sky, with a group of white doves in flight, as well as the branches of climbing plants along the rail. This room also has a floor covered with blue, white and ochre tiles. In the corner there is a balcony with wooden benches and an enclosure made of oriental latticework similar to those in the rest of the house. The dressing room (7 m²) has two access doors and a white and blue check tile skirting surrounded by other tiles in ochre, with a beam ceiling with floral motifs and corbels decorated with daisies on a blue background. The bathroom (6 m²) has a grey terrazzo floor and tiled walls, alternating ochre tones with white and blue check, as well as a tile frieze with oil-painted flowers, unique in the house. The bathroom ceiling is beamed, with ceramic reliefs of ivy leaves. The toilet (1.4 m²) is decorated with tiles showing wheels and stars. The second floor (150 m²), intended for staff accommodation, is currently an exhibition space. Gaudí designed this floor in a more austere way, according to its functions, with smooth walls, tiled flooring and a wooden beamed ceiling. He designed an open space with high ceilings that would serve as the building’s thermal regulator. The basement, which has Catalan vaults on the ceiling, was formerly used as a wine cellar and coal bunker. The museum store is currently located there. Paintings The paintings in the dining room are the work of Francesc Torrescassana i Sallarés (Barcelona, 1845-1918). He studied at the Llotja School in Barcelona from 1859 to 1865, where he was a protégé of Ramon Martí Alsina. He completed further studies in Rome and Paris, where he explored the artistic trends of his time. On his return, he focused principally on historical, costumbrista, portrait and landscape painting, in a realist style that in its final stages evolved into a certain degree of impressionism. He has works in the Museu Nacional d'Art de Catalunya (Barcelona), in the Museo del Prado in Madrid and in the Louvre Museum in Paris, although it is Casa Vicens that houses the greatest number of works by the artist. The details of the commission are unknown, although it seems that Manuel Vicens was already a collector of Torrescassana’s work before the construction of the house. Therefore, it is assumed that a great deal of these works – many of which are not