In the Museum of the Fallero Artist of Valencia are exhibited dolls or figures and sculptural groups of life size, large fallas and children, pardoned by the Artisan Guild of Fallas Artists. The exhibition includes original sketches of faults and floats; fault models; the historical evolution of El Ninot; a didactic Falla exposed inside, which recreates the various construction processes of it; an extensive collection of photos of fallas, librettos de Falla and magazines fallas, published by the Guild; and a sample of alternative works made by the Fallas Artists.
The visit includes viewing a video of how a fault is made. The visit lasts about an hour, including the video screening. There is no guide accompanying the group.
The museum has an accessible entrance for people with reduced mobility.
The Muma, which has its access through the door of the Plaza de la Almoina, by staircase and elevator, includes the space of the first floor that falls inside the main nave of the church, with views through the current galleries or tribunes, as well as part of the second floor of the annex building.
Between January 1937 and the end of the Spanish Civil War, Valencia was the target of more than 400 bombings. Often it was the Italian air force and navy, allied to the national side, that took charge of these attacks on our city. The death toll from the bombing is estimated at 800 dead, while around 3,000 were injured and more than 900 buildings were destroyed.
The Passive Defense Board, faced with the barrage of bombings, took as its main measure the construction of anti-aircraft shelters, most of them concentrated in the center of the city. According to some studies, there were more than 250 shelters in Valencia, publicly and privately owned.
The Massarrojos Refuge was built in 1938 directly excavated in the geological subsoil. The plant is elongated, with 125 m. long, 2 wide and 10 deep. It has two entrances, one at Plaça del Soñador and the other at the beginning of today’s Benet Bosch street.
Inside we find two rooms: one used as an infirmary, with an adjoining blind well, built taking advantage of a natural cavity, and the other as an engine room.
On the walls we can still see part of the tubes for the electric lighting system that was never completed, as well as large nails where manual lanterns were placed. The shelter even had a ventilation system. It had capacity for 230 people.
The Chirivella Soriano Foundation exhibits a remarkable private collection of contemporary Spanish painting. Three diaphanous heights have been created, intended for exhibitions, the windows of which fall onto an interior courtyard covered by a crystal. Among the funds of the Foundation are around 70 pieces signed by authors such as Antonio Saura, Fernando Zóbel, Eduardo Arroyo, Carmen Calvo, Rafael Canogar, Juan Genovés, Joaquin Michavila, Eusebio Sempere, Guillermo Pérez Villalta, Jose Maria Yturralde, Juan Antonio Toledo, Ràfols Casamada, Gordillo, José Guerrero, El Paso, Equipo Crónica or Equipo Realidad. Workshops, conferences and temporary exhibitions will also be organised, as well as various artistic research activities.
The Chirivella Soriano Foundation has had a Contemporary Art Center open to the public since May 2005 in the Palau de Joan de Valeriola (Carrer Valeriola, 13), a Gothic palace from the 14th-15th centuries.
En aquesta plaça es troba la Galeria del Tossal on podrà contemplar les restes musealitzades d’una torre i llenç de la muralla islàmica del segle XII. Les ruïnes ací conservades formaven part d’una porta en colze, possiblement una remodelació de la porta d’al-Hanax construïda al segle XI, una de les cinc portes que tenia la ciutat, i que s’obria en l’inici del carrer de Cavallers. Podrà observar una torre de planta quadrada construïda amb tàpia de morter. En el seu front encara es conserven els forats deixats pels suports de les caixes de fusta emprades pels alarifs musulmans per a la seua construcció.
Una de les dues portes de la muralla baixmedieval que conserva València, a més de les Torres de Quart, és la de les Torres dels Serrans.
Van ser construïdes en el S. XIV pel mestre Pere Balaguer, entre els anys 1392 i 1398, com un símbol per a una ciutat que vivia una època d’esplendor i expansió comercial. Li van servir com a inspiració altres portes gòtiques, fonamentalment la Porta Real del Monestir de Poblet. El portal dels Serrans, que durant diversos segles va constituir el principal accés a la nostra ciutat pel nord, es troba flanquejat per dues descomunals torres pentagonals unides pel cos central en el qual s’emmarca un gran arc de mig punt.
L’edifici té una variada decoració escultòrica que possiblement fora dissenyada per Pere Balaguer. D’ella podem destacar la gran traceria gòtica en el cos central; els personatges bíblics en els punts de suport de la barbacana; els escuts situats sobre l’arc d’entrada; les figures animals en l’arrancada dels nervis de les voltes, i les quatre gàrgoles que adornen les grans tribunes en la part posterior. La majoria d’elements escultòrics, no obstant això, són còpies, basades en els models originals, realitzades entre 1893 i 1901.
