Mainly Gothic-style cathedral, said to house the Holy Grail, plus a historic tower with city views.

Valencia's Historic Splendors: A Journey Through Time and Art

Serranos Towers (Valencia)

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Basílica de la Mare de Déu dels Desemparats

JESUS CARBAJO

Andrii Bespalyi

Sergio

Francisco Javier Jordan Cervera

Alexis Del Valle

Plaça de la Verge

Valencia Cathedral

Plaza de la Reina

La Lonja de la Seda de Valencia

Jota

Claudia Brenner

manuel creus

Alberto Cruz

René Vaanhold

Mercado Central de Valencia

Mercat Central de València

Anton Yuzefovich

Attilio Marasco

Nicolás Georgakópulos

Francois HELMER

Plaça de l'Ajuntament

Museu Faller de València

Queen Sofia Palace of Arts

Museu de les Ciències Príncipe Felipe

L'Àgora

Ciudad de las Artes y las Ciencias

L'Oceanogràfic

MONIKA Biolik

Delian Delchev (delian)

Gabriela Toiea

Carmen Latorre

Gayane

Bioparc Valencia

Valencia Cathedral, a palimpsest of architectural styles, uniquely houses what is venerated as the Holy Chalice, believed by many to be the very cup used by Jesus Christ at the Last Supper. Its diverse construction, spanning centuries, showcases Romanesque, Gothic, Renaissance, Baroque, and Neoclassical elements, a testament to the city's evolving history and artistic influences. The Puerta de los Hierros, a flamboyant Baroque entrance, contrasts sharply with the austere Romanesque Puerta del Palau, reflecting the cathedral's layered past. Inside, the Renaissance frescoes in the main altar, commissioned by Pope Alexander VI, a Valencian native, offer a glimpse into the artistic patronage of the Borgia family. The cathedral's bell tower, known as El Miguelete, though primarily Gothic, incorporates Moorish architectural influences, a subtle reminder of Valencia's Islamic heritage. The cathedral's museum holds a fascinating collection of religious art, including works by Valencian masters, providing further insight into the region's artistic legacy.

Introduction

Valencia Cathedral houses a purported Holy Chalice, revered by many as the true Holy Grail, in its own chapel. Officially recognized by the Vatican, the Holy Chalice of Valencia is nestled in a transparent reliquary within the Chapel of the Holy Chalice, attracting believers, pilgrims, and tourists for over five centuries. The chalice itself is crafted from oriental agate stone. The cup at the top is the holy part, carved from a chocolatey-red agate; the base, handles, and jewels were added centuries later.

Tradition suggests that after the Last Supper, Saint Peter took the Holy Chalice to Rome. Later, Saint Sixtus II sent it to Huesca, Spain. During the Muslim invasion, it was hidden in the Pyrenees before Alfonso the Magnanimous returned it to Valencia. Since the 15th century, the chalice has resided in the Cathedral. Popes John Paul II and Benedict XVI used the relic when celebrating the Eucharist during their visits to Valencia.

Archaeologists consider the finely polished agate cup to be of Eastern origin, dating from 100 to 50 BC. The engraved gold handles and foot, along with the jewels adorning the base, were added in medieval times. The story continues that Saint Peter entrusted it to Saint Lawrence, who sent it to his parents in Huesca for safekeeping before his martyrdom. Hidden in various locations around Spain for 450 years, it eventually arrived at Valencia Cathedral in the 15th century as a gift to the king.

Holy Grail

Valencia Cathedral holds a significant place in the history of Renaissance art in Valencia, most notably for its hidden frescoes. In the 15th century, Rodrigo de Borgia, who later became Pope Alexander VI, commissioned Italian artists Francesco Pagano and Paolo da San Leocadio to decorate the dome of the main altar with Renaissance frescoes. This marked an early adoption of Renaissance artistic style in the region.

The frescoes, depicting musical angels set against a starry blue backdrop, represent a pivotal moment in the cathedral's artistic evolution. For over three centuries, these Renaissance masterpieces remained concealed behind a baroque dome, which ironically aided in their preservation. The rediscovery of these frescoes was triggered by an unusual event: pigeons entering through a hole in the ceiling. This led art restorers to uncover the hidden art, revealing a well-preserved fresco spanning over 8 meters in diameter.

Records indicate that upon completion in 1481, church officials initially disliked the frescoes and refused to pay the artists the agreed sum. Today, after restoration, these frescoes have been brought back to their former splendor, offering visitors a glimpse into the Renaissance period within the cathedral. The unearthing of these frescoes presented a dilemma regarding the preservation of the cathedral's artistic layers, balancing the desire to showcase the Renaissance art with the integrity of the later baroque additions.

Renaissance Frescoes

Valencia Cathedral's architecture predominantly showcases Valencian Gothic style, a result of its primary construction phase between the 13th and 15th centuries. However, the cathedral's extended construction period has led to a blend of architectural styles. Early Romanesque elements are present, particularly in the Almoina gate, a remnant from the initial construction phases. French Gothic influences subtly enhance the overall Gothic structure.

Renaissance elements mark the pictorial and sculptural decorations, especially evident in the high altar and the Resurrection chapel. The Baroque period introduced significant alterations, such as the Iron Gate designed by Konrad Rudolf in 1703, further sculpted by Francisco and Ignacio Vergara. This gate features a concave shape, creating a unique perspective effect.

A neoclassical renovation in the late 18th century, led by Antoni Gilabert Fornés, aimed to unify the cathedral's appearance, contrasting with the Gothic style. This involved masking the original Gothic structure with stucco and pseudo-classical elements. The cathedral's cruciform plan includes north and south transepts, with a crossing covered by an octagonal tower, known as a cimbori, along with an ambulatory and polygonal apse. The Puerta de los Apóstolos, constructed between 1303 and 1354, potentially marks the entrance of the ancient mosque, integrating earlier historical layers into the cathedral's design.

Architectural Styles

The Miguelete Tower, or El Micalet in Valencian, serves as the bell tower of the Valencia Cathedral, a significant Valencian Gothic structure. Construction began in 1381, overseen initially by Andreu Juliá, and concluded in 1429, with contributions from master builders José Franch, Pedro Balaguer, and Martí Llobet. The belfry was later added between 1660 and 1736. Originally a separate structure, the tower was integrated into the Cathedral in the late 15th century when the central nave was extended.

Rising to 50.85 meters to the terrace and 63 meters in total, the octagonal prism-shaped tower is accessible via a spiral staircase of 207 steps. The tower's perimeter mirrors its height. Internally, the first level is solid, accommodating the spiral staircase. The second level once functioned as a prison or Cathedral Asylum. The third level, known as the "Home of the Bell-Ringer," precedes the bell room on the upper floor, which features eight windows, seven housing bells.

The bell of the hours, named El Miguelete, was originally suspended from a wooden structure on stone pillars. While Antonio Dalmau conceived a spire project in 1425, it was never realized. The tower's terrace once featured an openwork crest, later replaced by railings. Today, visits to the Miguelete Tower are possible via the cathedral, offering views of the bell tower's three rooms and access to the terrace. The bell ringers of the Cathedral of Valencia maintain a calendar of manual peals for liturgical feasts and celebrations, preserving traditional bell-ringing techniques.

Miguelete Tower

Valencia Cathedral

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