On Saturday night, dozens of people gathered on Vila Nova Street in Terrassa to participate in a nocturnal guided tour focused on the work of Alexandre de Riquer, known as the prince of modernism. The surprise came when a man, claiming to be de Riquer himself, attempted to enter what had been his home 120 years ago, intending to have dinner and rest. The public's insistence led him to change his plans and lead the tour through the locations of his work.

The tour led participants to the current Casa de l'Esport (Sports House), which the artist remembered as the Cafè Català, an establishment he himself had decorated with modernist paintings featuring natural motifs. Upon entering, de Riquer expressed his dismay at finding a white ceiling where his colorful decoration once stood. His indignation grew upon learning that the venue was popularly known as “the Broccoli” due to his design.

Despite the initial disappointment, the artist regained hope upon remembering that a work of his was preserved on the second floor of the same building. There, however, he encountered Benet Badrinas, president of the Institut Industrial between 1901 and 1902 and a former rival. Their dispute stemmed from economic and artistic disagreements over panels intended for the Institute's assembly hall, a project de Riquer abandoned and which was completed by his friend, the painter Joaquim Vancells.

After this incident, de Riquer invoked his muses, depicted in the panels, to explain the meaning of his complete work. In the old assembly hall, only five of the eight panels are exhibited, precisely those he did not paint. These panels illustrate the industrial history of Terrassa, from the importance of culture to the textile industry and the city's resilience.

The three remaining panels are located in the dining room of Casa Alegre de Sagrera. The artist, surprised by their location, decided to guide the group to the building on Font Vella Street. De Riquer has an additional connection to this house, as in 1908 he dedicated an honorary bronze plaque to Joaquim de Sagrera. The artist felt offended upon discovering that the plaque, originally inside, is now on the facade.

Despite the setbacks, the visit culminated in a gratifying moment when Alexandre de Riquer was reunited with the three panels he had indeed painted with his own hands. These explain the history of Terrassa, from its 12th-century viticultural past to its transformation into a center for wool cloth trade in the 15th century and, finally, into a textile industrial power.

The visit ended with one last bittersweet surprise. The guide informed de Riquer that this year's Modernist Fair was dedicated to his figure, but upon showing him the advertising poster, the artist reacted with indignation. Offended, he declared his intention to leave for Mallorca and never return to the city.