
The Gothic Quarter: Saints, Kings and the Call
Then the Call, the old Jewish quarter: a church built over a synagogue, a street named after the saint whose feast fell on the day of the 1391 attack, and a rabbi's stone that speaks of charity.
What traces did 1391, 1714, 1870, 1931, the war and the post-war years leave behind?
8 walks with different starting points and stories. Compare their maps, stops and duration, then choose where to begin.
Explore these walks
Revolts, war and the post-war years left traces in Barcelona from different periods. This theme follows them without merging their causes or protagonists. The walks locate conflict in particular neighbourhoods and streets, showing how the memory of those episodes sits alongside the other uses of the same spaces in the city.
In “Barceloneta”: The memory of Elisa and the wooden school bring attention to lives and shared places in the Barceloneta.
In “From the Palau to Ciutadella”: The night of the Cant de la Senyera connects a song and a military court with the political memory of the Palau de la Música.
In “The Raval”: Places of confinement and the woman remembered as a vampire invite questions about how the lives of the Raval were remembered.
Choose from 8 independent walks in Barcelona. Open the one that interests you to see its map, stops and approximate duration before deciding. You don't need to do them all or follow this selection's order; each walk has its own starting and finishing points.
Open a marker to see its page. Use two fingers to move the map on mobile.

Then the Call, the old Jewish quarter: a church built over a synagogue, a street named after the saint whose feast fell on the day of the 1391 attack, and a rabbi's stone that speaks of charity.

The memory of Elisa and the wooden school bring attention to lives and shared places in the Barceloneta.

The night of the Cant de la Senyera connects a song and a military court with the political memory of the Palau de la Música.

The avenue in front of the cathedral was opened up by post-war demolitions that took advantage of the bombing of 1938; the façade everyone photographs was paid for by a banker at the end of the nineteenth century.

In Plaça de la Vila, three stops: the civic tower whose bell rang the alarm against conscription in 1870 (what's fact and what's legend), the archive that begins that year because the earlier papers were lost, and the architect, a friend of Gaudí's, who never qualified and signed with someone else's name.

Places of confinement and the woman remembered as a vampire invite questions about how the lives of the Raval were remembered.

The wounds of Santa Maria del Mar and the vanished houses connect the neighbourhood's history with destruction and remembrance.

Gaudí's death and the memory of the sculptor who had opposed the church let you look at its surroundings through different lives and positions.
A city worth looking up for, with pavements worth watching too. Between narrow lanes, long avenues and a break by the sea, leave room in the day to sit down.
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