A comparison between Antoni Gaudi (1852 – 1926) / Barcelona / Spain – – Fa?ade of The Secret Family Temple with Poty Lazzarotto (1924-1998) Ctba-BR

[.  .  . ] ” (Weber 221). It was a very common characteristic of Brazil, considering problems of ethnicity, even nowadays.

            A marvelous scenery of a retrospective of the evolution of the theater along the time and throughout the world can be observed if one centers the eyes from the left to the right, in order to readwhat Poty wants to transmit. He starts with the presentation of a pine (symbol of the South of Brazil – – Araucaria angustifolia – -), and an old citizen contrasting with a young girl, the fire, and a mask. Then, a second moment, showing a pathway, directing to a town. Right after, a big eye, some architectonic lines and the figure of a couple of cangaçeiros – – a typical personage from the North of Brazil . Poty also sets a group of dancers, involved in abstract representations, and an angel can be seen very close to signs. He puts two ladies side by side. One is overdressed with a long dress and holds a fan. The second one is very modern and carries a purse. The last moment centered on the right portrays a globe, being carried by a chariot. Many instruments can also be seen like a harp, a violin, and a trumpet. Finally, a man wearing a hat can be noticed on the back. The total image of the façade remains inside the boards.

          If for any reason, Poty’s work came to print mainly historical values concerned about regional cultural aspects, as he always does, that was not Gaudi’s preoccupation, because the Secret Family is a religious universal symbol. But “Poty is also referred as portraying universal values, no matter it had regional focus.”10 So, both can be considered similar in terms of this reference.

         Gaudi should be much more helpful for the

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