Those who are now big ficus planted in the middle of the nineteenth century. In the reform of 1926 was set as the Glorieta it is now and the iron fence that surrounded it was used to encircle the Jardines del Real, as we see today.

The Royal College of Corpus Christi Seminary was founded by Juan de Ribera, archbishop and viceroy of Valencia, to form priests in the principles of the Counter Reformation.

The building was built where before there were a number of houses in the old Jewish quarter or call. Outwardly presents an austere appearance, but inside are: the Renaissance courtyard with marble columns purchased in Genoa, and the church.

This museum houses "Las Rocas" floats parading the day of Corpus for the city center. Apparently the name alludes to its size and shapes, since the scenes were depicted as "hors d'oeuvres" or "muntanyes" were called.

The museum is an extension of the "Casa de Las Rocas" with an eighteenth century building overlooking the street Roteros (rotero means farmer) and where now the entrance. The new museum was inaugurated in 2006.

The street is so named because here several booksellers between the fifteenth and sixteenth centuries were established.

Although Gothic origin, most of the construction of this palace is the eighteenth century. In the twentieth century, lost its back yard and split into two, one side being intended for housing. In the 90s of the twentieth century it was restored and is now the headquarters of the Valencia Stock Exchange. In its cover still shows the coat of Boïl of Arenós.

In 1936, at the beginning of the Civil War, the square was already the current look, as you can see in the pictures of that time. So much for the buildings, because the central platform built by Javier Goerlich reform does not disappear until 1961.

The square has had many names throughout its short history: San Francisco, Espartero, Isabel II, La Libertad, Emilio Castelar, the Caudillo, of Valencia and the City.

The square and the surrounding buildings have been declared a Historical Site.

This small square keep intact the modest family homes of the nineteenth century and has a Atzucac (dead end), which is right on the image, with the curious name of street impertinence.

The atzucacs are inherited from the old urban layout of the Muslim city of Balansiya.

This basilica was made by the requenense Diego Martínez Ponce de Urrana, from 1653, to house the image of the Virgin of the Forsaken, patroness of Valencia. The oval plant contained in a rectangle is related to the church of Santa Ana of the grooms of Rome, Vignola.

On the right you can see the gallery of arches of the cathedral (1566), a construction and fully Renaissance. Work called Nova, was made by Gaspar Gregori and from there, the aristocracy and religious authorities, watched the acts that were developed in the Plaza de la Virgen. Here also he was venerated image of the Virgin of the Helpless before the construction of the basilica.

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