Monumentos archivo | Page 16 of 18

Patuel-Longas Building

Located in the central Ruzafa street, thePatuel-Longas building It was built in 1941, being the author of the project by the architect Javier Goerlich Leon (1886 – 1972), born in Valencia and who worked for the city council since 1924, being a great promoter of urban reforms in the historic center.

This building is located on the corner of one of the blocks of the First Eixample of the City, at another end of which is located the Plaza de Toros. With an approximately pentagonal floor plan, externally it overlooks three streets, Ruzafa street, and General Sant Martí and Gran Via Germanías streets. Residential building consists of commercial ground floor and eight floors and attic. The entrance hall is located on Ruzafa Street, and leads to an interior access area to two elevators and a circular staircase through which you reach the apartments, one on the main floor and two on each of the upper floors.

On the façade, the angled windows that fall on Ruzafa street and the curved shapes on the balconies are characteristic, being treated superficially by a uniform light color revoque. It is noteworthy in its upper part a tower of geometry and decoration in the Art Deco style, of appreciable volume with respect to the total of the building. Large houses, with corridors parallel to the exterior alignment. They have two patios allowing to illuminate and ventilate all its dependencies. The living room appears next to the dining room, but independent of it, as the male office next to the lobby.

The Patriarch – Royal College Corpus Christi

The College of Corpus Christi or Patriarch was founded by Patriarch San Juan de Ribera, who was archbishop and viceroy of Valencia. It was created to train priests in the rigid spirit of the Counter-Reformation. Built in record time, between 1586 and 1615, the building presents a great architectural unity. Its façade, very austere, highlights the gallery of arches that crowns it and the large latticed window of the choir of the chapel.

The main door opens on Calle de la Nave. If you cross it you will find a double hall. The one on the left, presided over by an imposing stuffed alligator brought from the American missions, gives access to the College Chapel, richly decorated with frescoes telling stories of the two saints Vincent, showing suggestive images of sixteenth-century Valencia. The impressive Last Supper of Ribalta presides over the high altar.

The other vestibule overlooks the cloister, one of the oldest and purest Renaissance courtyards in Spain, with a double gallery of arches on columns brought from Genoa, to which the tiled plinths give it a local touch. On the right you access the small but interesting museum of the College, with works by El Greco, Joan de Joanes, Sariñena or Ribalta. Declared a National Historic-Artistic Monument in 1962 and an Asset of Cultural Interest in 2007, it comprises a valuable collection of paintings belonging mostly to the sixteenth and seventeenth centuries.

Post Office and Telegraph Building

Classicist building, inaugurated in 1923. Architecturally, it is articulated in such a way that the center receives all the visual attention. It is worth mentioning the large elliptical rotunda of iron and interior glass where the coats of arms of each of the nationalities and regions of the Spanish state are located.

Charity Cultural Centre

The Casa de Beneficència was built in 1841 on the remains of the old convent of the Crown on the initiative of the Provincial Council. It consists of a succession of building bodies built around eight courtyards of tiled plinths, which clearly recreate the image of a nineteenth-century hospice.

Probably the most outstanding element of the complex is the church, erected in 1883 by Joaquín María Belda in neo-Byzantine style.

Rectangular in shape, it has a flat ceiling supported by a metal truss and a curious iron dome with stained glass windows, while the walls and ceiling are dressed with paintings by Antonio Cortina imitating the aesthetics of the mosaics, with figures of angels and saints, all of which contributes to creating an atmosphere of mystery that, Properly lit, it would indeed recall the interior of a Byzantine temple.

At present the property has been completely rehabilitated. This cultural centre is home to the Museum of Prehistory of Valencia, the Museum of Ethnology, and the Institution Alfonso el Magnánimo.

Palace of the Queixal or dels Trenor

The main façade is all that overlooks the streets Cavallers and Abadía de San Nicolás. This façade consists of a ground floor with a semi-basement and mezzanine floor and two tread floors.

The building, which is included in the typology “Manor house or palace” Eclectic, corresponds to the type based on the medieval noble houses of the Mediterranean area, which underwent reforms in the late nineteenth and early twentieth centuries or were built at that time already with formal and compositional elements typical of eclecticism. Chronologically the building is dated around 1870 (source Advance of Catalog of the historic center, 1981), by the architect Sebastián Monleón Estellés. This building is known as the Palau dels Queixal or the Trenor and over time it has undergone different interventions.

The original use of the property was single-family, usually, the semi-basement, was used as a warehouse, horses,
woodshed
or cellar; The mezzanine floor could have different uses, either for the service and / or for the lord, where he had his office and on the first floor the main rooms are located. It is currently intended for residential in tread floors and tertiary uses compatible with residential on the ground floor.

Given the social significance of these palaces, it is not difficult to find both unique rooms and old kitchens, libraries, noble rooms, chapels… as elements of interest such as flooring, wall paintings, moldings, interior carpentry, fireplaces, tile coverings…

Casa Vestuario

In the center of the city, next to the Basilica and in front of the Cathedral, is the Casa Vestuario. The Casa Vestuario was erected in order to provide magistrates and public figures with an immediate lay antechamber to the cathedral grounds on dates of religious solemnity. The work was completed in 1800.

The project was carried out by José García, chief architect of the city, but due to his untimely death, it was finally executed by Cristóbal Sales. With an irregular floor plan due to its corner location, its main façade is on Carrer del Miquelet.

In neoclassical style, the building has three floors. On the ground floor , the lintel accesses stand out with cantilevered cornices that support the balcony run by corbels. This body is made of padded stone. The main floor, made of exposed tile, has chains of ashlar at the angles, as well as the hollows. On this floor, three windows are topped with semicircular pediments on the two side openings, while the central one is topped with a triangular pediment. Over the central opening is the city’s coat of arms with allegories alluding to the prosperity of Valencia. The third floor, also made of tile, is arranged with simple rectangular windows, the sill of which is supported by corbels.

Bailia Palace

Adjacent to the Palau de Scala, there is the Palace of Bailia, one of the few civil buildings that has survived from the Foral era. It represents a palace scheme around a central courtyard, where recent archaeological studies have confirmed the appearance of remains of an original construction of the fourteenth or fifteenth centuries.

It is at the beginning of the sixteenth century when the courtyard is remodeled building the large stone arches and, probably the staircase, the work of a competent master and connoisseur of the advances in stereotomy developed in the 1490s by Pere Compte. In 1666 the orchard was incorporated and the exit arch was built, appreciating differences with those existing in the solution of the bases of the pillars. Around 1840 the building must have been acquired to become the headquarters of the Bailia and residence of the king’s attorney general, and six years later a series of intervention works were undertaken on the old residence of the Ferrers. From 1868, the date of suppression of the institution of the Bailia General, the building experienced alterations in its image, leading to the demolition of the front of the building on Serrans Street. In 1883 it was acquired by José Jaumandreu i Sitges who commissioned the master builder Vicente Alcayne to rebuild the palace.

The main access to the building is from the Plaza de Manises, a representative space very different in its layout and dimensions to the one that originally existed. It is therefore assumed that when Alcayne presented his proposal to the then owner, he planned to maintain as a significant element the Renaissance stone doorway, proposing the repetition of openings in the façade that falls on Serrans street. Later, the property was acquired by the Jaudenes family, Counts of Zanoni, being in this case the architect Luis Ferreres in 1904 in charge of the renovation works on the façade (incorporating the family coat of arms) and the garden.

Chapel of Santa Llúcia

The Hermitage of Santa Llúcia is located on Hospital Street reaching Guillem de Castro Street. It is the seat of the Brotherhood of Saint Lucia, which was created at the end of the fifteenth century. Its construction is uncertain although medieval remains are preserved in the main chapel such as the ribs of a vault.

The building that remains is Baroque in style. It has a single rectangular nave with side chapels, five on each side. The nave is covered with a low vault with lunettes in which windows open.

On the upper floor of the chapel is the meeting room, which is now a museum. The façade is very simple with a niche with the bust of the titular saint and a belfry at the top.

In 1865 the master builder Luis Peseto, together with José Mustieles, raised a bell tower over the primitive façade, and in 1925 the façade was renovated according to a project by Lorenzo Criado. In 1979 restoration and conservation works were carried out.

Escrivá Palace

The Escrivá Palace is located in Plaza San Luis Bertrán in Valencia, very close to the Parish of San Esteban, in the same square where we find the Almudín.

Built in the fifteenth century, its current appearance is the result of the reform of the eighteenth century, of baroque character, which renounced old Gothic elements and created new balconies. These balconies look typical hardware of the eighteenth century.

The Gothic door of the palace stands out, which overlooks one of the corners of the square. It incorporates the noble coat of arms of the Green family of Montenegro, who were the second owners of this residence in the seventeenth century, and which serves as a passage to the courtyard where a Gothic staircase leads to the main floor.

This palace has the following distribution, structured around an open central courtyard: semi-basement, mezzanine, main floor and second floor. It was the ancestral home of the Scribes, illustrious Valencian dynasty of the Valencian nobility created by Guillem Benlloch, “the scribe”, the secretary of King James I. In the sixteenth century, one of his descendants, Juan Escrivà, related to Jerónima Boil, daughter of the lord of Manises, so this palace is also known by the name of Palace of the Scribes and Boil.

In 1976, a new restoration recovered part of the original Gothic elements that were blinded in the Baroque reform.

It is a magnificent example of a manor house with a Gothic façade in Valencia, one of the most attractive buildings in the city, located in an environment of high historical and artistic value.

Although for some time it was the headquarters of the Royal Economic Society of Friends of the Country, today it is a private property that cannot be visited.

Site of Cultural Interest. Declared a National Historic-Artistic Monument in 1966.

Palace of the Marquis of Montortal

Baroque palace located between party walls, from the last third of the eighteenth century, before 1782, which is the date on which the blazon on the cover was sculpted.

On the façade of Plaza Tetuán is the coat of arms of Doña Antonia Durán Rubio de Salinas. Dowager Countess of Castellá, Villanueva and Carlet.
The original layout of the building is two bays parallel to the main façade with a structure of load-bearing walls; The staircase is located at the third junction. It consists of two originally more differentiated bodies being the right corresponding to the typical triptych composition of the Baroque palace, with hierarchy of the new floor and significance of the central axis with access by stone portal with noble shield and worked balconies over it. The body on the left is rear.

The first body presents iconography belonging to the intervention of the nineteenth century such as curved lintels, toothed cornice, etc. The structure of load-bearing walls is lightened on the ground floor in the lobby with a central pillar to provide greater diaphanous access to the entrance It does not have a patio but is located on an isolated plot from the party walls of the adjacent buildings through the formation of two side alleys to which the side facades open empty. The reformed extension of the southern body proposes the creation of the large space where the wooden staircase that goes up to the main floor is located.

The Llotja and the Consulate of the Sea

The Lonja of Valencia is one of the city’s emblematic buildings, a masterpiece of Gothic civil architecture. The Lonja of Valencia is a World Heritage Site. Construction began in 1483 according to the project of the master Pere Compte. The complex is made up of three bodies which, viewed from the Market Square, would first comprise the trading room followed by the central tower and, on its left, the Consulate of the Sea.

Escalante Theater Center

The Board of Young Workers was created in 1884 by the master carpenter Gregorio Gea Miquel in order to give cultural and religious instruction on holidays to children in need. From the beginning it received the support of the Economic Society of Friends of the Country, Schools of Sant Josep and Gran Associació de la Mare de Déu dels Desamparados.

The Board of Trustees set up its headquarters in an old house on Landerer Street opposite a corner that still bears this inscription: “1799 Plaça de la Valldigna“. Its façade preserves a stone voussoired portico, with heraldic shield, which gives access to a patio with two segmental arches. It is curious a colonette and two small attached arches that have been embedded in the wall of the first floor that overlooks the courtyard, as a possible reminder of the previous construction.