Palace of the Marqués de Dos Aguas: Difference between revisions

Palacio del Marqués de Dos Aguas

File:Entrance of the Palacio del Marqués de Dos Aguas.jpg

Sculptures in the entrance of the Palacio del Marqués de Dos Aguas.

The Palace of the Marqués de Dos Aguas (Spanish: Palacio del Marqués de Dos Aguas, Valencian: Palau del Marqués de Dosaigües) is a Rococo noble palace, historically important in the city, is located in one of the most central locations in the city of Valencia (Spain), stately mansion that was of the Marqueses of Dos Aguas, currently owned by the Spanish State, where is installed the González Martí National Museum of Ceramics and Decorative Arts.

A noble knight, Don Francisco Perellós, a descendant of the counts of Tolosa, married in the early 15th century with Joanna Perellós, only daughter of wealthy Mosen Gines de Rabassa, the descendants of this marriage took the name of Rabassa de Perellós. This family acquired by purchase the barony of Dosaigües in 1496, being elevated to marquisate by King Charles II "the Bewitched" in 1699.

Historians say, that the house of the Marqueses of Dos Aguas was considered in Valencia for centuries, as a paragon of nobility and opulence and that, its fortune came from the year 1500, at which time a family of merchants, the Rabassa, is enriched, first with the commercial treatment and then with the leases of the rights of the Generalitat, ie the contracts of indirect contributions. The Rabassa de Perellós family continued their business with the Generalitat, while occupying high positions in the political government of Valencia and accumulated skills and important heredities through intermarriage with other important Valencian noble families.

The space in which it is located is believed that was probably originally the field intended to a Roman necropolis of the 1st and 3rd centuries, due to the findings in one of its courtyards on September 9, 1743.

Building in the 15th century

The building, originally long noted for the rich Gothic exterior facades and splendid Gothic interiors added in 15th century, was constructed by the family Rabassa Perellós. In its origin and at the view the Plan of Father Tosca, the palace was a Gothic building by the year 1400, of three bodies willing around a courtyard, facade at north, embattled tower at northeast (left of the front), midpoint portal, loggia run under the eaves and tiled roof. Today and after numerous renovations, the palace has an irregular plan, organized around two courtyards and with three towers on three of its corners. Its elevation is developed on ground floor, main floor and second floor.

Building in the 18th century

In the 18th century the manor of the Rabassa de Perellós undergoes a radical reform carried out in 1740 by the 3rd Marquis of Dos Aguas, Ginés Rabassa de Perellós y Lanuza (1706-1765) as a sign of his power and lineage. The three main architects of the reforms were Hipólito Rovira Meri (painter), Ignacio Vergara Gimeno (sculptor) and Luis Domingo (1718-1767) (decorator).

Hipólito Rovira was responsible for decorating the mansion. The facades were frescoed by Rovira with allegorical themes and blue hues, but soon disappeared, being repainted in 1770 this time by José Ferrer, alias Ferreret (1728-1782), although this decoration also would eventually disappear.

Current appearance (of 18th century)

Palacio del Marqués de Dos Agüas, c. 1870, photographed by J. Laurent.

File:Valenciapalaciodelmarquesdedosaguasantigua04.jpg

Entrance of the Palacio del Marqués de Dos Aguas, c. 1870, photographed by J. Laurent.

On the entrance and protecting it built a corrido balcony with a forging parapets supported on braces. During these reforms was also built a second tower on its northwest side (to the right of the main entrance).

Inside were placed pavements of polychrome azulejos with mythological scenes, the stairs were decorated with risers of vegetable themed and the walls were coated with noble fabrics, stuccos and frescoes in walls and ceilings.

Entrance

In this reform that changes all its previous Gothic structure, it stands out above all its main entrance gives onto the street of the Marqués de Dos Aguas. It is made of alabaster by the Valencian, Ignacio Vergara Gimeno, founder and professor of the Royal Academy of Fine Arts of San Carlos, on the design of Hipólito Rovira, protected of the Marquis. (Ypolitus Rovira Ynventor et Ygnatius Vergara fabricator).

In the composition of this magnificent entrance made in 1745 reference to the two largest rivers of the Valencian community is: the Turia and Júcar, represented by two naked human figures (Atlanteans); under these two buckets pour water in clear reference to the title of the Marquises.

On the right side of the entrance it see represented two heads of crocodile, a quiver of arrows and a vessel by whose mouth pour the water. On this set one of the two great figures referred to above and higher up decoration of ivy whose trunk it curls a snake.

On the left side, a reclining lion, another vessel pouring water into and other quiver of arrows. On the back of the lion resting the foot on the other giant. Complete the set diverse decoration of plant type and a palm tree.

In the doorpost the complicated shield of the Marquises, the shield of the Rabassa de Perellós family and its various noble junctions. Embrace or rather protect the shield, the figures of two savages with maces. So between its quarters it can find the surnames Perellós (represented by some pears), Rabassa, the lineage of the Lanuza, Rocafull, Boil, Hijar and Maza de Lizana among others.

In the upper body of the entrance, in a niche artistic, the image to natural size of the Virgin of the Rosary, chosen as special patron saint by the House of Dos Aguas. At the foot of the Virgin two matrons kneeling, one with a cornucopia (the horn of Almatea) from which it spilling fruits (allegory of Agriculture and Prosperity) and the other with a vessel at its feet from out coins (allegory of Justice and Magnanimity). Flank the Virgin of the Rosary two pairs of small winged sirens. Throughout the entrance the overflowing voluptuousness of the Rococo style. Above the niche where the Virgin, it see represented the image of an angel with a trumpet, is "la Fama" trumpeter that proclaims the greatness of the Marquisate of Dos Aguas also wears a laurel wreath. The Virgin of the Rosary is work in polychrome wood by Ignacio Vergara in 1740 but it disappeared, it now see is a plaster copy made in 1866 by Francisco Cano Molineli. The niche has a lid that allows the concealment of the image; when the Marquises were outside the palace the image of the Virgin was hidden and if it were, the image appeared in full view of the people.

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  Atlantean to the left of the entrance
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  Atlantean to the right of the entrance
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  Virgin of the Rosary above of the entrance

Bibliography

• COLL, Jaume (coord.) The artistic and historical heritage of the Rabassa de Perellós and the Palacio de Dos Aguas. Valencia: Friends of the National Museum of Ceramics and Sumptuous Arts González Martí, 2005.
• ALADANA, Salvador. “The cover of the Palacio del Marqués de Dos Aguas in Valencia. Notes for a symbolic study”. Traza y Baza, 1976, nº 6, pp. 89-97.
• SEBASTIÁN, Santiago. “New iconographic-iconological reading the cover of the Palacio del Marqués de Dos Aguas”. Goya, 1989, nº 211-212, p. 60-64.