[Super Spain] 8 Places in 12 Days, Beautiful and Heartwarming

[To the beautiful, heartwarming ones]

Read ten thousand books, travel ten thousand miles. Among words, in front of ancient buildings, on city streets, in the soft words of locals—that is the right way to open a chapter of history and understand a city. This is also the journey I hope to give you: see more, think more, grow in spirit, through both silent influence and sudden enlightenment. A sentence in a book, a street in a city—perhaps that is the catalyst.

Taking you to measure the world—the books read, the roads traveled, the people and events encountered, the stories of time felt—are all seeds sown in the heart. When future you comes across certain people, places, histories, or cultures, you can smile and say lightly: "Oh, these old friends..."

Flight: Enter through Barcelona, exit through Madrid. The overall itinerary covers three of the six regions on the Spanish coat of arms—the most storied and directly influential: Castile, Aragon, and Granada.

Itinerary design: After much deliberation, I removed Lisbon, switching from Spain-Portugal to Spain only. Lisbon, whether by car or flight, was a bit inconvenient for traveling with a young child. Lisbon, Sintra, Cape Roca—we will skip for now. "The road ends here, the sea begins here," leaving a small regret as a reason to return.

Main route: Barcelona – Granada – Ronda – Seville – Córdoba – Toledo – Madrid.

First reason: smooth itinerary; after one flight, all driving, luggage handling and hotel changes are not too tiring. Second reason: These cities were historically important in Spain, each in some era influencing the changes on the Iberian Peninsula.

[Beijing, Departure]

The children prepared meticulously for this trip, packing their own luggage with full sets of play toys, electronic devices, and school supplies.

On the second night of the Lunar New Year, we arrived early at Beijing Airport. Both adults and children were full of anticipation for Spain.

Flying from Beijing, 12-hour flight, 7-hour time difference. Takeoff at midnight Beijing time, landing in Barcelona in the early morning.

The terminal was empty, not many tourists.

[Barcelona] (Day 1 to Day 3)

Day 1: After landing, we found our hotel from the airport, checked in. Today was mainly for adjustment, strolling around the city and scattered sights. Focus: Gothic Quarter and Columbus Square. Original plan was to walk to the harbor, but the group was tired on the first day; we didn't go to the port or the market for a big meal. We returned to the hotel to cook dinner and rested early.

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

Day 2: The highlight—Gaudí'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: Morning: Parc Güell, then La Boqueria market, then Café de les Quatre Gats for a cultural vibe. We skipped the planned Plaça d'Espanya because we would see Seville's Plaza de España later, which was already exciting enough.

Main check-ins: Parc Güell, La Boqueria, Café de les Quatre Gats

[Granada] (Day 4 to Day 5)

Day 4: Arrived in Granada by noon flight. Afternoon: stroll around the Albaicín district and old town, wandering, eating, feeling the atmosphere of the thousand-year-old city, tracing Moorish history.

Main check-ins: Albaicín, Granada Cathedral

Day 5: Morning: Alhambra Palace—the top sight in Spain, experiencing the end of 800 years of Moorish rule on the Iberian Peninsula.

Main check-ins: Alhambra

[Ronda] (Day 5 to Day 6)

Day 5: Afternoon: Rented a car and arrived in Ronda around dusk. Stayed overnight in Ronda, experiencing the "most suitable for elopement" town on the cliff.

Main check-in: Puente Nuevo

[Seville] (Day 6 to Day 7)

Day 6: From Ronda to Seville. After lunch, strolled around the city, enjoying the charm of this most tourist-friendly city. Highlight: In the evening, watch a flamenco show and shout "¡Olé!" to the rhythm.

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

Day 7: Explored Seville in detail. Afternoon: drove to Córdoba for accommodation.

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

[Córdoba] (Day 7 to Day 8)

Day 7: Arrived in Córdoba in the evening. Went to the old town for a good restaurant, ate the famous oxtail stew.

Day 8: Mosque-Cathedral of Córdoba. After lunch, left for Toledo.

Main check-in: Mosque-Cathedral

[To Madrid] (Day 8)

Day 8: Consuegra to see Don Quixote's windmills. Arrived in Toledo in the evening, stayed 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 outside Madrid for shopping. Night: checked into Madrid.

Main check-ins: Toledo old city, 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 (aesthetic fatigue, didn't enter the palace). Relaxed in squares, 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 from a travel site. Got up early; Paseo de Gracia was silent.

At the airport, queued until 7:00 to process tax refund. First, verification outside security near counter 197. After security, took the tax refund form to the bank counter to get cash. Impressed by Tencent's power!

Read ten thousand books, travel ten thousand miles—it's true. 12 days, ten thousand miles of flight, a thousand miles by car. The children clearly grew.

It's wonderful to travel together.

Arched roofs, Latin dawn. Colors ambiguously seductive, I'm already tipsy. / Red dancing skirts whirl on shady paths. Even footsteps sound like flamenco. / Small wine bottles hanging on the window frame sway gently. Respond softly to the wind—love can be silent.

Barcelona sits in the northeast of the Iberian Peninsula, on the Mediterranean. Legend says that over 2,000 years ago, a Roman fleet arrived off the coast of present-day Barcelona. Those on the ninth ship settled ashore, and the place name derived from "Barca Novena" (ninth ship) in ancient Roman; later evolved, "Barcelona" in Catalan means "bar" (bar), "cel" (sky), and "ona" (wave).

The main theme of this Barcelona leg is "style."

Yu Qiuyu in "The Walker Without Borders" gave Barcelona a spirit of wandering, but linking Gaudí to Columbus as wanderers is far-fetched. First, Gaudí was not a wanderer; he was rooted in Barcelona. Second, Barcelona does not belong to Columbus, but to Gaudí, Picasso, Dalí... At first glance puzzling, unforgettable, not compromising, not conforming, with its own style. The whole city is infused with a strong personal flair by Barcelona's people, so intense that they must define themselves as "Catalan" rather than broadly Iberian Spanish. (I looked into this; many things in the world don't need understanding, but respect.)

I like the "passionate Latin" persona of Spain: singing and dancing are mandatory for Spaniards; bar drinks are their usual leisure.

For tourists, Barcelona has another universal label: "architecture."

Every city has its critical moments. Barcelona's critical moment was the first and second World Expositions in the late 19th century. That opportunity completely transformed Barcelona from an old, broken town into a proud modern metropolis. To attract tourists, they built grand monuments, hotels, and cultural centers, and Barcelona's people became more cosmopolitan and ambitious.

12+ hours direct flight. Boarded in Beijing at 2 AM; due to time difference, we arrived in Spain at 7 AM local time. Customs was quick; we waited for luggage calmly, ate some bread, cookies, and fruit as breakfast.

During the Spring Festival, it's winter in Europe. Although Spain is on the southernmost Iberian Peninsula with relatively warm weather, it's still the low season for Spanish tourism.

Few tourists at the airport.

Took the shuttle from the airport to the R2 line to central Barcelona.

Distance was short, maps clear. We noted the route and stops because three days later we would take the R2 line again to fly to Granada.

Not many people at the train station, frequent trains. We sat together, spacious and comfortable.

Sunlight accompanied us all the way. The beautiful 12-day journey began on a bright, sunny morning.

Bright sunshine, bright mood.

The beautiful and heartwarming Spain trip officially started.

Got off at Passeig de Gràcia station. Across the street was Casa Batlló.

First visit: photos, memories, check-in.

Even though we would return for a detailed visit later.

I loved Barcelona's street layout so much. Even now, days after returning, if I were to summarize the Barcelona leg, I would put Passeig de Gràcia first—even before all Gaudí buildings.

Barcelona's urban planner was Ildefons Cerdà, a bridge and road engineer. He advocated an open and inclusive city, breaking class and wealth boundaries, where citizens could share resources and facilities. To achieve this, he needed a radial pattern. Like our cities: ring road 1, ring road 2... Ah~ ring road 5, you are one less than ring 6~. Rings create centers, centers create distance.

People compare class and wealth by naming rings. A whole city becomes a target on a pole, everyone aiming for the bullseye.

Let me share an aerial view of Barcelona. From an IT engineer's perspective, it's modular, decentralized. From God's eye, each small block (like a Bagua formation) has its own space, even squares. Plus small shops and supermarkets scattered in each block—a microservices design.

Cerdà, if alive today, would definitely be a top programmer.

My love for Passeig de Gràcia is purely personal. In hindsight, I feel Barcelona's architecture as a whole is somewhat overhyped—but that's another story.

Still, from day one, I genuinely loved Passeig de Gràcia. Extremely wide pedestrian walkway in the middle, with one-way vehicle lanes on each side—a city thoroughfare truly centered on people.

The pedestrian walkway is many times wider than the vehicle lanes. Benches are standard; even street-side restaurants line up. The street isn't flashy but is bustling. Since it's very long and the city center is decentralized, shops don't compete for one spot, so no traffic bottlenecks.

In the sunlight, five of us walking side by side didn't bother anyone.

Vehicle lanes on each side, then rows of shops.

Dragging luggage, we encountered Starbucks and recharged with some energy.

Following navigation, we easily found the hotel, tucked in a corner of a block.

Since check-in wasn't until noon, we stored our luggage and went out for lunch.

To adjust to local food gently, we conservatively chose McDonald's for our first Spanish meal.

Barcelona Day 1 noon: Checked into the hotel.

After lunch, truth be told, the hotel pleasantly surprised us for a first stop in Spain.

Historic building: stone walls, solid wood doors, ironwork decorations.

Inside, an old elevator like those in old movies—a lattice gate.

Taking the stairs, we noticed the building's decor was elegant, with traces of past owners' love for life.

Atrium open to the top—a bit dangerous for children.

The front desk gave us a warm feeling, like a tastefully decorated coffee room rather than a hotel reception.

As for the room, it continued the front desk's style: spacious, home-like layout with a large living room offering ample shared space.

Pulling the curtain, sunlight fell on the sofa, making us lazy.

From the balcony, we could see Barcelona's streets.

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

On the pedestrian walkway, street-side restaurants were opening; the area was livelier than before.

Barcelona's streets, though buildings are neat and beautiful, have low distinctiveness. Most buildings look similar in layout and facade, making it hard to tell where we are at a glance.

In travel guides, Barcelona is mainly labeled for architecture and design.

But from street statues, they are indeed modernist, even flamboyant.

Occasionally saw shared bikes, but Barcelona has its own comprehensive local bike-share system.

On the pedestrian walkway, children stopped to feed pigeons, enjoying it like a square.

During these 12 days in Spain, they developed the habit of feeding pigeons everywhere.

Continue along Passeig de Gràcia towards Columbus Square, planning to pass Plaça de Catalunya, Barcelona Cathedral, and the Gothic Quarter.

At a wide intersection, we were drawn to the four corner shops. I had previously read about this intersection in a culture series: "Fast fashion war at Barcelona's street corner: H&M, ZARA, Uterqüe, Uniqlo + MANGO."

We chose the most beautiful building—H&M—and browsed, experiencing Spanish shopping.

[Plaça de Catalunya]

Not far ahead: Plaça de Catalunya. Truly called Pigeon Square; children were completely absorbed in the pigeons.

Plaça de Catalunya, in the city center, is the large square of the old town, also known as Pigeon Square for its flocks, sculptures, and fountains. It's a crucial transport hub, close to most popular attractions like La Rambla and Casa Milà. It marks the start of La Rambla, with the old city on the left, new city on the right, straight to the port.

Centerpiece: a huge fountain area; the Apple Store in the distance forms a visual backdrop.

Although it's winter, the temperature stays around 15°C, enough for flowers and plants to survive the season.

One side has a small pond, not particularly distinctive.

Beside the pond, a statue of a woman riding a horse holding a ship—representing Barcelona's administrative region.

From the square, we entered a bustling commercial pedestrian street, wide and tidy, lined with clothing stores.

As the street narrowed, shops got smaller but still crowded with customers.

Deeper into the street, buildings became older and more disorderly—basically the old town or Gothic Quarter.

This area is Barcelona's original core.

A tile image at a street corner gave us a little laugh.

Shopping in Barcelona is quite enjoyable; besides good value, the colors and styles delight the eyes.

[Barcelona Cathedral]

We happened upon the weekend flea market, similar to China's antique markets but quieter.

Items were mostly collectibles, not second-hand goods—old items for resale.

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

The most enjoyable thing wasn't touring the cathedral but sitting on its steps like locals, idly killing time.

The cathedral is mainly Gothic, with slender lines, a dome and interior structure showing Neogothic style. An elevator near the dome leads to the roof, offering panoramic views of old Barcelona.

The cathedral occupies a large area.

We didn't go inside.

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

Seven letters, pure copper, varied shapes. The letter A is a pyramid with an accent; C is a crescent moon; N points north like a sail; O is the sun shape, symbolizing the Mediterranean. All express Barcelona's welcome to visitors.

The Palau de la Generalitat stands on Plaça Sant Jaume, a key venue for Catalan political activities. It seemed to be hosting a political event; we weren't interested and didn't pay much attention.

The Gothic Quarter is the heart of old Barcelona. Apart from some 19th and early 20th century changes, many buildings date from the Middle Ages, some even from Roman times. The area retains a labyrinthine street plan with small streets and squares. Most streets are closed to general vehicles (only service vehicles and taxis). Walking there, you immediately feel the aged atmosphere; you can easily encounter Barcelona Cathedral, Plaça Reial, or the Temple of Augustus ruins.

This small square with a memorial statue turned out to be a famous work honoring five heroes of the anti-French invasion. The winged victory relief above is also by a renowned artist.

It's hard to imagine this street was once Barcelona's main axis.

A Gothic archway where many tourists take photos; it's a symbol of the Gothic Quarter.

Actually, it's just a short walk.

Sunlight was wonderful, casting long shadows, warm. Our mood was the same: unhurried.

We slowly headed toward our destination: Columbus Square.

We stumbled upon a square that we unexpectedly liked. Checking navigation, it turned out to be Plaça Reial, one of Barcelona's attractions.

A square with regular layout, surrounded by three-story buildings.

I strongly suspect that Tianjin's Five Avenue compound and the renovated Minyuan Stadium were inspired by this.

The lampposts here are famous—designed by Gaudí. I don't understand them; they look odd to me.

Prefer the unnamed buildings along the street.

[Quote] Gaudí's early work: the helmet with wings on top symbolizes Hermes (Mercury in Roman myth). Legend says he threw his wand between two fighting snakes, and they made peace; thus he is also the god of commerce. Below the helmet, two snakes with open mouths coil around the lamppost.

[La Rambla]

"La Rambla" comes from Arabic "raml" meaning "riverbed." The street is nearly 2 km long, divided into five sections, each with a name reflecting its history: from a canal to neighborhoods to a lively pedestrian street. They are: La Rambla de les Canaletes, La Rambla de les Estudis, La Rambla de les Flors, La Rambla de les Caputxins, La Rambla de Santa Mònica—collectively called "Las Ramblas."

La Rambla is a bustling tree-lined pedestrian boulevard in central Barcelona. Spanish poet Federico García Lorca called it the only street in the world he wished would never end. It starts at Plaça de Catalunya and ends at the Columbus Monument.

[Quote] Connecting the central Plaça de Catalunya and the old port's Columbus Monument, La Rambla is often compared to the Champs-Élysées in Paris. Passeig de Gràcia is Barcelona's most famous street, equivalent to Fifth Avenue or the Champs-Élysées. By day, it's crowded with tourists and street artists, lined with flower shops, food stalls, and craft shops. At night, it sheds its touristy commercial vibe, becoming a place of swaying shadows and drinks under the trees, intoxicating.

Following navigation, we passed the customs building intersection to reach Columbus Square.

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

[Columbus Square]

La Rambla ends at the Columbus Observation Tower. From there, looking east, you see the old port buildings; southwest, the Barcelona Customs building. The tower was built for the Barcelona Universal Exposition—a tall cylindrical monument of brown marble, 60 meters high, with inscriptions "Glory to Columbus" and "Homage to Columbus."

The tower is a composite Roman column. At the top, a statue of Columbus points to the port with his left hand holding a navigational chart—the very spot where, in 1493, Columbus returned from his first voyage and the Catholic Monarchs awaited his report.

At the base, four seated statues represent the four kingdoms of Spain: Catalonia, Leon, Aragon, and Castile.

The reliefs and figures around record the important events and people of Columbus's discovery.

The lower reliefs depict key moments of Columbus's voyages.

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

On August 3, 1492, Columbus departed from Palos de la Frontera in southern Spain.

On October 12, 1492, Columbus landed in the Americas, holding the Spanish flag, kneeling and thanking God before the indigenous people.

I compiled a list of cities and places we would encounter that are associated with Columbus on this trip.

Spain is the country that most reveres and praises Columbus, while many American countries view him as a predator and demon. Looking at his life, he possessed many vices of a successful man; I personally deeply dislike him. The Age of Discovery was initiated by Portugal's Prince Henry and Vasco da Gama, and the circumnavigation proved by Magellan. Columbus's contribution was discovering the Americas, which opened the bloody curtain of looting American wealth and wiping out gentle civilizations, building the Spanish Empire with American gold. It was self-serving, with little contribution to human civilization—on the contrary, the Aztec and Inca civilizations vanished from history.

In fact, the story that most impresses me is Queen Isabella's vision and boldness. The era of the Catholic Monarchs, the Reconquista, expelling the Moors, funding Columbus, global colonization—without doubt, Queen Isabella's reign was the brilliant start and peak of Spanish history. Columbus, a speculator, had been refused funding three times, but a woman single-handedly convinced Spain to fund his westward voyage, accidentally opening the discovery of the Americas. Also, from a modern legal perspective, the Capitulations of Santa Fe are the greatest example of contract spirit and adherence.

History is vast; we are just fleeting visitors. Right and wrong are but street gossip for us.

Sunshine bright, smiles as bright as sunshine, mood as bright as smiles.

In a strange city, in front of a foreign building, watching the bustling crowds—this is our travel story.

Barcelona Day 1 Evening

Tired, though not far, we took the metro back to the hotel.

(There were homeless-looking people enthusiastically helping with ticket machines—of course, tipping was expected.)

Got off the metro, stopped at a supermarket. After a long day, we didn't want to eat out; instead, we wanted to return to the hotel for a relaxed, warm dinner together.

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

About Spanish daily schedule: work from 9 AM, lunch break 2–4 PM, end work at 8 PM, dinner at 9 PM.

At 10 PM, many countries' chefs take off their aprons, but in Spain, people are enjoying delicious dinners—garlic shrimp, Madrid stew (chickpeas, pork, sausage, etc.)—and restaurants are lively and bustling. Most tourists think this late dining habit is due to Spain's laid-back attitude, but the real reason is less romantic. It's a unique Spanish lifestyle because they've been living in the wrong time zone for over 70 years. Looking at a world map, Spain and England are on the same meridian (Greenwich, zero time zone), but Spain uses Central European Time, so their daily schedule is an hour behind their geographical time.

[Gaudí Impression]

Barcelona is impossible to discuss without mentioning Gaudí. One could even say Gaudí's Barcelona.

Gaudí (1852–1926) was a great Spanish modernist architect, one of the leading figures of Art Nouveau, known for his complex, novel, unique, and highly personal architectural works, called "God's architect."

Gaudí coexisted with the Generation of '98, but linking them is forced (I disagree with Linda's "Spanish Travel Notes"). The Generation of '98 emerged from cultural introspection similar to the period between the Sino-Japanese War and the May Fourth Movement, while Gaudí was solitary, detached from social life. I see his architecture as an outlet for his emotions, a dialogue with nature, a love letter to himself, and an equal exchange with another spiritual soul outside his body. If I could mentally inhabit him, I imagine he would think, "I see the mountain so charming, and the mountain sees me the same way." He said, "Only a madman would try to depict things that don't exist in the world," yet his faithful depiction of nature created his greatness. That's how "Gaudí's Barcelona" came to be.

You could say Gaudí shaped Barcelona's character. Seven of his works are listed as World Heritage sites, six of them in Barcelona.

Gaudí was not dull as Linda described; he was passionate, though shy, introverted, and quiet. But once you see his buildings, you deeply feel his passion—melted into his works, into his nostalgia for his hometown of Barcelona. As Chinese writer Liang Xiaosheng said of some people: they live calmly on the surface but have a sea of turmoil inside, as if they have traveled through thousands of mountains and rivers.

As a classic tour guide author, Dan Brown's The Da Vinci Code featured the Louvre, Angels & Demons the Vatican, Inferno Florence and Istanbul, and his recent Origin prominently describes many of Gaudí's buildings in Barcelona. (See "Spanish Travel Guide: Dan Brown's Origin")

Early morning, despite the chill, I pretentiously set out tea and coffee on the balcony, pretending to be a local watching the city slowly wake up.

We had pre-purchased tickets for Casa Milà, Casa Batlló, Sagrada Família, and Parc Güell, all with timed entries, and printed them.

We also watched some videos beforehand.

On the street, we saw locals in a hurry. Like the Spanish football team, Spanish men generally have good looks, and they take pride in managing their physiques.

Few overweight locals.

[Casa Milà]

Keywords: "sculptural sense." A dull apartment building becomes a sculptural irregular wall under Gaudí's hands.

No right angles in Casa Milà; the roof undulates like a rough sea, full of movement. Odd-shaped chimneys and ventilation ducts on the roof. Inside and out, it's bizarre, even absurd. Yet it's considered one of the most representative and original buildings of all modern architecture, one of the most important of the 20th century.

Our hotel was about 300 meters from Casa Milà. Soon we saw it across the intersection.

Excerpt from "Spanish Travel Notes" about Casa Milà: People look from outside to inside, from bottom to top, even to the roof. Chimneys and vents are twisted into a field of moving spirit sculptures—rough yet delicate. Casa Milà was the last private residence Gaudí designed. The building's weight is entirely supported by columns; neither interior nor exterior walls bear weight, so interiors can be freely remodeled. The central courtyards allow double-side light for every apartment, and almost all rooms are round. The rooftop is a major highlight—fantastic chimney shapes against the endless blue sky, great for photos. The rooftop may close in rain, so choose a sunny day.

[Quote] The facade is like a sculptural building; Casa Milà is famous for its beautiful stone facade. A giant wave 30m high and 84m wide appears on Passeig de Gràcia. Gaudí used recyclable elements and full artistic freedom to create abstract ironwork for balconies, like a plant paradise, while distant objects might be floating seaweed on water.

Dan Brown's Origin features Casa Milà extensively. In the novel, the top floor is the residence of protagonist Edmond Kirsch, where Professor Langdon finds clues to decipher Kirsch's code.

Origin: "Casa Milà is one of Gaudí's most famous buildings—a dizzying, creative 'house' with layered facades and undulating stone balconies that look like a hollowed-out mountain. That's why it's nicknamed 'La Pedrera' (the quarry). Though the neighborhood initially scorned Gaudí's stunning modernist design, art critics universally praised it, and it quickly became the brightest pearl of Barcelona's architecture. The wealthy Pere Milà and his wife lived in the irregular main apartment for 30 years, renting out the remaining 20 units. To this day, Casa Milà is considered Spain's most unique and coveted apartment building."

As we approached Casa Milà, right at its main entrance stood an advertising board: Alipay's "Fu" (blessing) and Alibaba's "Fu!" (service).

Besides marveling at China's influence, we also felt that our internet companies have already gone global and are strong in international competition.

Since we had booked entry times, the queue moved quickly. Many relatively enclosed Spanish tourist attractions use a reservation system; tickets specify entry time but not duration inside.

This system efficiently manages queue order and crowd flow, especially inside the attraction, preventing overcrowding.

[Quote] The courtyard is like a colorful, vivid nature. In Casa Milà, the courtyard is a space where everything becomes lively. The walls are true shapes with light and color, contrasting with the plain facade. Murals depict floral patterns, also seen on ceilings, side walls, and the main staircase, with mythological and nature scenes. Don't miss the grand staircase leading to the main floor.

Origin: "In the next 30 seconds, Langdon saw waves carving mountains into Casa Milà, its unique facade like a living organism. Then waves surged inside, carving caves and grotto-like rooms. Waterfalls sculpted stairs, vines spread, moss grew over the floor, and vines twisted into iron railings. Finally, the camera pulled back to the vast sea, revealing a panoramic view of 'La Pedrera' carved into a grand mountain."

Origin: "The entire exterior of Casa Milà resembles an infinity symbol—a looping line connecting two wave-shaped light wells running through the building. Each open light well is about 100 feet deep, with wrinkled shapes like partially collapsed tunnels. From the roof, they look like two huge drains. Langdon looked up from the narrower light well's ground floor; the visual effect was unsettling—like being in a giant beast's throat."

We took an elevator directly to the Gaudí Space. The promotional material says "Explore Gaudí in a magical space." Indeed, this space made me feel Casa Milà surpasses Casa Batlló.

[Quote] The attic of Casa Milà is one of Gaudí's most distinctive spaces. Entering is like entering a giant creature—it breathes and welcomes us. Nature's elements are evident in the 270 chain-like arches resembling a whale skeleton. Moreover, this magical space houses the only exhibition dedicated to Gaudí and all his works; you'll experience his architectural lines and genius through audiovisuals, design models, plans, exhibits, and designs.

At the entrance, a projector uses video to explain Casa Milà's architectural concept and interpretation.

The catenary arch is a frequently used structure in Gaudí's architecture, a very interesting empirical theory in an era without computer simulation.

Origin: "Langdon turned his gaze to the curving ribbed arcade, again feeling as if he were inside a living being."

At the end, there's a video introducing not just Casa Milà but all of Gaudí's architectural concepts and works.

I strongly recommend watching the entire video patiently—it's stunning.

Casa Milà seems to subconsciously consider itself Gaudí's firstborn, duty-bound to introduce its father and siblings to visitors. Therefore, visiting Casa Milà first, then Casa Batlló, Sagrada Família, and Parc Güell, is very wise and correct.

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

Here you can see Sagrada Família, Parc Güell, and Casa Batlló's bones and veins after removing tiles—to reveal the bare structure.

Small details of some models are cute.

There's a mirror and a catenary chain to explain the principle and method of Gaudí's catenary arch. A freely hanging chain forms a curve called a catenary, which resembles a parabola so closely that Galileo initially mistook it for one. Hanging weights at equal intervals transforms the chain into a parabolic curve.

Gaudí made hanging models with weights to calculate arc shapes and stress. Using mirrors or photos to invert the shape, he designed balanced arches. This can be seen in the interior model of Sagrada Família.

From the Gaudí Space, we went to the rooftop terrace. For most visitors, this is the soul of Casa Milà.

No need to describe much; let's start with a panoramic view.

[Quote] The rooftop terrace is a unique, extraordinary work. It's a landmark of Barcelona, offering magnificent city views. An artistic, unusual space that didn't fit the architecture of its time. Staircases appear as natural forces: earth, water, fire, air. Chimneys, like ancient guardians, come to life, telling the building's origins. All these elements have dynamic and symbolic interpretations, always serving a pre-planned practical function.

This helmeted warrior figure is often described as an alien. Many travel magazines and guides love using this image as a cover.

It's also the most popular image on postcards, fridge magnets, and small models in newsstands and souvenir shops in Barcelona.

We lingered on the terrace for a long time, then descended to the "Period Apartment" exhibition.

[Quote] Life a hundred years ago. This apartment on the fourth floor is like a trip through time. Walking through, you get a close look at the lifestyle of a wealthy Barcelona family in the early 20th century, with period furniture and appliances recreating the atmosphere. The apartment also shows the interior layout and Gaudí's decorative elements (knobs, handles, moldings, doors, floors, etc.). The tour includes audiovisuals showing Barcelona's rapid transformation and modernization in the early 1900s.

[Quote] The exhibition hall was the Milà family's former residence. On the main floor, the Milà family lived; they were the first owners who commissioned the project from Gaudí. Few original elements remain because Mrs. Milà replaced most decorations after Gaudí's death, but you can still see some carved stone columns with wave reliefs and inscriptions, and impressive ceiling fragments, which Gaudí intended as a continuation of the facade's rhythm.

Then, estimating we still had time before our Batlló reservation, we browsed the souvenir shop.

From this spot, we could see the intersection we had crossed, with tourists taking photos.

My own photos can't capture Casa Milà's beauty; I'm attaching a reproduction of a souvenir wallpaper.

[Block of Discord]

Casa Milà and Casa Batlló are about 500 meters apart, in a famous area.

On Passeig de Gràcia is the Block of Discord (Illa de la Discòrdia). Why called that? On this short stretch, three architects' three very different styles converge: the dreamy 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 streetlamps here are ornate ironwork, filling the street with artistic atmosphere.

Speaking of Casa Amatller, we must mention its ground floor, which hides a beautiful café (we didn't go in).

Entering the lobby, you see century-old Catalan-style floor tiles; at the end is the bling-bling Faborit café. Faborit is a Spanish chain café known for 100% healthy coffee and food, with great ambiance. Their motto: Drinking coffee is a pleasure.

[Casa Batlló]

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

Excerpt from "Spanish Travel Notes" about Casa Batlló: "We couldn't help looking up—a familiar dotted wall surface, like Impressionist pointillism, with beautiful windows, balconies, the small fish-spine roof, and decorative turrets. Casa Batlló is astonishing. Gaudí could preserve the masculine power of artistic soul while achieving a delicate, flawless craftsmanship. Today's architectural decoration, if curved, is two-dimensional and planar. But Casa Batlló, inside and out, is three-dimensional twisting. A kind of energy, a soul wanting to break through the wall, exists in every corner. Casa Batlló took 2 years, Casa Milà 6, Parc Güell 14. Apart from dedicating himself to Sagrada Família, where did Gaudí's time go? As an architect, Gaudí also designed the furniture and interior decoration. In Casa Batlló and Parc Güell's indoor parts, flat ceilings were designed with swirling shapes. From chandeliers blending shell and coral shapes to ceramic discs and sea urchin patterns, Gaudí's use of lines is unexpected yet traceable. You can see where the curves come from, but you never expect them to be used here in this way."

A good designer knows how to play with concepts and tell stories. Gaudí was no exception. He used this six-story apartment to tell a fairy tale: a beautiful princess trapped in a castle by a dragon; the Catalan hero Saint George kills the dragon with his sword; the dragon's blood becomes a red rose, which George gives to the princess. Every detail in the house pursues symbolic meaning and stylistic elements.

The bubble-like colored windows, like an underwater world, give visitors the feeling of looking out from under the sea, even from inside the dragon's body. It's not obvious but perceptible with hints.

The lobby was rather empty, and there were more tourists than before, so we didn't find a stunning photo angle.

The facade was under renovation; from outside, you couldn't see the skull-shaped balconies, and from inside, scaffolding spoiled the view.

I'm attaching an online image of the lobby and balcony.

Casa Batlló's guided tour is interesting, using AR technology. When you look through the screen at the house, it overlays period furniture or decomposes Gaudí's biomorphic elements.

For example, simple window grilles, through the guide, reveal that their opening and closing, ventilation, are biomimetic fish gills.

We wrote our feelings in the visitor guestbook.

The garden, in my opinion, was unremarkable.

Going up the stairs to the top floor, the glass, railings, and wall tiles all imitate an underwater world.

With light and shadow, visitors are immersed.

The courtyard tiles transition from light to deep, like an abyss of clear green water.

Another catenary arch.

Casa Batlló's terrace is much smaller than Casa Milà's, far less functional.

The most famous feature is the dragon-back design.

Choose a good angle to frame the dragon and the sword together—a common strategy for travel photos.

Coming down, we could see the apartment's historical living scenes.

Downstairs, there was a video—a documentary about Casa Batlló.

Barcelona Day 2 Lunch: Based on travel site recommendations, we went to a highly rated Spanish restaurant in the Block of Discord. The restaurant was large; most customers seemed locals, not tour groups.

We ordered classic Spanish dishes based on our impressions of Spanish cuisine.

Actually, the taste was so-so.

But at least we were full.

However, it happened to be dinner time during the Chinese Spring Festival back home. Eating Spanish food while scrolling through friends' varied dinner posts... Our feelings, you understand.

There's too much to say about Sagrada Família. See "Barcelona Sagrada Família" for details.

Because Sagrada Família is incredibly beautiful, both knowing and feeling require separate chapters.

Before coming to Spain, I had seen many churches.

St. Peter's Basilica—architecture, square layout, historical status—I think is undisputedly first. After all, the Pope resides there.

Florence: Santa Maria del Fiore—beautiful.

Venice: St. Mark's Basilica—dignified, but I like St. Mark's Square more.

Cologne Cathedral—majestic.

Paris: Notre Dame—famous for its story.

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

Barcelona: Sagrada Família—gorgeous! Even without Gaudí's contribution, its light effects alone are stunning.

------------------------------------------------

Before the trip, my joking impression of Sagrada Família was that it's an illegal building—a century-old unfinished construction. After learning its background, I deeply felt it is Gaudí's prayer to God, a love letter to Barcelona.

Sagrada Família is a must for every Barcelona visitor. Excerpt from "Spanish Travel Notes": "We visited the church on winter mornings and nights. Especially on a cold, dark night, the church is like a waking giant—rich, with a thousand-year religious foundation; yet modern, with the strangest shapes, topped with Gaudí's colorful mosaics, shimmering under sun and moonlight."

So much to say; I've compiled it separately in the appendix "Barcelona Sagrada Família."

Dan Brown's Origin also features Sagrada Família. The mysterious exhibit containing Edmond Kirsch's secret password is displayed there, and the story's climax occurs there.

Origin: "Sagrada Família occupies an entire block in central Barcelona. Despite its huge footprint, the church seems to float weightlessly above the earth, with a set of finely designed ventilation spires soaring effortlessly into the sky. These complex, porous spires vary in height, giving the church a bizarre look like a sandcastle built by a mischievous giant."

Origin: "Besides traditional religious statues, Gaudí used countless surprising forms to reflect his reverence for nature—turtles supporting columns, trees growing from facades, even giant stone snails and frogs proportional to the church."

Origin: "When finished, the tallest of the 18 spires will reach a dizzying 560 feet (higher than the Washington Monument). Sagrada Família will then be the tallest church in the world, 100 feet taller than St. Peter's."

Origin: "The church's main body is obscured by three grand facades. The eastern one is the colorful Nativity Facade, like a hanging garden climbing upward, decorated with lush plants, animals, fruits, and figures."

Origin: "Despite its bizarre exterior, the real surprise is inside. Once inside the nave, visitors stand stunned: looking up at the sloping, gnarled tree-trunk columns, rising 200 feet to a suspended vault with kaleidoscopic geometric shapes, like a crystal canopy floating in the air. Gaudí said he created a 'forest of columns' to encourage a spiritual return to the thoughts of early hermits, for whom the forest was God's church."

We entered the church through the Nativity Facade—essentially through the Gate of Joseph.

Across, on the Passion Facade, the statue above the door is of the Virgin Mary.

Light comes in through stained glass: on St. Joseph's side, blue-green tones; on St. Mary's side, orange-red tones.

The Glory Facade is not yet finished; the statue above the door is St. George, Barcelona's patron saint. Instead of stained glass, the back has large clear glass panels.

The interior is overwhelming. We planned to stay inside for a long time, so first we crossed over to see the Passion Facade.

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

Origin: "Langdon studied the raised letters on polished metal panels. Thousands of 3D bronze letters, arranged horizontally across a large text area, with almost no spaces between words. Though he knew it was Catalan describing Christ's Passion, it looked like NSA encryption."

Origin: "Langdon's eyes moved up the shadowy Passion Facade. Designed by Josep Maria Subirachs, the facade consists of angular, emaciated, downward-looking sculptures, unforgettable. The central sculpture is the gaunt Jesus on the cross, tilted forward, creating a terrifying effect as if 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 tied to a column being flogged. Then he turned his gaze to the carving above the door: two Greek letters, Alpha and Omega."

Origin: "In stark contrast to the Nativity Facade, the western Passion Facade is austere, with bare stone skulls imitating muscles and bones."

Regarding the stark contrast between the two facades, Sagrada Família's successor builder Subirachs faced much criticism. He commented: "Personally, I don't like the Nativity Facade. Gaudí, like other great artists, was extraordinary, but born in the wrong era. I don't consider Sagrada Família his best work." I agree with this. At least the Nativity Facade he built is not his best.

This view does not diminish Gaudí's greatness; it's not about deprecating an ancestor to show off.

First, the Passion Facade's finished appearance matches Gaudí's original designs almost exactly; Subirachs did not arbitrarily interpret or expand.

Second, Gaudí tried to pack too much meaning into Sagrada Família, making the Nativity Facade an overload of elements—beautiful individually but chaotic overall. The Passion Facade, with its focused story, does not overwhelm the overall facade. The Nativity Facade describes one Bible story after another, which actually limited his imagination; the facade was executed with refined elaboration along conventional lines.

Inside the church, free from excessive symbolism and representation, the simple catenary arch hall and colorful stained glass light create a stunning, unique creation—uniquely Gaudí. Visitors are instantly captivated by the brilliant colors. After the extremely complex Nativity Facade, the interior feels simple and pure, a strong contrast creating a sense of transcending time.

Traditional Latin cross layout; Christ stands at the center. Above the altar, a circular hole in the roof lets sunlight shine in, creating a golden halo floating in the air—mysterious and holy. Two large pipe organs stand at one end; light through stained glass makes them shimmer.

Origin: "While most canopies today are solid structures, Sagrada Família chose a cloth canopy. This umbrella-like canopy seems to float miraculously above the altar, with the crucified Christ statue suspended like a parachutist below."

Origin: "Parachuting Jesus. Langdon had heard that phrase for this statue, the church's most controversial detail, so he wasn't surprised to see it again."

Near the Christ statue, an area was cordoned off with seats, and religious personnel maintained order—no random walking or loud noise.

We also sat on the chairs, quietly listening to the audio guide, absorbing the ambiance of Sagrada Família.

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

The Passion Facade faces west; the colored glass uses warm tones, especially afternoon sunlight making the warmth intense.

Words cannot fully describe the beauty of the colors. For the first time, I was deeply moved not by the architecture itself but by the color alone, feeling the sacredness.

Inside Sagrada Família, the high vault, multicolored light, and ornate decorations everywhere convey God's holiness and grandeur, a sense of radiance and depth. Gaudí said color is the moving essence of life—a unique trait of Sagrada Família.

"Gaudí designed a new type of stained glass, overlapping three primary color sheets to create entirely new hues."

No more description—just pictures. If there's a lack, it's due to my photography skills.

Standing in the center, one feels like in a huge forest, experiencing a strong religious atmosphere. To allow visitors at the main entrance to see the nave, crossing, and apse vaults directly, the vaults rise in height increments of 15 meters. The church is a Latin cross plan; interior uses no flat surfaces, abstract shapes combining smooth curves and jagged nodes. Echoes of traditional Gothic architecture: ribbed vaults, flying buttresses, large windows with Bible story stained glass, cross plan, slender columns.

The ceiling, themed on nature, is supported by many tall columns imitating tree trunks, tilted and spiraling to avoid rigid vertical lines. Gaudí turned the interior into a huge forest; the column branches spread precisely, showing trees thriving with natural contours. This unique structure creates a magnificent aesthetic. The interior resembles a vast tropical rainforest; beams of light through the vault and colorful glass windows fall harmoniously, casting mottled patterns on the floor, creating magical light that astonishes.

Gaudí's structural design is the most unique in church architecture history. Catenary arches, cable-driven arches, and tree-like columns provide enough support without the need for buttresses or flying buttresses, yet allowing high towers and large windows to achieve Gothic height and brightness.

Inside, circles, triangles, diamonds—various geometric patterns symmetrically arranged on both sides of the central axis. Mosaics made of Venetian glass form tiny elements.

In an underexposed photo, I accidentally saw the star-shaped design of the ceiling lights.

Elevators to the towers are located in the lateral naves of the Latin cross, one for the Nativity Facade and one for the Passion Facade, not interconnected.

You must strictly follow the reservation time for tower access because the upper platforms cannot hold many visitors.

The platforms are enclosed with safety nets to prevent accidents. The Christ statue faces away from the platform, overlooking the Barcelona city.

You have to stick your phone out of the net to barely capture Christ's profile.

The platforms are small, not many views, and windy. You can't stay long.

Descending the tower is by stairs. You can see the symbolic decorations on the spires: wheat ears (bread) for the Eucharist, grapes (chalice) for the Blood of Christ. Seasonal fruits represent the Holy Spirit: spring/summer fruits like almonds, peaches, plums, cherries, loquats, pears; autumn/winter fruits like pomegranates, chestnuts, apples, persimmons, oranges, figs.

From this angle, the view clearly looks like Tmall's logo.

Sagrada Família's dizzying spiral staircase once made National Geographic's list of the world's 20 deadliest staircases, ranking third after Cambodia's Angkor Wat and Ecuador's Devil's Cauldron. The stairs have no railings, only ankle-high inner lips.

The real highlight is the spiral staircase installed in the hall, like a giant spiral nautilus, also seen in Casa Batlló.

Origin: "Sagrada Família's dangerous spiral staircases are famous. The stairwell is dizzying—a suddenly descending narrow hole like a giant spiral nautilus. Actually, the stairs have no railings, only ankle-high inner lips, offering no real protection."

Back in the main hall, we sat and chatted, ignoring the crowd.

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

------------------------------------------

Exiting from the Passion Facade, we found a park—let's call it Sagrada Família Park. Unlike the park opposite the Nativity Facade, it has no water but has children's play areas.

Many local kids were playing there.

In the distance, the awe-inspiring Sagrada Família; up close, mothers watching their kids play.

You play, I smile—this is the essence of childhood.

Not only pigeons, but also many large parrots, unafraid of tourists, approaching for food.

Beside the road, a Barcelona FC store.

Barcelona Day 2 Evening

No convenient bus or metro; we walked back to the hotel.

The buildings along the way had some character, but we were already aesthetically fatigued.

When we got near Casa Milà, the sky was getting a bit dark.

Back near the hotel, especially on Passeig de Gràcia, the pedestrian walkway was brightly lit and lively, staying so until after 11 PM.

Having already experienced Spanish cuisine at lunch, we chose to shop at the supermarket and cook our own dinner at the hotel.

A simple meal was just fine.

We had mostly adjusted to the time difference; we slept early and woke up relatively early. Almost no one on the streets.

Parc Güell is a bit far; we took the metro.

After getting off the metro, a long uphill walk. The park was originally planned as an upscale residential community in a beautiful setting, but due to its remote location and lack of amenities, no one bought the houses. It eventually became Parc Güell.

Parc Güell, also known as Güell Park, is located in northern Barcelona, covering 20 hectares. Originally planned by Eusebi Güell and designed by Gaudí as a high-end residential area, only two houses were built, one of which was bought by Gaudí himself (he lived there from 1906 to 1926). Although unpopular at the time, this World Heritage site is now a must-visit, with the gingerbread house, serpentine fountain, mosaic lizard, Hypostyle Hall, and the world's longest curved bench.

We entered the park via the back entrance. The surroundings were half-carved, half-natural—dirt paths with some dust and heat.

As usual, we entered at our reserved time, into a plaza that should be the ceramic bench corridor. It was under construction, dusty, and not very beautiful.

The central square of the park is atop the Hypostyle Hall, extending like a platform, offering views of the "gingerbread house" and "tile tower," and overlooking Barcelona city.

Around the platform, a continuous mosaic bench meanders irregularly, seemingly random but carefully designed. The world's longest bench is actually the roof edge of the Hypostyle Hall. Gaudí combined walls and seats into a lace-like undulating seat, decorated with colorful ceramic tiles, creating a rich visual experience and lively atmosphere. When chatting on the bench, the different curves create small, private spaces.

Excerpt from "Spanish Travel Notes": "At the entrance, a building like a little chapel with a cross evokes Gaudí's hand, gently shaping the wall with the right weight. Then, almost with fingerprints left in the curves, Gaudí playfully presses small, shiny, colorful mosaics into the soft clay."

Origin: "That night, looking at the satellite image of Gaudí's famous Güell Park, Langdon recalled his first visit—the crooked tree-like columns, nebula-shaped benches, dragon and fish grotto fountains, and undulating white walls. The entire wall had a distinct streamlined design, like a giant wavy single-celled organism. Walking there felt like being in a dream world."

Passing this strange corridor, we reached the main entrance, where we saw the gingerbread houses from the platform above.

Facing the entrance, two peculiar fountains: one is a chameleon, the patron saint of Catalonia; the other is a giant lizard, the emblem of Catalonia. Both are covered with colorful mosaic tiles, bright and vivid.

Above the fountains, steps lead to the Hypostyle Hall, supported by 86 columns, with an undulating ceiling decorated with mosaic patterns.

We posed with the star hand gesture.

The gingerbread houses are actually a archive and souvenir shop.

Speaking of Parc Güell inevitably brings up Güell. Geniuses are often poor at socializing; Gaudí was no different—no hobbies except work, even somewhat foolish and crazy. Güell was his only close friend, his patron and ally. Güell firmly believed Gaudí was a genius: "Normal people often lack talent, but geniuses are often like madmen." Thanks to Güell, Gaudí could fully express himself without worrying about finances. Great stories always have a brilliant genius and a powerful admirer working together. Gaudí and Güell, Marx and Engels—same pattern.

Overall, I'm puzzled. Sagrada Família is undoubtedly a World Heritage site; Casa Milà's architectural innovation and ingenuity barely qualify; Casa Batlló is a bit petty; and Parc Güell is somewhat rudimentary, even ugly. I wonder why it received World Heritage status.

La Boqueria Market

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

About two-thirds of the way from Plaça de Catalunya to Columbus Square, we found the bustling La Boqueria market (Mercat de la Boqueria).

La Boqueria is Barcelona's oldest and most authentic food market—a paradise for local foodies and a sensory feast for tourists, especially in the morning when vegetables, fruits, seafood, meat, and cheese are fresh and abundant. Don't miss the Iberian ham (Jamon Iberico), sheep cheese, and famous seafood paella.

The raw ham... well, I didn't finish it.

High-saturation photos assault visitors' eyes.

[Passeig de Gràcia]

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

Occasional buildings on both sides—I knew "Güell Palace" was among them, but I couldn't be bothered to identify it.

Instead, the street vendors on the walkway were more appealing.

Heh, a greasy, burly man in tacky costume stood on a windowsill imitating Marilyn Monroe, even lifting his skirt to tease passersby. The building's entrance had a sign: "Adult Museum."

Nearby, we found a highly-recommended self-service restaurant.

The taste was unexpectedly better than the famous foods we had sought out. Apparently, our palates don't align well with Spanish cuisine.

We ate and got stuffed.

Sitting by the window, sipping drinks, watching people come and go on Passeig de Gràcia.

Across the street was an ice cream shop (right at La Boqueria's entrance).

We ordered ice cream and enjoyed it slowly.

Café de les Quatre Gats

Discussing plans, we decisively skipped Güell Palace and the Palau de la Música Catalana, choosing instead Café de les Quatre Gats.

Famous for Picasso's association, "Four Cats Café" opened in 1897 and was once the center of Barcelona's modernist movement, a salon for local bohemians. Before becoming famous, young Picasso held his first solo exhibition there and designed its poster, which later became the menu cover.

According to travel guides, the café is on the first floor of Casa Martí, with a Baroque carved entrance and a menu featuring the old poster for browsing.

Though it was afternoon, the café was deep in a narrow street, somewhat dim, so the entrance lights were on.

[Quote] "4 Gats" is Catalan for "four cats." It sits on a small, inconspicuous street off Carrer d'Avinyó, embodying the idea that good wine needs no bush. It's not just an artistic venue; it's also called the Picasso Café.

Few tourists; occasional customers seemed like regular locals.

We entered the café; the warm but not dim lighting let us see the walls clearly. The decorations are said to be manuscripts and works by masters who frequented the place.

The interior has an artistic ambiance, with warm lights and many artworks on the walls.

The outdoor seating area was quiet with few people. Further inside, a large dining area was full of customers.

We ordered some coffee at the tables, while the kids got free coffee cookies from the counter.

Other customers, like us, were in small groups, neatly dressed with refined looks. Notably, a couple in matching outfits.

[Quote] The café represents late 19th-century Barcelona, a golden age that many yearn for—Picasso's "Blue Period," and frequented by architects like Gaudí, musicians like Isaac Albéniz. They spent time here, dreaming, creating, debating. The café is not just a building; it retains the spirits of that golden era.

[Quote] That was 1900. Young Picasso often spent time here, sketching exaggerated, strange portraits of his friends and hanging them on the walls. He hung out here for about three years, eventually gaining recognition from the artists and radicals, holding his first exhibition, and creating the promotional poster—a man in an overcoat drinking coffee.

[Leisurely Afternoon]

Exiting the café, we entered the shopping street connecting the Gothic Quarter and Plaça de Catalunya.

A Disney store attracted the kids, keeping us parents occupied. The two moms took the chance to go to Zara to pick out clothes.

There were also many small souvenir shops, no distinctive features—similar to domestic brands.

We encountered pickpockets. Two or three operated together, using souvenir browsing as cover to get close and then strike. We discovered them when they opened one of our bags. When noticed, they calmly stopped and walked away as if nothing happened.

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

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

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

R2 line took us smoothly to the airport.

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

Goodbye, Barcelona!

Luggage: self-service check-in.

At the airport, a Barcelona FC store had a main poster of Coutinho, not Messi!

Takeoff, landing—the southern Iberian Peninsula was in sight.

Goodbye, Barcelona.

Granada means "pomegranate" in Spanish.

The keyword for this leg of the journey is "memories." Not only because of guitarist Francisco Tárrega's "Recuerdos de la Alhambra" and Washington Irving's "Tales of the Alhambra" and "The Conquest of Granada," but because of the centuries-long entanglement between Iberians and Moors in history, the Moors' sighing exit and the Catholic Monarchs' triumphant seizure of the Alhambra's keys. Looking back at Granada, its value lies not only in the exquisite Alhambra but also as a key node of great transformation, representing the diversity and coexistence of cultures and civilizations.

To understand Granada, one must first understand the Moors. The term "Moor" originated from Catholic Spain, referring to the Islamic conquerors in Europe.

In the 7th century, the powerful Arab Empire crossed Asia, swept North Africa, and faced Spain across the Strait of Gibraltar. North African natives adopted Arabic as their mother tongue, merging with Arabs to form the Moors. The Visigoths, in a power struggle, invited the Umayyad Moors for help (similar to Wu Sangui opening Shanhai Pass for the Qing). The Moors crossed the sea, burning their ships with determination and ambition more resolute than the Qing. Within 10 years, they occupied the Spanish lands south of the Pyrenees. Fortunately, under Moorish rule, Islamic Spain—centered around Andalusia—became a cultural center brighter than medieval Europe, flourishing for 800 years of Muslim rule, greatly weakening the dark religious dominance over the Iberian Peninsula.

Christianity gradually revived. During the Reconquista, King Saint Ferdinand once besieged Granada. The Moorish king came alone to the Christian camp, knelt before King Ferdinand, and said, "I entrust myself to your protection... Take all I have and accept me as your servant." Ferdinand accepted his loyalty and granted him self-governing vassal status. That is why Granada, though finally conquered by the Catholic Monarchs, still retains its pomegranate on the Spanish coat of arms.

Granada is our first stop in Andalusia, where God met Allah. Moorish culture and Mudéjar architecture are authentically represented here—a region of intense collision and fusion between Eastern and Western cultures, especially Arab and Christian civilizations, creating a unique cultural atmosphere.

Andalusia, at the southern tip of Spain and Europe, was once a crossroads of Christians, Arabs, Jews, and other civilizations. With its warm climate, gentle coasts, fertile land, and snowy mountains, successive ancient empires made their capitals here, nurturing a brilliant exotic culture distinct from mainland Europe. Andalusia borders the Atlantic to the west, the Strait of Gibraltar to the south, and the Mediterranean to the east, only 17 nautical miles from Africa. As Spain's second-largest autonomous region, its strategic location attracted various ancient civilizations. During Muslim rule, it was Europe's largest gold distribution center, political, economic, and religious hub; even after the Moors left, Islamic culture deeply rooted in Spanish tradition, leaving many precious architectural legacies.

From the airport, we took a bus about 50 minutes to central Granada. The stop turned out to be between the Albaicín district and the old town, a stone's throw from Granada Cathedral. Though small, many bus routes stop here.

A few dozen meters from the stop is Plaza Isabel la Católica, with a statue of Columbus kneeling before Queen Isabella. This square seems to be Granada's geographic center.

The statue likely depicts Columbus meeting the queen. From that moment, Columbus had a chivalrous attachment to Queen Isabella. In his diary, he always referred to Spain as "Castile," which was only one of several kingdoms, but the queen's inherited title.

Before the trip, I read that the story of the queen and Columbus has been repeatedly depicted, even in famous paintings (Europe was largely illiterate; knowledge, culture, and religion were mainly conveyed through painting and sculpture). In one work, the entire scene focuses on Columbus while the queen shyly looks down, exaggeratedly suggesting an ambiguous relationship.

Brief: Ferdinand II of Aragon and Isabella I of Castile—the Catholic Monarchs whose marriage created the unified Kingdom of Spain, established absolute monarchy, expelled non-Christians (Moors and Jews), funded Columbus's discovery of the Americas, opened the Age of Discovery, and built a global empire.

To the right of Plaza Isabel la Católica is Plaza Nueva.

Continue straight up to the Albaicín. Walking along the riverside path recommended by the taxi driver, I almost felt like I was back in China—a Spanish city with babbling brooks and shady trees is rare!

The Albaicín is a labyrinth; in front is the entire city of Granada, opposite is the Alhambra on its hill, and at our feet are white-walled Moorish buildings, layered and intoxicating. On the cobblestone streets, white-walled small courtyards are carefully arranged, full of flowers, with dogs barking deep in the alleys—a quiet atmosphere we lingered in.

Granada is nestled among three hills, facing each other. The Alhambra sits on the highest point of one hill. The area we were in—narrow, winding, like medieval Moorish streets—is the Albaicín, a World Heritage site along with the Alhambra. From the Alhambra, you can clearly see these beautiful white houses; from our position, we looked up at the Alhambra complex on the hill.

The Albaicín's streets are so narrow that they still accommodate buses!

Pedestrians must press against the walls to let vehicles pass. Both pedestrians and drivers seemed unflustered, moving naturally together.

Almost at the end of the path, we quickly found our reserved hotel.

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

We had booked an apartment hotel in an 18th-century historic building. Dragging our luggage into the lobby, we were captivated by its refined, cozy decor, like a traditional Granada home.

The rooms did not disappoint—spacious and bright.

Best of all was the location: opening the window, we overlooked the Albaicín street below.

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

Directly opposite, the Alhambra Palace—whether seen from the living room window or from the balcony—was perfectly visible.

[Quote] During the 800 years of Moorish rule in Spain, internal struggles dominated. The Alhambra and Albaicín faced each other like two opposing forts, staging a dramatic confrontation in 15th-century Granada. The Moorish kingdom, reduced to the Granada area, was like a dying candle in the wind of the Christian Reconquista led by Ferdinand and Isabella. Yet the Moors still wasted their limited strength in internal strife. The Moorish sultan Abu al-Hasan's son, Boabdil, was fated by astrologers: "This prince will ascend the throne of Granada, and the kingdom will fall during his reign." Thus the prince was hated by his father and nicknamed "El Zogoibi" (the unlucky one). At a concubine's instigation, the sultan planned to kill him. The prince's clever and brave mother, on a dark night, had a loyal servant wait with a horse below the Alhambra, tied her and the maid's shawls and scarves together, and lowered the young prince from the tower. The prince led his army to expel the king from Granada; the sultan later recaptured the Alhambra. Finally, the prince and mother held the Albaicín district while the sultan garrisoned the Alhambra. Within one city, father and son fought like enemies, while Christian Spanish forces gradually nibbled away at the fertile lands of the kingdom of Granada.

Little girl as she is, before leaving, she put on the new coat bought in Barcelona and applied the children's lipstick just purchased on the plane.

With exaggerated seriousness.

We planned to head toward the old town, but were drawn by noise in the opposite direction. We took the kids to explore.

A street performer was doing a bubble show—two long thin sticks with strings of varying lengths, fluttering in the wind, producing countless bubbles.

Bubbles floated gently in the sun. Not only children, but adults too enjoyed the atmosphere.

The performer moved with the grace of a dancer, elegant and beautiful. The children, however, chased bubbles, competing to pop them, especially when a big bubble burst—they would shout in unison.

Many tourists gave tips; we also did—it was worth it, leaving warm and cheerful memories of our journey.

Even years later, I'll smile at that sunny afternoon.

[Quote] Here you can see a completely different Spain. The Albaicín is Granada's oldest Islamic quarter. After the Alhambra was built, this became a mixed residential area for numerous classes. Muslims established the great Kingdom of Granada here.

Walking along the riverside path, we soon reached Plaza Santa Ana. Not particularly distinctive, but it felt wide and open compared to the narrow Albaicín streets.

A flash of the Korean drama "Memories of the Alhambra."

Tired, children rested a bit in the square.

The adults strolled around—honestly, the row of Nike, Adidas shops... no different from back home.

Vendors selling knockoffs were all black.

Granada's street performers were the best I encountered in Spain. Maybe the city's mix of Catholic and Moorish culture gives locals a warm and open character.

Both performers and viewers were relaxed, enjoying the exchange of happiness, with tips as the medium.

Our main goal was to find lunch near the square. Many restaurants on both sides, not too expensive.

We were hungry... very hungry...

Objectively, this meal turned out to be the best we had on the entire trip—even better than a Michelin-star restaurant we visited later.

It was the weekend; on the TV behind us, highlights and interviews from La Liga were playing. I tried to recall Granada's football team—I really had no memory.

Only after returning from this trip did I start noticing Granada CF, and wow, they were doing quite well.

On the way to the old town, the streets were wider, buildings more modern.

Of course, souvenir shops were abundant—whether in Albaicín, on the way to the old town, or in the old town itself.

Walking from near the bus stop, we soon saw Granada Cathedral in the distance. The surrounding architecture, though different from Albaicín, was old but not dilapidated—full of "historical weight."

Hand in hand on the stone streets, the setting sun approached us, casting long shadows. The city felt bright but not hot, very comfortable.

A street vendor was selling CDs, not soliciting customers or interacting with the crowd—no eye contact—just absorbed in beating his instrument, endlessly.

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

Behind him was the Royal Chapel of Granada.

Here lie the Catholic Monarchs: Isabella I of Castile (1451–1504) and Ferdinand II of Aragon (1452–1516). It is one of Spain's most important royal tombs. The chapel's museum displays relics, portraits, tapestries, Baroque sculptures, paintings, and other treasures.

Queen Isabella was Queen of Castile, Ferdinand King of Aragon—why were they buried in Granada? On reflection, it makes sense: the conquest of Granada marked the end of the Christian Reconquista. 1492 was a year of joy for all Europe, their greatest achievement.

I often felt that the street decorations and patterns were not Catholic but more Islamic.

No need for navigation or destination; we wandered randomly into the old town. Turning a corner, we unexpectedly encountered Granada Cathedral.

The contrast between the cathedral's scale and the surrounding space was stark. The cathedral seemed to huddle in the alleys, unable to stretch, with no single vantage point to see its entirety.

[Quote] Granada Cathedral was built on the site of a former mosque, construction starting in 1523 and finishing in 1704. Originally planned as a Gothic cathedral, it changed to Renaissance style during construction—a common fate for European cathedrals built over centuries. The church has three huge arches, the central dome 45m high, with stained glass windows and ornate decoration.

The square in front of the cathedral, called Plaza de las Pasiegas in guides, was full of tourists sitting lazily on the steps. The square is surrounded by square residential buildings.

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

The two little girls sat intimately on the marble railing, chatting and laughing.

The children's smiles were the brightest light in our eyes.

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

The old town had many tourists; we followed the crowd deeper.

The streets were winding and long; we wandered leisurely, imagining the daily life of Granada residents in the past.

The streets had a strong Moorish style—horseshoe arches, decorative patterns on both sides.

Many small shops; regardless of quality, the vivid colors enticed visitors to browse.

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

At a Spanish grocery store, we bought some peanuts to go with beer.

Clink glasses—to our fun journey together.

I took a big gulp and pointed!

You, as you like...

After dinner, we looked out the window at the Alhambra, now lit up.

From the window, streetlights came on, still many tourists—only nighttime bustle, no sunset decline.

Looking up, the Alhambra seemed to gaze down on the Albaicín.

On a whim, we went back to the street, wandering aimlessly under the streetlights.

Different from the daytime riverside path, there were fewer hurried tourists and more leisurely loiterers.

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

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

Fabric decorations in shops featured intricate geometric patterns, distinctly Arabic. I felt a pang: after the 1492 Christian conquest of Granada and subsequent edicts expelling non-Catholics, many Moors and Jews became exiles in their own homeland. Yet centuries later, their habits and cultural details, like moss on steps, could not be erased; they were retained, fused, and absorbed, becoming uniquely Granada.

A church, a cross, a Christ-themed relief—standing in contrast with the Moorish Alhambra above—formed a sharp cultural contrast.

That contrast makes history-minded people feel and be moved.

Tired, we returned to rest.

The hotel was in the direction the bronze statue was looking.

Before the Spain trip, I did some background reading.

The guitar piece "Recuerdos de la Alhambra" is an unavoidable symbol, described as a masterpiece of masterpieces. The author, after visiting the Alhambra, used tremolo technique to express his feelings: "Gazing deeply at the Alhambra, facing the grand architecture and mottled ruins, one feels the vicissitudes of the world and the helplessness of time passing." The piece is said to be misty, melancholic, perfectly matching the Alhambra's delicate, languid, gorgeous, and melancholy artistic style.

Washington Irving stayed in the palace for a long time researching history, marveling that the Moors "cast the light of Eastern civilization upon the ignorant western lands of Europe." He wrote the famous "Tales of the Alhambra," detailing historical stories during Muslim rule—both the enlightened glory and the decline of Arab civilization. Spain rightly respects Irving; through him, the beautiful face of the Alhambra, once hidden under a rough veil, was revealed to the world. Irving's obsession with the palace drove him to seek historical truth, restoring the Moors and their stories.

Victor Hugo praised Granada: "No city, like Granada, with elegance and smile, with sparkling Eastern charm, spreads out under the clear sky." After reading some historical materials on Granada and the Alhambra, I think Hugo's description is somewhat self-satisfied and inaccurate. The most precise description, in my opinion, is: "Intricate carving in desperate calm," "A life outpouring without practical purpose, an aesthetic creation disregarding time logic."

[Quote] The Alhambra is Spain's famous palace, the Nasrid dynasty's royal residence in Granada during Moorish rule in Spain. It is the quintessence of Moorish monuments in Spain, known as the "Palace City" and "World Wonder." The name "Alhambra" means "Red Castle" in Arabic. Granada is an ancient city that witnessed cultural conflicts, collisions, and fusion. It was first built by Celtiberians, later developed by Visigoths as an important religious and military town. After the Moors occupied Granada, it became an independent sultanate; the Alhambra served both as palace and fortress. Later, the Catholic Monarchs expelled the Moors, reclaiming the Iberian Peninsula and becoming new owners of the Alhambra. The last Moorish king handed over the palace keys and sword, symbolizing the Muslim withdrawal from Europe, which once again became Christian Europe. That day, the bells of almost all Catholic churches in Europe rang simultaneously.

Civilization and reason are important forces for its continuation. I admire the last Moorish king's concession and Queen Isabella's tolerance. The loser did not madly self-destruct, causing mutual loss; the winner did not arrogantly deny the other to flaunt victory. Legend says the defending king of Granada surrendered the city to avoid destroying the beautiful Alhambra in war. Queen Isabella, impressed by the Alhambra's splendor, did not destroy Islamic monuments to show power but rather protected them, even instructing later generations not to damage the Alhambra. As a conqueror, she had the walls engraved with 'Y' and 'F' patterns—just a small mark of pride.

Spanish film and television materials explain it that way.

The most famous depiction of the Alhambra in film is the Korean drama "Memories of the Alhambra."

Departure: target, Alhambra

Early morning, we set off early (9:30). Since the Alhambra was right in front of our hotel, we didn't need navigation—just followed the instinct up a small path.

Fortunately, even the small path had signs, so we wouldn't get lost.

Morning sun shed warm light.

The path was very remote, very desolate—crushed stone, with no tourists or residents in sight. If not for the palace coming into view, we would have thought we were lost.

On both sides of the old road were some abandoned terraces, offering clear views of our hotel on the Albaicín.

Continuing, the stone and earth walls grew higher, gradually taking on a military fortress feel. No tourists, but we encountered some schoolchildren—maybe going to class, finishing morning exercise, or on an outing.

Passing through a tall stone gate arch, we entered one of the Alhambra's entrances.

Many tourists, and the Nasrid Palace requires reservations.

From this entrance, we first entered garden areas.

The Alhambra complex has many gardens; the largest is the Generalife, occupying the eastern part, with abundant plants, ponds, and flowers.

Honestly, not as spiritual as Eastern gardens, nor as formal and grand as French gardens.

Simply clear and neat, like Song font.

We headed directly to the Nasrid Palace. It wasn't yet our reserved time, but a long queue had already formed.

Fortunately, we had pre-purchased tickets and reserved time. Without that, we wouldn't have been able to enter.

The entire visit proved that Spain's reservation system not only protects monuments but also benefits visitors. Only entry time is reserved; you can stay as long as you like. This system avoids the overcrowding common in Chinese attractions.

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

In the distance was the Albaicín.

To the side was the Alcazaba fortress, which seemed to be the palace entrance according to signs.

The Nasrid Palace represents the end of the brilliant Umayyad period starting in Córdoba in the 8th century—the essence and highlight of the Alhambra.

The Court of the Myrtles (Patio de los Arrayanes) indeed has a golden splendor: a square courtyard, with exquisite carvings as far as the eye can see, and the blue sky above.