The parish church of Santa Catalina and San Agustín, located in the street of the Mare de Deu de Gràcia (Our Lady of Grace) number 5 of the city of Valencia, in Spain, is the church of the former convent of hermit friars of San Agustín settled in Valencia in the thirteenth century.

This convent of Valencian Gothic style had a cloister next to the church, occupying the adjacent current garden, with sixteen arcades per band. In the seventeenth century another cloister was built on the north side, and the previous one was raised on one floor. During the War of Independence it served as a barracks for French troops in 1812. The temple was renovated in 1815. After the confiscation of 1836 the conventual dependencies were used as a prison until their demolition in 1904, leaving only the church open to worship.

The church with a single nave with chapels between buttresses has a five-sided polygonal apse covered with a starry ribbed vault, while the six sections of the nave do so with simple ribbed vaults, the section closest to the presbytery is wider and corresponds to two chapels. It has a high choir at the feet in which the only original key is located. In 1692 a Baroque cladding was added, which was reristinated from 1940. Of special relevance is the medieval icon of the Virgin of Grace that houses this church.

The side cover must have been made during the first third of the seventeenth century. It is flanked by pairs of Doric columns on pedestals, topped with a split curved pediment; In the upper part a niche between volutes with the image of the titular saint, topped by a triangular pediment split.

In 1912 a new bell tower was built by the architect Luis Ferreres, in brick, which would be covered with a Gothic morphology in the post-war intervention.

San Agustín Church. - Panoramio. Jpg

106: 15: 33

Sound of bells

After the Civil War it was so affected that it was thought of demolishing. Javier Goerlich carried out an intervention, in 1940, which gave it its current, historicist appearance, with old stone cladding on the eastern facing, formation of low dependencies at the foot of the apse and provision of new dripping morphology for the southern façade and the bell tower. This intervention is accused in the façade at the foot and in the bell tower and seeks to reproduce the primitive architectural structure of the building.

The Valencian sculptor and sculptor José Justo Villalba (brother of Antonio Justo, parish priest of the Church) carried out, in a work that after the war lasted several years, the total interior renovation of the church, providing much of the current imagery of the temple as well as the rest of decorative details: stained glass, altarpieces, benches, marbles, lamps, altars, reliefs, etc. To him is due, among many other decorative details, the main altar, with the images of round bulk of St. Augustine and St. Catherine, the altarpiece of St. Vincent, the Immaculate Conception, the Crucified Christ, the chapel of communion, various reliefs, pulpits, the Sacred Heart of Jesus, St. Joseph and the exterior images of St. Augustine, of San Vicente and the Virgin.

The Town Hall Square is the name given to one of the most important and central squares of the city of Valencia (Spain). It is characterized by the presence of buildings, most of them of eclectic and rationalist style, raised during the first half of the twentieth century, such as the town hall, headquarters of the City Council of Valencia. It also highlights its circular fountain and the sculpture tribute to the jurat in cap of the city in the early fourteenth century, Francesc de Vinatea.

In the middle of the square there are flower stalls around a large flat space where the traditional mascletàs are celebrated every year during the festival of the Fallas de Valencia, and is a meeting point for 17 lines of EMT Valencia, plus 10 of its night lines.

Great building for its size built by Don Vicente Tamarit Lliveria in the eighteenth century in the Barrio dels Velluters. On the lintel of the door is the noble shield in stone with the arms of the Tamarit, the Genoese, the Llivería and the Ruiz. Also in one of its barracks the figure of a silk loom is integrated, because not in vain the house besides being a stately residence was a silk workshop in which more than three hundred workers came to work.

It is distributed in ground floor, mezzanine, main floor and high floor, and is built mostly in brick.

The lintelled cover made of ashlar masonry, has a stone fence and on the corner with Vinatea Street has a balcony. Also noteworthy are the numerous windows and balconies with wrought iron trellises of the eighteenth century.

The house that occupies a large area had gardens in its back that reached the old General Hospital, gardens that have now disappeared.

This four-storey building of more than 9,400 square meters, is one of the most important exponents of the historical heritage of the city, considered an Asset of Local Relevance. It is an outstanding example of eclectic style of French origin in combination with elements of Valencian modernism and was the headquarters of Correos y Telégrafos de València for many years.

Although it is currently located in the nerve center of Valencia, right in the Plaza del Ayuntamiento, in 1923, when it was inaugurated, it was part of the old fishing district, a fact that testifies to the nearby Calle de las Barcas.

It is the work of the prestigious architect Miguel Ángel Navarro Pérez from Zaragoza and was built between 1915 and 1922. In the allegorical figures that adorn its façade, both in the tympanum and in the finials next to the clock, it was wanted to symbolize the progress that postal and telegraphic communications brought in their time. The five continents that symbolize international interconnection, the common thread of the history of this historic building, are recognizable.

One of the details that gives it more personality is its slender metal turret, recovered after the previous rehabilitation of the property. Its viewpoint is topped with a colorful armillary sphere. Inside, do not miss the large upper stained glass window designed by the Maumegean brothers in the operations courtyard, composed of three hundred and seventy panels with the shields of the forty-eight Spanish provinces.

It is a Valencian modernist style construction that began to be built in 1914 by Francesc Guàrdia i Vial and Alexandre Soler i March, both trained at the School of Architecture of Barcelona and having worked in the team of collaborators of Domènech i Montaner, an architect who was characterized by his own style within the lines of modernism.

After some disagreements and some modifications in the initial project, the direction of the works will be executed by the Valencian architects Enrique Viedma Vidal and Ángel Romaní Verdeguer and ended in January 1928.

Since 2004, the Integral Rehabilitation of the Central Market is in charge of the Madrid studio Fernández del Castillo Arquitectos, directed by Horacio Fernández del Castillo. His intervention has consisted of a complete restoration of the building; and an update of the commercial function as a market and its facilities.

It is located on the Market Square, next to the Silk Hall and the city square of Bruges. The old street of La Paja separates the Central Market from the Church of Santos Juanes. On the opposite side, the Central Market overlooks the beautiful streets Palafox, Plaza En Gall and Calle de las Calabazas.

This spectacular bazaar has 1200 stalls selling all kinds of food such as fish, seafood, fruits, spices, meats and sausages among others, both for domestic consumption and to supply important restaurants of Valencia, which crowns itself as the largest fresh produce market in Europe. The purchase in this place is loaded with great charm for the beauty of its architecture and the tradition and history of the market.

The Central Market combines metal, domes, glass, columns, the Gothic memory of modernism, as if it were a cathedral of commerce, combining with the neighboring Lonja de la Seda. In the center of the building you can see a large dome crowned by a weather vane.

The Real Parroquia de los Santos Juanes, also known as the church of San Juan del Mercado (Església de Sant Joan del Mercat, in Valencian), is a church located in the city of Valencia, in front of the Lonja de la Seda, and next to the Central Market.

The church is titled Real, since 1858, by decree of Isabel II who visited it on June 2 of the same year, as did Archduke Charles, in 1706, and the kings of Sicily, Francis and his wife in 1823. Later, in 1902, the Infanta Isabel de Borbón, former Princess of Asturias, did so.

It has been listed as a National Historic-Artistic Monument since February 21, 1947.

Of Valencian Gothic origin, it was rebuilt in the fourteenth and sixteenth centuries because of fires. It will be in the seventeenth century and the beginning of the eighteenth century when it will finally acquire its definitive appearance, with a baroque physiognomy. Of its old structure of Valencian Gothic style there is still the nave and the large blinded oculus, known as the O de Sant Joan, which was conceived as a large rose window on the façade of the feet. Its exterior was renovated in 1700.

From the façade facing the Market Square stands out the central sculpture of the Virgen del Rosario, the work of Jacopo Bertesi. Above it is the clock tower, flanked by the two Santos Juanes and the weather vane arranged at the top of the façade, known as the bird of San Juan (pardal de Sant Joan, in Valencian).

Antonio Palomino left a notable mark on Valencia. It was precisely this building that was the reason for his arrival at Valencia in 1697. The clergy of the parish had commissioned a new decoration after the fires suffered by the building. Charles II sent his painter, who corroborated the impression of the chaplains, saw the large space that was placed in his hands and accepted the challenge. The presbytery and all the vaults of the church were removed and painted in the last years of the seventeenth century.

On July 19, 1936, during the civil war, it was burned and its effects still endure.

The Plaza de Toros de Valencia is located on Calle Játiva, the downtown district of the city, next to the North Station of Valencia and very close to the Plaza del Ayuntamiento and the wall of Ruzafa.

It is one of the largest bullrings in Spain, with a ring with a diameter of 47.5 meters and 108 meters in outer diameter. It has capacity for 12,884 seats.

The original work of 1859 by Sebastián Monleón Estellés consists of an exterior of four arcaded galleries of exposed brick, with frosted arches on the ground floor and half a point in the three upper galleries, crowned by a stone balustrade, in a classic arrangement. It was built in neoclassical style, specifically simple Doric, inspired by Roman civil architecture, in the Flavian amphitheater (Colosseum), or the amphitheater of Nîmes (France). It is a building of polygonal body of forty-eight sides, of 17.50 m of height and 52 m of interior diameter, of load-bearing structure and finishes of brick seen in neomudejar style. In the work predominates the widespread use of brick of careful invoice and wood, but it is noteworthy the early use of cast iron columns that provide a functional transparency to the area of the boxes.

In the 60s the architect Luis Albert undertook a reform to reduce the arena to gain barriers, change the wooden seats for cement, expand the vomitoriums and reform the bathrooms. In addition, the ticket offices were built and the fence that separated the square from Játiva and Alicante streets was removed, freeing a diaphanous space that enhanced the monumentality of the building. Seats were reduced from approximately 16,800 spectators to the current 12,884.

In 1995 the Manolo Montoliu monument was inaugurated at the main gate is located. On May 1,1992, a bull of Atanasio Fernández, killed the thirty-eight-year-old Valencian banderillero Manolo Montoliu, in the bullring of the Maestranza in Seville. Manolo Montoliu was a banderillero much loved by the Valencian bullfighting fans, considered a reference in his time and legend in bullfighting.

In addition to bullfighting, the square has been used for bullfighting functions, for the burning of fallas, sporting and leisure events and cultural and musical shows.

The Hermitage of Santa Lucía, together with the grounds of the Old Hospital, was declared in 1963 a National Historic-Artistic Monument and in 2007 an Asset of Cultural Interest, with the ministerial annotation number: R-I-51-0012195, and date of annotation November 28, 1963.1 It is located in the city of Valencia, on Hospital Street.

The North Station (in Valencian Estació del Nord), also known as Valencia-Norte or Valencia-Estación del Norte, or historically Valencia-Term, is the main railway station of the Spanish city of Valencia. In 2010 it received more than 14 million passengers, of which more than 11 million corresponded to its Cercanías services.

It is a terminal station of monumental character and Valencian modernist style inaugurated in 1917 by the Company of the Iron Roads of Northern Spain, who commissioned its construction to one of the architects of the company, Demetrio Ribes. In 1941, after the nationalization of the Iberian gauge railway, it would pass into the hands of the newly created National Network of Spanish Railways (RENFE). The station stands out both for its ornamental richness and its large proportions. In 1983 it was listed as an Asset of Cultural Interest. It is also considered a historic station by Adif.

It is located in the center of the city next to the bullring and just 200 m from the town hall. It has connections with lines 3, 5, 7, 9 and 10 of the city's metro and with the urban bus network. Valencia-Joaquín Sorolla station is 800 m away. South of this station. Both stations are connected by a shuttle bus.

It was built in 1840 by the Valencian architect [Salvador Escrig]. It has a unique round shape, with four entrances at the cardinal points. Motorized circulation is not allowed and in fact the small dimensions of the square make it impossible: it is one of the smallest squares in the city. It has a main access from the street of San Vicente Mártir, where it leads to the Plaza de la Reina; The other entrances overlook the narrow streets that surround it on all sides...

In effect, the square is closed at all ends by houses and therefore the square becomes invisible until you access its interior. The houses form an uninterrupted, yellow wall that goes all the way around the square and produces an elongated cylinder four storeys high. Despite the poor communication that this could mean for the square, it should be said that it is a few steps from the Central Market and therefore there is an important movement of people between this first and the Plaza de la Reina, and this movement passes precisely through the entrance of the square.

The Torres de Quart or Puerta de Quart are one of the two fortified gates of the medieval wall of Valencia that still stand. The set consists of two semi-cylindrical towers joined by a central body, where the door itself opens, in the form of a semicircular arch. They are located at the intersection of Guillén de Castro Street with Quart Street.

The Colón market is located at Calle Jorge Juan number 19 in the city of Valencia, (Spain). The building was conceived and realized by the architect Francisco Mora Berenguer between 1914 and 1916. It is one of the best examples of Valencian modernism architecture at the beginning of the century. It is also declared a National Monument.

It is currently rehabilitated and equipped with shops and establishments dedicated to the hospitality industry. It was intended to meet the growing needs of the Ensanche de Valencia, dominated by the bourgeois class.

The Parish Church-Museum of San Nicolás and San Pedro Mártir de Valencia (Spain) is a parish church located between Calle Caballeros n.º 35 and Plaza de San Nicolás in the historic center of Valencia, specifically between the neighborhoods of La Seu, El Carme and El Mercat. It is one of the best examples of coexistence of a building of Gothic structure of the fifteenth century with a spectacular baroque decoration of the seventeenth century.

After its restoration in 2016 it is popularly known as the Valencian Sistine Chapel. It has its usual hours of worship and also a schedule for tourist or cultural visits.

Since 1981 it is an Asset of Cultural Interest and National Historic-Artistic Monument, 1 and since October 2019 it is recognized as a Museum by the Generalitat Valenciana.

The Portal de la Valldigna or Puerta de la Valldigna is a portal from 1400 that separated the Christian city from the Moorish of Valencia, Spain. It is located in the Carmen district, in the district of Ciutat Vella. It is a portal without a door, which takes its name from the Monastery of Santa María de la Valldigna (Simat de la Valldigna). The abbot's house stood in front of the portal.

Open on the Arab wall of the eleventh century, in the year 1400 it was the gateway to the Moorish quarter. It is a semicircular arch of Valencian Gothic style, of ashlar, with a slight advance in the imposts. It was restored in 1965.

In the portal there is a reproduction of the original altarpiece that existed there, dedicated to the Virgin and that was placed in 1589. The altarpiece represents King James II of Aragon in the act of foundation of the monastery of Valldigna, which he granted to the abbot of the Monastery of Santes Creus, with an inscription that accompanies the image and that says: "Aquesta vall per a la vostra causa" (This valley for your cause).

In its upper part is the representation of the Virgin with the shields of the city of Valencia and the monastery of Valldigna. It is an altarpiece from the 1960s, next to which there is an inscription that says Nostra Dona de la Bona Son, Pregueu per nós, Portal de Valldigna.

Next to the portal was installed the first printing press of the Kingdom of Valencia and of the Iberian Peninsula, by the master printer Lambert Palmart, in which in 1474 the first book of the Peninsula was printed, written in Valencian: Les obres o trobes davall scrites les quals tracten de lahors de la sacratíssima Verge Maria (Trobes en Llaors de la Verge Maria). A commemorative plaque reminds us of this.

Also, along with the portal took place the event lived by Fray Joan Gilabert Jofré, interposing himself to the harassment and stoning of a madman, after which and changing his Lenten sermon, led to the fact that on April 9, 1409 the foundations of the first asylum in the world were laid, which was called Hospital dels Folls i dels Ignocents.

In 1944 the then director of Fine Arts, Mr. Manuel González Martí, had the initiative to declare the Portal de la Valldigna a historical-artistic monument, to prevent its disappearance, since the owners wanted to demolish the house to build another new plant.

La Lonja de la Seda de Valencia or Lonja de los Mercaderes (in Valencian Llotja de la Seda or Llotja de Mercaders) is a masterpiece of Valencian civil Gothic located in the historic center of the city of Valencia (Spain). Declared, in 1996, a World Heritage Site by UNESCO, it is located in the Market Square, number 31, in front of the Church of Santos Juanes and the Central Market of Valencia.

Francesc Baldomar was the author of the original project of the Lonja de Valencia, he began to elaborate it between the years 1470-1471. His disciples Joan Ivarra and Pere Compte received in 1481, five years after his death (1476), the commission to finish building it according to the magnificent original plans that he had drawn in his last years of life. The documents pointed to a plane of equality between the two: "that a master was not sia subordinat al altre nil altre al altre", that is, that neither was more important than the other, as well as that the Lonja should be done: "qual es feta en mostra molt ben divuissada o en altra manera segons millor", that is, as in a very well drawn plan that existed or otherwise better. Its approach followed the model of the Lonja de Palma de Mallorca, becoming an emblematic building of the wealth of the Valencian Golden Age (fifteenth century) and sample of the commercial revolution during the Late Middle Ages, social development and prestige achieved by the Valencian bourgeoisie.

It is a palace that follows the medieval tradition, but refined and revised by the customs and later tastes, built on a corner plot belonging to the Boil family.

The construction of the building begins in the fourteenth century in Valencian Gothic style. However, the aspect in which it is preserved today is due to a configuration raised in the eighteenth century. The façade shows the functional and hierarchical division of the property to mean the basement, mezzanine, noble floor and high floor. Vertically it has six holes for each of the floors The façade has an ashlar plinth, while the rest of it is stuccoed.

The wrought iron balconies stand out. The main portal is made of stone, presents at the top the shield of the Boil family through it you access the rectangular courtyard with four escarzanos arches.

On the left is the staircase that leads to the main floor, while on the opposite side is the staircase that communicates with all floors At the back of the courtyard, parallel to the façade, there is a rectangular room that is accessed by two semicircular arches made of stone, Located in the galleries that form the courtyard. Behind this room there was a courtyard that in the 1940s was occupied by a modern building with several heights. In the part of the façade closest to the current Poeta Querol street, another smaller façade opens that already corresponds to a multiresidential building approach.

The factory of the building combines different materials such as rammed earth, brick and masonry. The floors are made with wooden beams with brick vaults.

After serious threats of ruin, the building was finally acquired by the Generalitat Valenciana and restored in 1997, according to a project competition won by the architect Carlos Campos González, in order to allocate it to the headquarters of the Valencia Stock Exchange, which was located in the palace until mid-2021, when it was moved to its current location on Pintor Sorolla Street.

The Torres de Serranos or Puerta de Serranos are one of the two fortified gates of the medieval wall of Valencia (Spain) that are still standing. The set is formed by two polygonal towers joined by a central body, where the door itself opens, topped in a semicircular arch. It has been an Asset of Cultural Interest since 1931.

The Palace of Benicarló (officially and in Valencian, Palau de Benicarló) or Palacio de los Borja (or Borgia) is an aristocratic mansion of Valencian Gothic and Renaissance style located in the city of Valencia, Spain. It is currently the seat of the Valencian Parliament.

The palace was built in the fifteenth century for the residence of the Borgia or Borgia family in the capital of the ancient Kingdom of Valencia. It is listed as an Asset of Local Relevance with identifier number 46.15.250-132.

It was built in one of the most brilliant periods of Valencian architecture, personified in the great Pere Compte, whose art are vivid or eloquent samples, above all, the Lonja de la Seda, also the Puerta or Torres de Serranos, ambitorreado entrance of the city by the bridge of the same name and brilliant echo of the Puerta Real de Poblet; the vaulted passage, without nerves in its last phase, from around 1494-1497, of access to the Miguelete and the windows of the Palace of the Generalitat, in the University, recently installed, where it still remains, built work of 1493-98... with the bricklayer Benia, work later replaced, not all, because there are classrooms, premises, or rather the large carpane arches that cross them transversely, recayentes to the cloistered panda opposite the Paraninfo, formerly "theater", that is, next to the street precisely "of the University", frequently and modernly understood, or named, as an extension of the immediate "of comedies", "Thus grew the place with successive additions and reforms," says Cruilles, "to the terms in which we see it today" (October 1875). " The oldest modern part, he adds, is the one that forms the angle of Calle de la Nave and Calle de la Universidad: the rest we have seen rebuilt in our days and the small and ogave doors that are preserved disappear".

The current building, neoclassical, dating from 1830, is the work of Joaquín Martínez and now occupies a complete block between the aforementioned streets of the Nave and the University forming an angle, and the opposite because it is quadrangular, resulting from the meeting of Salva Street and Patriarch Square.

It is located on a plot of 2,900 square meters, with a façade of 70 meters to Calle de la Nave where it has its main entrance; the façade to Calle de Salvá has a similar length, and smaller than those facing Calle de la Universidad and Plaza del Patriarca, the latter decorated in 1960, with a sculpted fountain that will require special mention. The exterior work is made of brick with high plinth, door fences and corner windows of ashlar masonry. The large central door accesses a vestibule that will lead, in turn, to the large cloister and a common passage to the staircase of honor that leads to the first floor or noble floor and another smaller courtyard, not porticoed, which leads to the chapel and the transits that lead to the door of the square. The other door opens to the street of the University, almost at its confluence with the today called the Painter Sorolla and, according to Cruilles, is due to the zeal of San Juan de Ribera, founder of the neighboring College of Corpus Christi, by agreement in 1604 with the city that enlarged the place and opened a door in what was later Academy of San Carlos (until the transfer of this to Carmen as a result of the Confiscation in 1836).

The cloister is surrounded by a colonnade of Tuscan order designed by the architect Monleón, colonnade that supports the gallery. This gallery, limited by a stone balustrade and free on all four sides, as reproduced in the photographic illustrations of Llorente (1889) was then cut, when occupying its side corresponding to the façade of Salva Street an iron and glass construction intended for a cabinet of natural sciences, which prevented circumambulating it. This cabinet was destroyed, with its rich contents included in the large skeleton, which almost filled everything, of a calf, by the fire of May 1931. Somewhat after the Civil War opened and the four sides of the gallery balustraded for having disappeared said glazed cabinet, that one was covered on all sides with roof, on cornice, and another similar balustrade, supported all on columns of Ionic-Roman order, following the system of superposition of classical orders of Roman and renascent architecture. The works of the gallery were directed by Francisco Javier Goerlich, around 1943.

In the center of this cloistered courtyard, a small garden with cast iron railing surrounds the statue of Juan Luis Vives, made in 1880 by Josep Aixa, at the initiative of the Rector Doctor Don José Monserrat.

It was raised at the behest of Patriarch San Juan de Ribera. Its construction began in 1586 and was completed in 1615. Master stonemasons such as Gaspar Gregori, Guillem del Rey, Bartolomé Abril, Francesc Figuerola, among others, intervened.

It has its precedent in the College of the Patriarch current College of Santo Domingo in Orihuela, which was founded by the patriarch of Antioch and archbishop of Valencia, Cardinal Fernando de Loazes, Oriolan by birth, building that became a University.

Interior of the church with frescoes by Bartolomé Matarana covering its walls.

It is a compact building that occupies an entire block. It is ordered through a rectangular cloister around which the collegiate dependencies are distributed and on the west side is the church. The cloister is one of the best examples of Renaissance architecture made with Genoese marble columns. The church has a Latin cross plan with a single nave with side chapels and a straight head, with a dome in the transept. It is divided into two sections presenting a third at the foot on which the high choir is arranged. The interior is fully decorated by fresco paintings. The chapel has a rectangular floor plan with a polygonal head decorated in fresco by Bartolomé Matarana. In the northeast corner of the cloister stands the staircase of volts made of stonework that would be an example for others made later in other buildings.

On the façade stands out the upper gallery of arches and the bell tower on the corner. The marble façade has a lintelled arch flanked by paired columns on pedestals.

After the cloister and the church, the service units are developed around a smaller courtyard. At the back of the building opens a door before which a fence was erected in the nineteenth century with high parapets and pyramid-shaped finials.

It was declared a National Historic-Artistic Monument in 1962. In 2007 it was declared an Asset of Cultural Interest with the category of monument.

Among the works of historical-artistic importance preserved in the Museum of the Patriarch are paintings by El Greco, Jan Gossaert and Francisco Ribalta, as well as the original manuscript of the posthumous work of Sir Thomas More, British Chancellor and martyr of the church, written during his imprisonment in the Tower of London before his execution that took place on July 6, 1535. This valuable manuscript, called 'Instructions and Prayers' or 'Tristia Christi' (The Agony of Christ), which can be considered an authentic spiritual testament, was saved by his daughter Margaret, who sent it to Spain with the help of Emperor Charles V.

In 1444 it was occupied by the Poor Clare nuns at the express wish of Queen Mary, wife of Alfonso the Magnanimous, who wanted to have a place of retreat next to the city, and for this purpose she filled it with donations and privileges. The queen, who lived with her ladies in the neighboring Royal Palace, had her own rooms in the monastery, where her tomb is also located. Also buried there is the Infanta María de Castilla, wife of Alfonso the Magnanimous, king of Aragon, so she would be known as María de Aragón, Vicereine of Valencia. Its library consists of fifty scrolls, documents and books of great value, for example, the autograph manuscript of the Vita Christi of Sister Isabel de Villena, main abbess of the monastery; There is also one of the first editions of that work. There are several manuscripts of Jaume Roig, author of L'Espill, who was doctor of the nuns and one of those who contributed money for the construction of the monument, various songbooks of the fifteenth century, a first edition of the History of the convent of the Trinity by Agustí Sales, the bull of Pope Leo X and the Book of the Queen's house, kind of inventory of the great families of the Valencia of the fifteenth century and the alms they contributed to build the monastery.

The cloister and the refectory are of Valencian Gothic style and the church of baroque decoration. There are inscriptions in the keys of the refectory vault and a double-turn Gothic arch that rotates on itself. The "compass" or second cloister is a porticoed square from which you access the church. The façade of the temple is a magnificent example of Flamboyant Gothic and its decoration is reminiscent of the Lonja and there is a replica of a magnificent rose window of Renaissance ceramics. There are also several Baroque paintings and numerous relics, including a fragment of the cross of Christ or lignum crucis and a thorn of his crown.

Currently the convent is uninhabited, after the departure at the beginning of 2014 of the last cloistered nuns, so it is only possible to visit by request. You can admire the façade of the church, built with ashlar masonry and rammed earth in Valencian Gothic style.

The main door is from the fifteenth century and is related to those of the Lonja. On it, it is worth mentioning the beautiful Renaissance ceramic tondo, made in Italy, whose original is kept in the National Museum of Ceramics.

The Almudín building (in Valencian Almodí) is located in Plaça Sant Lluís Bertrán number 1 in the city of Valencia (Spain).

It is considered an exhibition center and museum, being its management carried out by the city council. It was declared a national monument in 1969. The whole of the Almudín Museum consists of an arcaded courtyard that is attached to the old "Pes de la Farina".

At the end of its function as a warehouse, it was dedicated to a municipal museum, being the headquarters of the Paleontological Museum from 1908 to 1991.

Once this exhibition was moved, the building was restored and in 1996 the restoration of the building was completed. Currently dedicated to be visited for its architectural interest and for the tempera-tail paintings consisting of popular iconographies of the seventeenth and eighteenth centuries. Such allegorical pictorial works are part of the historical "atmosphere" of the building.

Since 1996 it has hosted temporary exhibitions managed by the Valencia City Council.

The Royal Basilica of the Virgin of the Forsaken is located in the city of Valencia. It stands out for being the sanctuary of the Virgen de los Desamparados, Patroness of Valencia and of the entire Old Kingdom of Valencia, current Valencian Community. He holds the dignity of basilica thanks to the brief pontifical signed by His Pope Pius XII on April 21, 1948.

The Tribunal de las Aguas de la Vega de Valencia, also known as Tribunal de las Aguas (in Valencian, Tribunal de les Aigües), is an institution of Justice in charge of settling conflicts arising from the use and exploitation of irrigation water between farmers of the Irrigators Communities of the ditches that are part of it (Quart, Benàger i Faitanar, Tormos, Mislata, Mestalla, Favara, Rascanya, Rovella and Chirivella).

On September 30, 2009 it was designated Intangible Cultural Heritage of Humanity.

The Palace of the Generalitat (Palau de la Generalitat in Valencian) of Valencia (Spain) is a Valencian Gothic style building with Renaissance interventions dating from the fifteenth century. It has been an Asset of Cultural Interest since 1931.

The palace of the Generalitat Valenciana is located in the neighborhood of La Seu, district of Ciutat Vella de Valencia, located between Caballeros streets (formerly Les Corts street and before Major de Sant Nicolau street), Bailia street and Plaza de Manises (formerly San Bartolomé square), where other very representative buildings of the city are located, such as the Cathedral of Valencia, the Basilica of the Virgen de los Desamparados or the Palace of Fuentehermosa, seat of the presidency of the Generalitat Valenciana.

It is currently the headquarters of the Generalitat Valenciana, the government of the Valencian Community, although throughout the history of Valencia the building has been the headquarters of the following institutions, from which it has taken its name:

House of the Deputation of the General of the Kingdom of Valencia (1421-1705).

Royal Audience (1750-1923).

Provincial Council (1923-1982).

People's Executive Committee (1936-1937).

Generalitat Valenciana (1982-present).

In addition to its political symbolism, it is one of the best exponents of Valencian civil architecture of the foral period, intervening in it the main masters of his time.

The Palacio de la Música y Congresos de Valencia (in Valencian, Palau de la Música i Congressos de València) is an auditorium in the city of Valencia located in the old bed of the Turia River. Opened in 1987, it contains several rooms for musical auditions, congresses, exhibitions, shows and film screenings, among other activities. Its architect is José María García de Paredes. In 2003 the extension of the building was inaugurated, by the architect Eduardo de Miguel. It is home to the Valencia Orchestra and the Valencia Municipal Band.

The temple of San Juan del Hospital located in the heart of the city of Valencia (Spain), Calle Trinquete de Caballeros n.º 5 (neighborhood of the Seu-Xerea of the city of Valencia), is a building that combines mainly the Romanesque, Valencian Gothic and Baroque styles, built in the thirteenth century on land donated by Jaime I of Aragon to the Military Order of the Knights Hospitaller of San Juan de Jerusalem (today Order of Malta).

The church is preceded by a courtyard decorated (of a baroque house) with ceramic paintings of the Via Crucis, where these architectural remains and loose elements of the buildings that made up the foundation are preserved. Next to this courtyard rises the small bell tower of the first half of the seventeenth century and it opens the side cover of the church composed of a smooth semicircular arch with its alfiz, crowned by a beautiful window drawn in equilateral warhead whose center does not coincide with that of the door, and that bears as tracery the delicate design of a Maltese cross.

The true church has a single nave, which occupies an area of 36 m long by 19 m wide and is composed of a barrel vault pointed with stone plementería on thick fajones arches that rest on corbels, and a five-sided polygonal head roofed with ribbed, where the presbytery is located. This was built in the late thirteenth century and is illuminated by torn ogival style windows; the central one, wider, with traceries and decorated with attached columns. On the stone ribs, the vaults are brick to blight and in their extreme facings, they are later work, of the fourteenth century, two high chapels that pierce the walls with ogival archivolts and develop between the buttresses.

The side chapels are mostly like large arches that open to the nave by Cistercian warheads on attached columns, protected by a molded alfiz. Its stone vaults must have been painted with frescoes that are only partially preserved, pending restoration, in the first part of the gospel. The last two on this side are wider and are roofed with diagonal ribbed. In the front there are two sections of a loggia with a ribbed vault that opens at the foot of the nave.

Inside is the chapel of Santa Barbara, where the remains of Constance Augusta, Empress of Greece are located.

Birthplace of San Vicente Ferrer, popularly called Pouet de San Vicent. Manor house of the Ferrer and life of San Vicente, was acquired by the city in 1573. Rebuilt almost completely in 1677, successively altered by various interventions and rebuilt in 1955 by the architect Vicente Valls, according to the canons of Valencian civil Gothic. It emphasizes the composition of the two bodies articulated by a crenellated tower, as well as the ceramic decoration of the Pouet, dating from the eighteenth century.

The Palace of the Counts of Cervellón (Valencian: Palau de Cervelló), located in the Plaza de Tetuán number 3 of the city of Valencia (Spain), is a neoclassical building built in the eighteenth century.

The Baths of the Admiral (in Valencian Banys de l'Almirall) is a Mudejar building that is located next to the Palace of the Admirals of Aragon, in the historic center of Valencia.

They were built between 1313 and 1320 by Pere de Vilarasa, knight and jurist during the reign of James II. Despite having been built already in Christian times, they are baths similar to steam baths or hammam typically characteristic of Islamic architecture, so the set must be embedded within the Valencian Mudejar architecture. They were built in the fourteenth century and were used until the twentieth century.

The "hamman" was a public building, of a civil nature, heir in functional and constructive concept of the Roman baths, although the Muslim world reduces its dimensions and standardizes the section of the plant. Like its Roman referents, every Arab bath building, such as the Admiral's Baths, has an entrance hall ("al-bayt al-maslai"), a cold room ("al-bayt al-barid"), a warm room ("al-bayt al-wastani") and a hot room ("al-bayt al saiun").

These baths constitute a unique example of Mudejar art in the Valencian Community and is not one of the few baths in Spain, if not the only one, of Arab or Mudejar style that have remained active uninterruptedly since its foundation until the twentieth century. During the nineteenth century a restoration was carried out, giving a neo-Arab aspect to the whole. In 1944 they were declared a historic-artistic monument. In 1959 the baths closed definitively after more than six centuries as a public bath. Between 1961 and 1963 a restoration project was carried out aimed at eliminating the neo-Arab transformation of the nineteenth century. Since 1963 a gym has been installed inside. In 1985 the Generalitat Valenciana acquired the building. In 1993 they were declared an Asset of Cultural Interest (BIC) and in 1999 a rehabilitation project was undertaken. The works will begin in 2001 and will be in 2005 when they reopen for public visit.

Within the framework of a magnificent archaeological treasure, heritage of a Visigothic past, visitors can take an audiovisual journey through the history of Valencia, guided by an ancestor who relives the origins of the city. The whole set is completed with a valuable exhibition of pieces related to the place: Roman mural painting, Visigothic altar and gate, Islamic materials and a sculpture of San Vicente Mártir. An archaeological site worth admiring.

The palace of the Marquis de Campo or the Berbedel is located in the square of the Archbishop number 3 of the city of Valencia. It is a residential building built in the seventeenth century, with works carried out in the nineteenth century.

The old mansion of the Counts of Olocau was bought, in 1840, by José Campo Pérez the first Marquis of Campo, who remade the façade giving it the current appearance, and expanded it with adjoining houses, generating a well-defined and articulated architectural unit around the courtyard, although with specific extensions, such as, the Chapel or Oratory in neighboring buildings linked to the same property using a part of these for the palace chapel. The works were completed by Manuel Ferrando in 1857. Later it was acquired by the Counts of Berbedel to whom we owe the decoration, restoration and conditioning of the interior rooms.

At present the museum building occupies the entire block, after an extension on the buildings that fall to the street of Los venerables, which, despite being related, do not share the monumental condition of the parent building. The façade of the palace, current entrance to the museum, consists of a central body flanked by two sides that rise with a higher height as towers. The central body is configured with two openings on each floor, and is topped by a pediment and balustrade. Next to the palace is the façade of the adjoining buildings, separated by a glass window that corresponds to the space called 'la Serré'.

After entering there is access to a hallway that leads to the central courtyard of the palace. The courtyard is rectangular with arcades at the bottom. On the first floor, on the side parallel to the façade, there is a gazebo on the other three sides develops a continuous balcony. To the right of the courtyard is the staircase whose box closes with a dome and gives way to the upper floor. The staircase leads to a landing that gives way to the different rooms of the palace such as the ballroom or the Empire room, which are currently exhibition halls, many of them retaining the original decoration. Through the rooms located in this first building gives way to the rooms that are in the annexed buildings. In these rooms are today thematic exhibitions of the municipal collections.

The palace itself, that is, to the limit of the glazed space, was restored in 1989, under the main direction of the architect Manuel Portaceli Roig, in order to house the Museum of the City of Valencia. In a second intervention, in the 1990s, the adjoining buildings were incorporated, preserving the façade and emptying its interior, for the functional complementation of the exhibition and museum program of the building.

The City of Arts and Sciences (in Valencian and officially Ciutat de les Arts i les Ciències) is an architectural, cultural and entertainment complex in the city of Valencia (Spain).

The complex was designed by Santiago Calatrava and Félix Candela, together with the engineers who authored the structural design of the roofs of L'Oceanografic Alberto Domingo and Carlos Lázaro. It was inaugurated on June 9, 1998 with the opening of El Hemisférico. The last major component of the city is the Agora, located between the bridge of l'Assut de l'Or and l'Oceanogràfic.

The City of Arts and Sciences is located at the end of the old bed of the Turia River (Turia Garden), a channel that became a garden in the 1980s, after the diversion of the river by the great flood of Valencia in 1957. In 2007, he was one of the winners of the Treasures of Spain contest.

The palace of the Marquis of Dos Aguas is located in the historic center of Valencia, (Spain), between the streets Poeta Querol (former Villarrasa and María de Molina square), Culture street (San Martín abbey street) and San Andrés street.

The space in which it is located is believed to have probably been originally the land destined for a Roman necropolis of the first to the third centuries AD. C., due to the findings in one of its courtyards on September 9, 1743.

The building that can be visited today is intended to house the González Martí National Museum of Ceramics and Sumptuary Arts resulting from a radical reform carried out on the old Gothic-style manor house owned by the Rabassa de Porallós, who acquired the title of marquisate of Dos Aguas in 1699 granted to the family by Carlos II.

The temple of Santa Catalina Mártir is one of the Valencian Gothic churches in the city of Valencia (Spain). It was built in the neighborhood of the cathedral, in the current Plaza Lope de Vega, on a previous mosque. In the thirteenth century it acquired the rank of parish. It consists of three naves, with lateral buttresses, between which the chapels were installed, and ambulatory. Its baroque tower is very emblematic.

In the sixteenth century the building was covered with classicist decoration to the Renaissance taste. After a terrible fire suffered in 1548, it was partially rebuilt. In 1785, following the prevailing fashion, it was given a baroque appearance. It has been of Cultural Interest since 1981.

The Metropolitan Cathedral-Basilica Church of the Assumption of Our Lady of Valencia, popularly called La Seu in Valencian, is the seat of the archbishopric of Valencia and is dedicated by desire of Jaime I —following the tradition of the thirteenth century— to the Assumption of Mary. It was consecrated in 1238 by the first bishop of Valencia after the Reconquest, Fray Andrés de Albalat.

Valencian Gothic is the predominant construction style of this cathedral, although it also contains elements of Romanesque, French Gothic, Renaissance, Baroque and Neoclassical.

Inside is venerated the Holy Chalice, dated from the first century, and given to the cathedral by King Alfonso the Magnanimous in 1437.

It contains some of the first and best paintings of the Quattrocento from the entire Iberian Peninsula, which came from Rome through artists hired by Alexander VI. This last Valencian Pope, when he was still Cardinal Rodrigo de Borja, made the request to elevate the Valentine see to the rank of Metropolitan, a category that was granted by Pope Innocent VIII in 1492.