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And so, faced with what Barcelona represented, a depersonalizing, overcrowded industrial city, in Sitges the artist built his Temple of Art, the place where those “wounded by indifference”, misunderstood worshipers of beauty, defenders of culture, could take shelter as an antidote to the evils of bourgeois society. This temple, known by the name of Cau Ferrat, built on the foundations of two fishermen’s cottages, with a window from where nothing but the blue of the sea and the sky can be seen, would be his spiritual shelter, the enclosure where the artist’s artistic, literary and musical references would be deposited and preserved, his “imaginary museum”: from collections of medieval Catalan wrought iron, glassware or ceramics, to works by his main artistic referents, both contemporaries of Santiago Rusiñol -Ramon Casas, Pablo Ruíz Picasso, Ramon Pitxot, Miquel Utrillo, Ignacio Zuloaga, Pablo Uranga, Malono Hugué- as well as historical ones that he based his work on, especially Baroque painter Domenico Theotokopoulos, “El Greco”, and the Pre-Raphaelites.
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Rusiņol, Sitges i el modernisme 
