Although it is not one of the most relevant, it is one of the old parishes of the time of the Reconquista, already mentioned as such in 1245. Of uncertain origin, its construction could have been carried out throughout the thirteenth and fourteenth centuries, probably on the remains of an ancient Arab mosque. With a single nave parallel to the square, the primitive Gothic factory would be renovated internally between 1681 and 1684, being in the early twentieth century its exterior restored, having evidence that in 1916 Javier Goerlich León carried out a series of reforms on the side façade. The Baroque bell tower has a hexagonal floor plan, raised in 1746 by José Mínguez, who also worked on the bell tower of the parish of San Valero in the Ruzafa neighborhood. At present the access from the side façade, which faces the square, is the main one, although it also has a doorway to Franciscans street. Highlights inside the Baroque altarpiece of the main altar, one of the few in the city that survived in the contest of 36, would be begun in the seventeenth century being the work of Leonardo Capuz and continued by his disciple José Cuevas; It is of complicated and rich design, with its solomonic columns and its play of volumes to give differentiation of planes. From 1902 it ceased to be a parish, becoming the property of the Franciscan order, whose convent is located on the same block next to the church.
In the expansion of the city to the west is this church that belonged to the Convent of Minims of San Francisco de Paula. Begun in 1726, it was completed in 1739 according to the traces of José de Cardona y Pertusa. It is a church with a Latin cross floor plan with chapels between buttresses, connected to each other, and a semicircular headboard. It is divided into four sections. The chapels closest to the foot of the church are covered with low vaults, while the other three are covered with orange domes on shells. The roof of the nave is a barrel vault walled with lunettes. Above the transept stands a dome on shells on an octagonal drum and cap peralted outside. The interior is arranged by Corinthian pilasters on high pedestals between which the semicircular arches that give way to the side chapels open. The carved ornamentation arranged in the intrados of the arches of the side chapels.
It was built, between 1767 and 1771, on land occupied by the old hermitage, under the dedication of the Virgin of Montolivet, an icon of the fourteenth century of Sienese origin, of great artistic quality, which is preserved in a niche of the main altar and whose reason goes back to the foundation of the old hermitage by Benedictine monks of the abbey of Santa María de Monte Oliveto, in Siena.
The church depended on the parish of San Valero until, in 1942, it was constituted as a parish church of the district. It is a simple temple, built with masonry and tile factory, with a Latin cross floor plan and three side chapels between solid buttresses that manifest themselves on the outside. At the foot of the nave, on a low vault, is the choir, illuminated by a high rectangular window that manifests itself in the main façade. The central nave is covered with a barrel vault with lunettes and a gabled roof and, above the transept, rises a false dome of half orange on shells that on the outside manifests itself in the form of an ochavated dome with a blue glazed tile finish. Due to the damage suffered during the civil war the church is very transformed, so that all the interior decoration in plaster, imagery, furniture, altars, altarpieces and paintings are modern.
The main façade is very simple and lacks all ornament, with the exception of a ceramic altarpiece, embedded in a small niche, which is located on the lintel of the door and where the Virgin of Montolivet appears surrounded by all the popular imagination that attributes the foundation of the temple to a miracle. Behind the façade, there are two square bell towers with a balustrade finish of modern style. Attached to it, the parish offices.
The adjoining building, initially conceived as a college of priests, was confiscated and currently houses the facilities of the Fallero Museum.
In the religious center of the city is the Basilica of Our Lady of the Forsaken. The building was erected in the seventeenth century between 1652 and 1667. It was built because the chapel of the Virgen de los Desamparados was insufficient, it was installed in 1489 in the apse of the cathedral due to the transfer of the original one that was next to the General Hospital. This chapel was located in the centre of the apse under the arch linking the basilica with the cathedral. It is a trapezoidal building with an oval inside and a camarin designed by Diego Martínez Ponce de Urrana. The dome covering the central space is also oval. Next to it develops the square camarin where the image of the Virgin of the Forsaken. It was made between 1685 and 1694, although it was already in the initial project. It is located behind the oval space and has access from both sides.
The Christian walled enclosure of Valencia was built from 1356, by order of King Pedro IV the Ceremonious, replacing the old defensive fence from the Islamic era that had remained standing until that moment.
Due to the war with Castile, the so-called War of the Two Pedros, the need to erect a new fortification that would cover more land than the old one in Muslim prop became evident.
Thus, this new wall, whose perimeter is approximately four kilometers, made it possible to encompass the old outer suburbs such as the Boatella or La Xerea, as well as new monastic complexes such as the convent of Santo Domingo, San Francisco or Carmen, tripling the previous urban area, which reached around 142 hectares.
Throughout its rounded enclosure, twelve fortified gates were opened, divided hierarchically into Portals Grans and Portals Xics, which made it possible to control access to the city.
Convent of Discalced Carmelite nuns of Corpus Christi, founded in 1681 by Juan Bautista Fos, perpetual schoolboy of the Royal Seminary College of Corpus Christi of Valencia, was located in the Ruzafa area, moving shortly to a place near the Crown Gate, where it still remains.
The first stone of the new convent was laid on October 15, 1687, a date that appears on the lintel of the door itself.
Built the church under the Mannerist directive emanating from the architectural style present in the church of the Royal College of Corpus Christi, it was later decorated within the rules of severe Neoclassicism.
In the neighborhood of Velluters, occupying almost a complete block, is the School of the Pious School built in the eighteenth century. It is a complex formed by the convent, the school and the church.
At first, the school and convent were built by the architect of the Scholastic Order Blas of the Holy Spirit.
Under the impulse of Archbishop Mayoral , work began on the church in 1767, following the traces of José Puchol, also collaborating with Antonio Gilabert, until later Gilabert took charge of the work with an improvement of the project. The church has a circular floor plan with a diameter of 24.5 meters.
The Islamic wall was built in the eleventh century under the reign of Abd al-Aziz and is described by the geographer al-Udri as one of the most perfect in Al-Andalus. In many parts of the city there are remains of the Muslim wall, which present an unequal level of integrity as they are exposed, embedded between the party walls of the houses or in the basement, and which also show different formal characteristics depending on the historical moment in which they were erected. This is because the walled enclosure is not a unitary work but the result of constructive interventions undertaken between the eleventh century and the first decades of the thirteenth and motivated by various defensive and urban reasons.
From the medieval construction there remains a pillar and the start of an arch in the courtyard of the hospital and a Gothic carving of the Virgin on corbel and pointed canopy standing out over the large smooth wall (only cut by two unused doors to access the Chapel) that overlooks Trinquet de Cavallers street. The complex consists of a chapel and hospital overturned over cloister (small courtyard). The Chapel (of Ntra. Sra. de la Seu) consists of a single nave divided into two parts by a choir that segregates another small chapel (cantilevered at the dead end) of Baroque decoration. The Hospital is accessed through the dead end of the street, with a large lobby and is developed on an irregular courtyard of small dimensions, with two sides provided with arcades made of stalls and brick arches. The rest of the work is made of tile, opening into the courtyard large gaps of poured lintel. Throughout the Hospital runs a plinth of baroque tiles with scenes of testimonial didactic function of a popular nature. The staircase, located at one corner of the courtyard, leads to the ambulatory on the upper floors where the cells overlook.
In the neighborhood of Campanar, former municipality integrated into the city in 1897, is this church.
The parish was established in 1507 on an old hermitage. In 1603 a small chapel was inaugurated on the occasion of the discovery of the Virgin of Bell Tower in 1596. It is at the end of the seventeenth century when the extension of the presbytery, the construction of the trasagrario and the new floor of the Chapel of the Communion began, following the postulates of the Baroque. This renovation also corresponds to the beginning of the construction of the bell tower. The trasagrario has a rectangular floor plan, with direct access through two side doors next to the main altar. The temple is covered by a barrel vault, divided into three sections by four sash arches, which give rise in its center to a unique blown vault. Its walls are decorated with magnificent frescoes, attributed to Dionisio Vidal.
The current parish church of Nuestra Señora del Rosario was founded in 1736 as a simple hermitage by Archbishop Mayoral. It was already extended as a parish in 1845 with a project by the architect Joaquín María Calvo with the original and economical layout of two naves with four sections. In 1907 the Chapel of the Communion, work of the architect Vicente Ferrer, was added. The project involves a classicist court building, adjacent to the presbytery of the church with which it communicates by means of a semicircular arch. In 1942, as part of the achievements of Devastated Regions, the architects Carlos Soria and Mauro Lleó extended the head and rebuilt the façade with a baroque finish with a mixed profile.
The church has Herrerian influences and even details of incipient neoclassicism, although the façade is finished off with wavy biston of Baroque flavor. At the head, the series of arches surrounding it forms like a narrow ambulatory. On the right, at transept level, it opens onto the wide and deep Chapel of the Communion, in turn, with small side chapels and the largest in the background. The fresco by José Ros Ferrandis, painted in 1945, is noteworthy, located above the “oven” vault that covers the main chapel and the presbytery.
In the surroundings of the temple there is a group of houses from the end of the s. XIX and early XX, typical of the area of the maritime villages, which reflect in their facades the popular interpretation of the Valencian architecture of the time.
The wall was built in the second century BC. of C. when the city was founded. The first historical reference of Valencia describes it as an oppidum , that is, as a fortified place. It is mentioned in a text (Historiae 2.54) by the historian Salustio of the first century BC. of C. in narrating the battle that took place in 75 BC. of C. at the foot of the walls, cited as moenia.
This walled enclosure was complemented by a system of moats that, together with the river channels that surrounded the city, reinforced its defensive capacity. This moat, or moat, which surrounded the whole enclosure, has only been well recognized in Cabillers Street. There, its width was 3.50 meters, by 1.40 deep.
