestries, Baroque sculptures, and paintings.

Queen Isabella was the Queen of Castile, and Ferdinand was the King of Aragon. But why are they buried in Granada? On reflection, it makes sense: the reconquest of Granada marked the end of the Christian Reconquista. 1492 was a year celebrated throughout Europe, the greatest achievement of the Catholic Monarchs.

I always felt that the street decorations and patterns were not Catholic in style but more inclined toward Islamic.

No need for GPS or a set destination; we wandered deeper into the old town. Turning a corner, we suddenly came face to face with Granada Cathedral.

The contrast between the cathedral's size and the surrounding space was striking. Granada Cathedral seems to be squeezed into the narrow streets, unable to stretch out; it's hard to get a full view from any angle.

[Info] Granada Cathedral was built on the site of a former mosque. Construction began in 1523 and was completed in 1704. Initially planned as a Gothic cathedral, it changed to Renaissance style during construction, a common fate for European cathedrals that took centuries to build. The cathedral has three large arches, with the central chapel dome rising 45 meters, decorated with stained glass windows and ornate ornamentation.

The square in front of the cathedral, called Plaza del Carmen in guides, had many tourists sitting leisurely on the steps. The square is surrounded by square residential buildings.

Not large; you could cross it with a short run.

The two sisters sat affectionately on the marble railing, resting and chatting happily.

Children's smiling faces were the brightest light in our eyes.

The entire old town had stone surfaces, occasionally with patterns and designs made of small stones.

There were many tourists in the old town; we followed the crowd deeper.

The streets were winding and long; we wandered freely, imagining the daily life of Granada's former residents.

The streets had a strong Moorish style, from the horseshoe arches to the patterned decorations on both sides.

There were many small shops. Regardless of the quality of the souvenirs, the rich colors of the items themselves made us want to browse.

Tired, we cut through the alleys back to the hotel to rest.

We bought some peanuts at a Spanish food store to go with beer.

Cheers to our fun journey together.

I take a big gulp, holding up one finger!

You take your time...

After dinner, we looked out the window; the Alhambra was already lit.

Looking down from the window, the streetlights were on, with many tourists still about. There was only the bustling night, no sign of decline at sunset.

Looking up, the Alhambra seemed to be overlooking the Albaicín.

On a whim, we went back out to the street and wandered aimlessly under the streetlights.

Compared to the daytime riverside path, the feeling was different. Tourists were less hurried and more relaxed.

Buses, like during the day, slowly squeezed through the crowd.

The deeper we went into the alleys, the more Islamic the style became.

The fabric decorations hanging in the shops had complex geometric patterns, clearly Arabic. I felt a bit emotional: in 1492, Christianity reconquered Granada, and later edicts expelled heretics, making many Moors and Jews refugees in their own homeland. But over centuries, their habits and cultural details remained like moss on the steps. Since they couldn't be erased, they were preserved, merged, and absorbed, eventually becoming the unique Granada style.

Churches, crosses, Christian-themed reliefs contrasted sharply with the Moorish Alhambra above.

This vivid contrast would touch and shock any historically sensitive person.

Tired, we went back to rest.

The hotel was in the direction the statue was looking.

Before the Spain trip, I had done some background reading.

The guitar piece 'Memories of the Alhambra' is an unavoidable symbol, known as a piece among pieces. It was created by the composer after visiting the Alhambra in Granada. Through guitar tremolo technique at night, he expressed his feelings: 'Gazing deeply at the Alhambra, facing the grand architecture and ancient relics, he felt the vicissitudes of time and the helplessness of its passage.' It is said the piece has a misty, melancholy atmosphere, perfectly matching the Alhambra's refined, delicate, colorful, and melancholic artistic style.

Washington Irving, who lived in the palace for a while studying history, reflected on the Moors, saying they 'cast the light of Eastern civilization on the ignorant western land of Europe.' He wrote the famous 'Tales of the Alhambra,' detailing historical stories from the Muslim period in the palace, including both the enlightened brilliance of Arab rule and the decline of Arab civilization. Spain has good reason to respect Washington Irving: through his hand, the rough veil covering the palace's beauty was lifted, allowing the world to see the Alhambra's peerless charm. Irving, captivated by the palace, sought historical truth and restored the image of the Moors and their stories.

Victor Hugo praised Granada: 'No city, like Granada, spreads with elegance and a smile, with flickering Eastern charm, under the clear sky.' After reading some historical materials about Granada and the Alhambra, I think Hugo's description is a bit self-satisfied and inaccurate. In my opinion, the most precise description is: 'meticulous carving in desperate calm,' 'a life outpouring without utilitarian purpose, an aesthetic creation disregarding the logic of time.'

[Info] The Alhambra is Spain's famous palace, the former royal palace of the Nasrid Emirate of Granada, the essence of all Moorish monuments in Spain, known as the 'City of Palaces' and 'World Wonder.' In Arabic, 'Alhambra' means 'Red Fort.' Granada is an ancient city that witnessed the collision, conflict, fusion, and coexistence of various cultures. Initially built by the Celtiberians, later developed by the Visigoths as an important religious and military town, then occupied by the Moors who made it an independent sultanate. The Alhambra served as both palace and fortress. Later, the Catholic Monarchs expelled the Moors, recovered the Iberian Peninsula, and became the new owners of the Alhambra. The last Moorish king handed over the palace keys and sword, marking the end of Muslim presence in Europe, with all Catholic churches in Europe ringing their bells in unison.

Civilization and reason are important forces for the continuity of civilization. I am touched by the retreat of the last Moorish king and the tolerance of the new queen, Isabella. The loser did not destroy everything in madness, and the victor did not erase the other's mark in arrogance. Legend says that the defending king of Granada, to prevent the beautiful Alhambra from being destroyed in war, surrendered the city; and Queen Isabella, also amazed by the Alhambra's splendor, did not destroy Islamic relics to show her power. Instead, she maximally protected these non-Christian treasures and ordered future generations not to damage the Alhambra. As a conqueror, she only left small traces, like carving 'Y' and 'F' patterns on the walls.

Spanish audio-visual materials describe it like this.

The most famous film featuring the Alhambra is the Korean drama 'Memories of the Alhambra.'

Departure, target: Alhambra.

Early in the morning, we got up early (9:30 AM). Since the Alhambra was visible from our hotel, we didn't need a map, just followed our instincts up small paths.

Fortunately, there were map signs even on the small paths, so we didn't get lost.

Morning sunlight fell warmly.

The path was very secluded, very much so—gravel roads, not a single tourist or resident ahead or behind. If not for the palace becoming more visible as we looked up, we might have thought we were lost.

On both sides of the old road, there were some abandoned platforms. From there, we could clearly see the Albaicín where our hotel was.

Continuing, the gravel and rammed earth walls on both sides grew higher, gradually giving a sense of military fortification. No tourists were seen, but we encountered some elementary school students—whether on their way to class, after morning exercise, or on an outing.

Passing through a high stone city gate arch, we reached one entrance of the Alhambra.

There were many tourists, and entry to the Nasrid Palaces required reservations.

From this entrance, we first entered a garden area.

The Alhambra complex contains many gardens. The largest is the Gardens of Paradise, occupying the eastern part of the site, with many plants, ponds, and flowers.

Honestly, it's not as spiritual as Eastern gardens, nor as regular and grand as French gardens.

It's like regular script: clear and neat, nothing more.

We went directly to the Nasrid Palaces. It wasn't yet our scheduled time, but there was already a long queue at the entrance.

Fortunately, we had bought tickets in advance and made a reservation. If we had come without a reservation, we definitely wouldn't have been able to enter the Nasrid Palaces.

The entire visit proved that the common reservation system in Spain not only protects historical sites but also protects tourists' rights. Only the entry time is reserved; how long you stay inside is unrestricted. This system avoids the overcrowding common in Chinese attractions, where you have to buy tickets just to see the crowd.

While queuing, the children weren't bored. Near the battlements, they happily played house with their toys.

Looking into the distance, we saw the Albaicín.

To the side was the Alcazaba fortress, which seemed to be the main entrance indicated by GPS.

The Nasrid architecture represents the end of the glorious Umayyad period that began in Córdoba in the 8th century; it is the essence and highlight of the entire Alhambra.

The Court of the Golden Room indeed had a golden splendor. A square courtyard, with exquisite carvings as far as the eye could see, and the blue sky above.