The Confidant from Casa Batlló, also known as the Double Sofa or Banc de dues places (Two-seater bench), is a furniture piece designed by Antoni Gaudí. Originally designed for the dining room of Casa Batlló on Barcelona's Passeig de Gràcia, the chair is currently exhibited in the Modern Art collection of the Museu Nacional d'Art de Catalunya and at Casa Museu Gaudí (Gaudí House Museum) in Barcelona. Replicas are displayed at the Gaudí-designed Casa Batlló and Casa Milà (La Pedrera). Description Despite being described as a bench, the confidant is in fact composed of several pieces and does not resemble the classic linear bench with a single solid seat. Instead, two individual seats are divided by a shared central armrest, and each seat is slightly angled away from the armrest. Because of the angled seats, the confidant has three legs in the front, with the center front leg shared by both seats, but only two legs in the back. Constructed in ash wood in the Casas i Bardés workshops, the curved, organic shapes of the confidant's seats and backrests are meant to mimic the shape of the seated person's body, and the lack of ornamentation highlights the natural grain and texture of the wood. Antoni Gaudí Antoni Gaudí (25 June 1852 – 10 June 1926) was a Spanish Catalan architect and figurehead of Catalan Modernism. Gaudí's works reflect his highly individual and distinctive style and are largely concentrated in the Catalan capital of Barcelona, notably his magnum opus, the Sagrada Família. Much of Gaudí's work was marked by his four life passions: architecture, nature, religion and love for Catalonia. Gaudí studied every detail of his creations, integrating into his architecture a series of crafts in which he was skilled: ceramics, stained glass, wrought ironwork forging and carpentry. He introduced new techniques in the treatment of materials, such as trencadís, made of waste ceramic pieces. After a few years under the influence of neo-Gothic art and Oriental techniques, Gaudí became part of the Catalan Modernista movement which was reaching its peak in the late 19th and early 20th centuries. His work transcended mainstream Modernisme, culminating in an organic style inspired by nature. Gaudí rarely drew detailed plans of his works, instead preferring to create them as three-dimensional scale models and molding the details as he was conceiving them. Gaudí’s work enjoys widespread international appeal and many studies are devoted to understanding