Barcelona, Spain
Montjuïc Cable Car
This cable car in Barcelona celebrates its 50th anniversary in 2020.
Buenos Aires, Argentina | C.1910
The Basílica de María Auxiliadora y San Carlos was built between 1900 and 1910, under the supervision of Italian-born, Argentine-adopted priest and architect Ernesto Vespignani.
On Christmas Day 1936, his church hosted the baptism of Jorge Mario Bergoglio, the most influential and beloved Argentine-born, Italian adopted figure of all time. (More accurately, Argentine-born, Vatican City–elevated.) In this vital space, Jorge was given the sacrament that welcomed him into the Catholic Church. Today—under his sanctified title of Pope Francis—he leads the faith and its 1.3 billion followers.
It’s tough to stand on the same stage as the pope. Although Ernesto Vespignani was not named the Vicar of Christ during his lifetime…the man was no slouch either! An eminent designer of Salesian churches and institutes in Argentina, he arrived there in 1901, during a span in which Italy was flooding missionaries and migrants to the country.
Where they could, the Salesians often purchased significant tracts of land (entire blocks, even) so they could construct colorful complexes for educational, recreational, and religious purposes. Such work required versatile leaders like Vespignani, who oversaw multiple globl projects of functional intelligence and aesthetic beauty. The call to build a monumental church in Buenos Aires drew him to the country, and what he produced was nothing less than sacred. Cited among the most beautiful spaces (in a city not lacking in them), Basílica María Auxiliadora y San Carlos bears baroque, neo-Romanesque, candycane-adjacent details some of which may have required papal dispensation to execute—without ignoring traditional Catholic elements: ornate altars, stained glass, and religious statues.
As a child, the pope would celebrate annual services here to honor the Virgin Mary. Did that exposure usher him into the Chair of Saint Peter? Probably not. But it has driven increasing numbers into Vespignani’s courageously joyful structure—a stunning tribute to both Italy and Argentina.
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