Valencia Photos of the Month: Palacio Ripalda

After doing a well-known landmark in the last installment, this week is an iconic Valencian scene that was wiped from the earth in a moment of a politician’s stupidity. Not sure which one? Palacio Ripalda, which would sit on the north side of the Turia over the Pont del Real bridge, had the castle not met its demise.

In 1889, María Josefa de la Peña Paulín, the Countess of Ripalda, commissioned a palace from architect Joaquín María Arnau Miramon, on Paseo de la Alameda, over the river from the central city of Valencia. The design copied French chateaus, unseen in Valencia, and construction was complete in 1891. The castle mimicked the rise and fall of the family who had her built.

The tale starts with the story of  José Joaquín Ramón Sánchez Agulló de Bellmont y Ripalda, Count of Ripalda, a member of a rich ancient family who had owned many properties through the Valencian province. As typical in Spain and its feudal system, the family had a noble title and was super rich for centuries, and lorded over property here, there and everywhere. The family had streets, suburbs, walkways and lands named after them wherever they owned property. The Count was a fine arts lover and was president of the Royal Academy of San Carlos from 1860 until 1868. He also worked for the Real Sociedad Económica de Amigos del País (Royal Economic Society of Friends of the Country).  In 1863 when the International Red Cross was founded in Geneva, Ripalda was Spain’s representative and was also a conservative MP in Valencia. He went to be the president of the Red Cross in Spain, and generally lived a happy, rich lifestyle.

In 1876, Count Ripalda died, his French-Spanish aristocracy wife, Countess Maria Josefa inherited his fortune and property. She set to building the Passatge Ripalda (off Calle San Vicente), an alleyway of shops in a new European style. Apartments were built around the passage, giving it an arcade feel and led out onto Plaza Pelota (now Calle Moratín). She also commissioned a grand hotel, home to Valencia’s first elevator. But the big project came when the Countess decided to build a grand family home on the farmlands on the edge of Valencia city, next to the Jardines del Real (Royal Gardens) and along Paseo de la Alameda, the road against the edge of the river. After multiple drawings and changes with her architect, Joaquín María Arnau Miramón (who also did Passatge Ripalda, and was said to have an ‘intense professional relationship’ with the Countess, make of that what you will), the project went over budget but was completed to the Countess’ whims. The Countess didn’t live long after her castle was completed, but had enough time to fill the place with fine furnishings and artworks, all of which disappeared over time.

The castle belonged to the next Countess, but when Valencia became the capital of Spain during the civil war, Palacio Ripalda became the headquarters for the Ministry of Commerce. The last Countess died not long after the war was over and with no children, the castle was handed to her nephews, not part of the ancient Ripalda lineage. The royal title has since been renewed when relatives were appointed the Countess and Marquess name.

Palacio Ripalda fell into a state of disrepair, and while the outside facade remained in relatively good condition, the interior was said to have suffered, though this is in dispute. As time went on, and Valencia entered its construction boom of the 1960’s, the castle and its gardens started to get in the way of a new era of the city.

In 1967, as the castle sat unoccupied, Valencian mayor Adolfo Rincón de Arellano wanted to demolish and redesign the trade fair grounds next to the castle as the city expanded. It was quickly decided the castle too had to go. Despite complaints from locals and the press weighing in to save the landmark, with the help of politicians and businessmen getting together for their own gain, the castle was swiftly torn down in the name of progress. Legends started to swirl that the castle would be moved to Florida, where the stones had been sent, to rise up again, though it was more fancy than reality. The castle was torn down 100 years after another idiot spot in Valencia’s history – the tearing down the city walls, which would have made Valencia a (even more) unique location. Time obviously doesn’t stop politicians from making bad decisions.

After the demise of the castle, an apartment building was built, called the Pagoda, which isn’t exactly pleasing to the eye (though the apartments inside are nice and simple enough, I suppose). The Monforte gardens remain behind the complex, a little ode to the palace that once belonged to the regal Ripalda family.

Historical photos courtesy of Valencia Historia Grafica 

Valencia Photos of the Month: The Valencian Gate Series – Torres de Quart and ‘El Palleter’

Torres de Quart, the Quart towers, or Portal (gate/door) Quart, (spelled Quart in valenciano, Cuart in español) is one of four grande portals, part of the thirteen gates which circled Valencia city when it was walled between the 14th to 19th centuries. Torres de Quart was named after Calle de Quart, the street which led out towards Castilla in inland Spain. Each of the thirteen gates around the city had its own function, flanked by the four grande portals – Torres de Serranos, the king of the gates (still standing, but I’ll save that one for another day) leading people over the river from the north,  Puerta del Mar which faced the sea in the east, San Vicente in the south (where the bullring now stands), and Torres de Quart was the western main entry to the city, and Valencia’s protector from enemies. And protect Valencia it did.

Built between 1441 and 1460 in a gothic military style, to imitate the Arc de Triomphe in Naples (and later becoming the model for the smaller Portal de Nou on the Turia) after the design held out a huge invasion in the Italian city. Built in strong lime masonry, it has long been nicknamed the lime gate or door to the city, and its curved body helps to protect from anyone scaling its body. The gate sits along the main ring road around the old city of Valencia, where the wall once stood, on Calle de Guillem de Castro, and needs to be constantly maintained due to the car pollution that runs right past this beautiful structure. It is one of only two gates left standing after the great screw-up of 1865 when the city wall was pulled down, due to its unique history and excellent design which resulted in longevity. Because Calle de Quart runs all the way to the heart of the city, by the cathedral, the gate has seen its share of battles.

When the French attempted to invade Valencia during the War of Independence, Valencia was ready to defend itself. On May 23, 1808, as Madrid and other cities had already fallen to the French, a man named Vicente Doménech (nicknamed The Palleter) started a revolution. Valencia decided to take up arms and defend their own city in defense of Spain itself. In Plaza Panses (now Plaza Compañia, behind the mighty La Lonja), as people gathered to read the papers and buy bread, Doménech cried “Yo, Vicent Doménech, un pobre palleter, li declare la guerra a Napoleó. ¡Vixca Ferran VII i mort als traïdors!” (I, Vicent Doménech, poor baker though I may be, hereby declare war on Napoleon. Long live Ferdinand VII, and death to traitors!) 

The French sent around 9,000 soldiers to ‘reclaim’ Valencia, but weren’t ready for the revolution behind the Valencian walls. With 20,000 men in the city, and another 7,000 outside the walls, when battle commenced on June 26, Valencia was able to defend themselves. The first battle took place four miles south from the city gates, and the Spanish were quick to defeat the invaders. The French attacked again on June 27, at the San José gate entrance and at the monstrous Torres de Quart on the west side of the city, which still has the cannonball-hole battle scars today, as she defended her city against the French. After a quick retreat, the French came back on June 28, and attacked Torres de Quart a second time, along with the smaller San José and San Lucia portals on the west side of the city, and were again defeated by the city’s walled and gated defenses lined with soldiers ready to fire. This caused a full retreat as the French moved west back towards Madrid with no success, and the Valencia region never succumbed to the French invasion in Spain. Valencia lost around 300 men, with around 800 more injured, and marked a turning point in the French onslaught. Vicente Doménech,  the leader of the crusade to Valencian independence against the French, was killed before the 28 June victory, although his final fate is disputed, and has a statue in his honour next to Torres de Quart (see photos).

Like her still-standing sister, Torres de Serranos, Torres de Quart also served as a prison, with its arch-way back filled in to house prisoners, most often female prisoners, from 1585 until 1887. Torres de Quart also saw a number of battles in the then-Spanish capital during the Spanish Civil War (see photos), but received very little damage. The gate underwent restoration in the 1950’s, and again in 1976 – 1982, when the top battlements were revived, as damage from the 1808 siege was still evident. The Torres de Quart received over 130 major wounds from the French and most remain. The early 1980’s also saw side stairs replaced for better access and 2007 saw another overhaul for tourists to enter the towers.

Torres de Quart was named a National Monument of Spanish historical heritage in 1931, and is regularly maintained to preserve her beauty. With its strong body still standing tall, anyone can enter the gate for free, Tuesday to Sunday, and is an absolute must-see. While many tourists flock up Torres de Serranos (with good reason), Torres de Quart is just as beautiful and far less crowded.

  Historical photos (collected by Juan Antonio Soler Aces) Click on the images to open slideshow.

Modern photographs –

Vicent Doménech ‘El Palleter’ –

El Palleter’s great speech was immortalised by the incredible Valencian artist Joaquín Sorolla y Bastida. (Artwork from Wikipedia). Behind the statue is the only surviving piece of the Valencian Wall, impressive yet tiny.

Valencia Photos of the Month: The Valencian Gate Series – Puerta del Mar / Puerta del Real

Today, the Puerta del Mar (Gate to the Sea) sits in Plaza Porta de la Mar, in a roundabout connecting six roads, including where the glorious Calle Colón meets its end against the Turia. But this gate has a long history.

Puerta del Real (Royal Gate) was the entrance to the city from Puente del Real, one of the city’s historical bridges. The eastern part of the wall around the city was built in 1574, when worries about Turkish attacks began. In 1599, the open entrance to the city was moved to align perfectly with the bridge, when the wedding of King Felipe III was held in Valencia’s cathedral. This gate was the main entrance through to Valencia’s palaces for the wealthy, and stood in place until the bridge and gate needed repairs in 1801 (as in seen the photos below) when the gate was totally replaced in limestone and widened for convenience. The Real Academia de Bellas Artes de San Carlos held a design competition, which chose the new design seen in the photos. They built three arches, and in the centre engraved Reinando Carlos IV y Maria Luisa de Borbón. Año 1801 (Reigning Charles IV and Maria Luisa of Bourbon. Year 1801), along with the shield of the city on top. In keeping with the epic stupidity that saw the walls around the city pulled down in 1868, this gate was also destroyed.

Roll over the photos/drawings for their dates

In 1945, the replica of the Puerta del Real was built, but named Puerta del Mar. The replica’s new physical location (in then Plaza del Marqués de Estella) is the site of the original Puerta del Mar, rather than the Puerta del Real. During this time, Spain was in isolation after their civil war and then ugly neutrality of the Second World War, so the reconstruction of the 1801 design became a postwar icon. The new addition to the gate is the cross in the centre, a symbol to those killed during the Spanish Civil War. One one side they engraved – Este monvmento encuentra en mvralla antigva pverta mar de la fundación y es reprodvcción exacta pverta llamar a la real que era sitvuada frente de pvente sv nombre y fve construidas en 1801 y demolido en el 1868 (This monument is located on the foundations of the Puerta del Mar and is a reproduction of the Puerta del Real, built in 1801 and demolished in 1868). One the other side was engraved –  Francisco Franco Bahamonde Hispanium moderating valentinus senatus ad memoriam perpetuam deo qui vitam ed homeland devoverint hoc monumentum erexitanno (The Valenciano senate erected this monument to Francisco Franco Bahamonde, alderman (regidor in Spanish, I think, like a council) of Spain to perpetuate the memory of which he offered his life for God and Country.) This ode of Franco is currently covered over, but remains on the gate, in line with the historical memory laws of getting rid of all things Franco.

I don’t remember even taking these photos but they were tucked away in my archive. Three show the side where the Franco love is covered, the other shows the pretty Valencia shield garden side.

The original Puerta del Mar was a gate which pointed directly to the sea and was not on the riverbed itself like Puerta del Real. It led directly to the Convento de Santo Domingo, which is situated close to the new replica gate. During its time, the gate was connected to the convent, a citadel, a palace and weapons storage, and bore the shield of the city. The design and detail was similar to the Puerta del Real, and because the 20th century replica bears its name, the two gates can be easily confused. (In the first picture below, both gates can be seen, Puerta del Real at the bridge, and Puerta del Mar to the left)

The Puerta del Mar, a replica of the Puerta del Real, but put in the original place of a whole different gate, taking its name, but not actually having anything to do with the gate whose name it took. Yes, that wasn’t confusing at all.

Valencia Photos of the Month: Las Fallas

Everyone knows all about Las Fallas – started in the middle ages to celebrate the coming of spring. You don’t know? Here’s a one-minute recap.

Workshops would through the woodchips etc out on the street during March, along with anything else they didn’t want, and would burn it. Over time, these fires became more artistic, leading to statues representing people and events, which could be set on fire as spring emerged. Now, the city celebrates big style, starting at 8am with bands and fireworks to wake up the city, called La Despertà. Each day for the 19 days of the fiestas, the 2pm Mascletà lets off an insane amount of fireworks for all to enjoy (see below video for a demo). After 15 days of gunpowder, bands and parades, the statues are brought out, the La Plantà, when about 400 statues are placed around the city, cutting off the streets to everything except enjoying the fallas and festivities with paella, churros, chestnuts, beverages and pretty much anything you like. One the party nights of the 15,16,17 and 18, you can enjoy the Els Castells and La Nit del Foc, riverbed fireworks, the L’Ofrena de flors, the flower offering (17/18March) in Plaza de la Virgen,  plus streets parties and meals shared by neighbourhoods. On the 19th is the Cabalgata del Fuego, with parades, fireworks and snacks before the midnight Cremà, where all the statues are burned to dust, including the ones judged as the best of the competition (one is saved for display). The party goes all day and night for 19 days, and men can wear traditional Saragüells outfits, while women enjoy fallera dresses, and being voted in as a fallera girl, and participating in parades, fireworks displays etc is a big deal and excellent to enjoy during the fiesta. There, basic recap done.

But this isn’t a history lesson, this is the photo of the week. Here are a few examples of fallas statues over the past 100 years, next today’s offerings (plus videos at the bottom to enjoy and learn a bit more in a short time).

All about Las Fallas

La Cremà

La Mascletà

Historical photos by Juan Antonio Soler Aces, and current photos by Caroline Angus Baker and Graham Hunt at Valencia Property

Valencia Photos of the Month: Puerta de los Apóstoles and the Tribunal de las Aguas

Valencia’s cathedral, which began construction in 1262 on the site of a mosque, has three main entrances – the main palace entrance by the Micalet tower (Romanesque), the Almoina (Baroque), and the Puerta de los Apostoles (Gothic) entrance. Since there is so much to cover at the cathedral, today we just are focusing on the Gothic entrance, the Door of the Apostles.

The entrance leads onto Plaza de la Virgen, and was the original entrance to the mosque on the same site. It has around fifty reliefs of angels virgins and saints. It also has figures of the apostles, which gives the entrance its name, and a rose window with the star of David above the door for light into the cathedral. This area of Valencia is central to the fiestas and religious holidays of the city, and the door features in many photos of the city throughout its history due to its fantastic location. If you want a photo of any of the buildings in Plaza de la Virgen without the hordes of crowds, it’s best to start early. I have tried to find the best photos I have without the crowds, but it’s not easy.

Every Thursday at midday, the Tribunal de las Aguas de la Vega de Valencia, the Water Court or Water Tribunal, hold a session on the steps of the Apostles door. The court is held in Valencian and has no written records, but has been discussing irrigation matters of the areas (Quart, Benàger i Faitanar, Tormos, Mislata, Mestalla, Favara, Rascanya, Rovella and Chirivella) for almost 1000 years. Vicente Blasco Ibáñez wrote about the court in detail in his 18th century novel La Barraca, and I added a section on it in Blood in the Valencian Soil, when it featured in a major storyline set in the present day.

One more glorious photo – In Vengeance in the Valencian Water, in the storyline set in 1957, the main character José Morales Ruiz has to struggle to survive in the flood of the city, and pauses in Plaza de la Virgin. Here is an exact picture of what just how to plaza looked in 1957, with the Puerta de los Apóstoles in the background. Little bit of book trivia for you.

Años 50, plaza de la Virgen con la fuente, la puerta de los Apostóles y el Cimborrio de la Catedral.

Once again, all historical photos are courtesy of Juan Antonio Soler Aces.