Fontilles: A Hidden Sanctuary of Healing and Hope


High in the verdant mountains behind the village of Orba, nestled within the dramatic, sun-dappled slopes of the Alicante province, lies a place unlike any other—a place of silence, serenity, and sacred history. 

This is Fontilles, a tranquil sanctuary perched in the municipality of La Vall de Laguar. For over a century, it has stood as a symbol of compassion, resilience, and enlightened care for society’s forgotten souls.

*Report by Art Historian and Educator Karla Darocas, B.A. (Hons)*  

*Copyright SpainLifestyle.com 2018* (No part of this text or accompanying photos may be reproduced)

The name Fontilles is believed to derive from the many freshwater springs that flow abundantly through the valley. Fed by the El Penyó aquifer, these springs—most notably the El Castellet—supply the land and its inhabitants with life-sustaining water. The presence of this pure mountain water lends the area a sense of renewal, as if nature itself were part of the healing process.

Encircling the Fontilles Sanatorium is a 73 hectare expanse of untouched nature—rolling hills blanketed in dense foliage, winding paths under canopies of ancient trees, and scattered picnic spots where time seems to pause. 

A stroll through the grounds is like wandering into a secret garden of contemplation. Stone statues emerge from the landscape, silently watching over grottos where cool spring water trickles into moss-lined pools. Here, among chirping birds and rustling leaves, one finds peace.

But behind this pastoral beauty lies a story of courage, tragedy, and humanitarian vision.

The origins of Fontilles trace back to 1902, when a Jesuit priest named Carlos Ferrís visited his friend, the lawyer Don Joaquín Ballester Lloret, in the village of Tormos. One evening, as they conversed, a haunting, anguished wail pierced the air from a nearby ruin. Ballester explained, with visible sorrow, that the cries came from a leprosy sufferer, abandoned and alone.

That moment changed everything.

Father Ferrís, shaken and deeply moved, soon learned of the widespread suffering caused by leprosy in the region. Entire villages had been affected. 

In 1849, the small town of Parcent—just down the road—had recorded that 60 of its 800 residents were afflicted. A local physician in Pedreguer, writing in 1879, documented 74 cases between 1810 and 1879, with 57 known deaths. As early as 1851, primitive statistics counted 286 cases. By 1878, the number had climbed to 521. The disease was not just present—it was endemic.

The stigma of leprosy was devastating. Victims were not only disfigured by the illness but ostracized by society. They were often forced to live in rags along the roadsides, beneath bridges, or hidden away in caves. Some were only visited by family members to receive a bowl of water or a scrap of food. They were denied every human dignity—unseen and unloved.

As fate would have it, Father Ferrís himself contracted a mild form of the disease. Rather than succumb to despair, he transformed his personal suffering into an unshakable mission. 

Alongside his loyal friend Ballester, he envisioned a place where leprosy patients would be treated with compassion, not condemnation. A sanctuary where they could live in dignity, receive medical care, and find community.

The pair began an ambitious campaign. Their vision included not only buildings for housing and treatment but also a massive stone wall encircling the property—a physical and symbolic gesture of both protection and sanctuary. The wall, three miles long, three meters high, and half a meter thick, was a feat of engineering and perseverance.

Yet not everyone supported this mission. Many politicians opposed the project, fearing contagion, cost, or challenging the status quo. It took seven long years of struggle before, on January 17, 1909, the gates of the *San Francisco de Borja Sanatorium Colony of Fontilles* finally opened. The first eight patients, once shunned by the world, were welcomed with open arms into a place of peace.

Fontilles continued to grow, both in purpose and prominence.

In 1931, during the rise of Spain’s Second Republic, the Society of Jesus was expelled amidst rising a resistance to clerical influence. 

The state seized Fontilles, placing it under the authority of the National Health Board and renaming it the *National Sanatorium-Leprosarium*. Despite this upheaval, improvements continued: medical staff expanded, laboratories were modernized, and new programs were introduced.

Then came the Civil War (1936–1939). As the country descended into chaos, leprosy cases surged—spurred by poor hygiene, food shortages, population displacement, and the arrival of foreign troops from endemic areas. 

When the war ended, the National Health Board returned Fontilles to its original trustees, and by 1941, the Jesuits resumed their role in its administration.

In 1947, Fontilles began offering specialized courses in the scientific study of leprosy to doctors and health workers across Spain and abroad, positioning itself as a leader in medical education. By 1968, the sanatorium had launched an outpatient program, allowing patients to live at home while receiving regular treatment at the facility.

In the 1990s, Fontilles extended its mission far beyond Spanish borders. With decades of experience, the organization began implementing health and solidarity programs in some of the world’s most affected countries. From Brazil and Nicaragua to India and Equatorial Guinea, Fontilles brought hope where it was needed most.

By 2002, Fontilles was managing projects in China, Colombia, Costa Rica, and more. And by 2005, it had achieved global recognition, contributing to international conferences and humanitarian forums. Its work now focused on three pillars: **Health, Solidarity, and Information**.

Today, Fontilles is considered one of the world’s foremost institutions for the study and treatment of leprosy. Each year, it welcomes over 70 healthcare professionals—doctors, nurses, missionaries, and social workers—who gather to learn, share, and continue the global fight against the disease. 

It stands not just as a sanatorium, but as a beacon of knowledge, healing, and above all, humanity. Fontilles remains a testament to what can be achieved when compassion triumphs over fear. 

JÁVEA Historical WALK


Explore and Learn About JÁVEA by visiting its historical architecture and monuments with Arts Historian, Educator & Author - Karla Ingleton Darocas, B. A. (Hons) 

  BOOKING INFO & FORM

Exclusive Private Screening * The Way*


The Way is an inspiring and visually stunning film directed by Emilio Estevez and starring Martin Sheen. 

The Missing Half of Juana la Loca’s Story—And Her Surprising Connection to Jávea


The story of Juana la Loca is one of power, betrayal, and suffering, and it extends far beyond the passionate heartbreak depicted in the film. 

Award Winning Film - Juana la Loca (2001) Español - English Subtitles


Don’t miss this chance to experience the beauty of Spanish history, culture, and romance on a big screen. Historian Karla Ingleton Darocas, BA (Hons) will be on hand to give insights and answer any questions!

When - tba

ABOUT

Juana la Loca (2001), directed by Vicente Aranda, is a gripping tale of passion, betrayal, and political intrigue, based on the dramatic life of Queen Joanna of Castile. Her obsessive love for Philip the Handsome leads to emotional turmoil amidst the power struggles of 16th-century Spain.

With stunning period costumes and breathtaking landscapes—from medieval castles to grand halls—this film transports viewers into Spain's rich cultural and historical past. A must-see for lovers of historical romance, royal intrigue, and Spain’s captivating beauty.

Goya Awards (2002): Best Actress: Pilar López de Ayala, Best Costume Design: Javier Artiñano, Best Makeup and Hairstyling: Miguel Sesé and Mercedes Guillot


REVIEW. 

**Joan the Mad / Juana la Loca**  

This is a film to be savored. Settle in and allow yourself to be transported to the world of 16th-century Spain, where every visual detail is a feast for the senses.  Karla explained all details that really helped put the storyteller into perspective. 

Watching this film was like opening a jewel box filled with treasures. From the exquisite red leather gloves to the richly embroidered gold and burgundy brocades, the luxurious fur trims, and the delicate drop pearl earrings, every element is a masterpiece. 

The opulent colour palette flows seamlessly throughout the film, creating a rich and immersive experience. Even the Andalusian horses, with their ornate saddles, move with a regal elegance as they rein up to a prancing halt.  

The cinematography is equally breathtaking. Interior scenes, whether set within the castle chambers or aboard the galleon where Joan and her mother share a poignant farewell before her departure to Flanders, are captured with striking contrasts of light and shadow. The dramatic lighting evokes the depth and intensity of classic paintings, perhaps even those found in the Prado.  

The story is deeply rooted in its historical setting. It begins gently but soon gathers momentum, becoming utterly captivating. The plot offers everything one could desire in a compelling film—intrigue, romance, betrayal, and deception. The narrator provides a guiding voice, seamlessly linking scenes and reminding the audience that this whirlwind of drama is based on real events in Spain’s monarchy.  

Philip of Habsburg, with his wild mane of hair, chiseled jaw, tight-fitting pants, and oversized codpiece, looks more like a heavy-metal rock star than a prince. If he were on stage, he could easily be mistaken for a guitarist from Whitesnake or Scorpions. My only complaint about the film is that the bedroom scenes are far too restrained. One has to rely on imagination, but I suspect Philip had much more to offer than what we were shown.  

As for Juana—was she truly mad, driven to madness, or simply madly in love? That is a question worth debating over tapas. I won’t reveal more, but kissing a decayed, rotting skull might just be a clue...

- Rhona 




Spanish Historical Romanticism Painting


Introduction to Spanish Romanticism in Painting

Spanish Romanticism in painting, emerging in the late 18th and early 19th centuries, was a response to political upheaval, national identity struggles, and evolving artistic influences from Europe. Unlike the structured realism and compositions of Neoclassicism, Romanticism embraced emotion, drama, and individuality, often highlighting Spain’s historical past, cultural traditions, and exoticism. 

Several distinct movements developed, each reflecting different aspects of Spanish Romanticism.

Rococo

Immersive Journey into the Rise and Fall of Rococo in Spain! 


Step into the splendor of 18th-century Spain as we explore the captivating rise and dramatic fall of the Rococo style. 

José de Ribera


José de Ribera (1591–1652) was a master of the late Renaissance and early Baroque periods. His work is relatively easy to grasp within the context of the Baroque era, a time when the Catholic Church employed art as a powerful tool of propaganda—reminding the faithful of the saints' suffering under Roman persecution, reinforcing religious devotion, and countering the influence of Protestantism.

What stands out about Ribera is not only his command of Caravaggio’s dramatic chiaroscuro but also his unique position outside the traditional court system. Unlike court painters who were often confined to formal portraits and official commissions, Ribera worked under the Spanish rulers of Naples, granting him a broader creative range. His subjects extended far beyond tortured saints to include some of the most intriguing and unconventional themes, often rooted in gripping stories from Spanish history.

Franciscan Convent of Benissa is a Cherished Renaissance Landmark

Thank Goodness the Franciscan Convent of Benissa Was Not Turned Into a Hotel

Preserving the historical and architectural heritage of the Franciscan Convent in Benissa was a relief to many locals and history enthusiasts alike. Plans announced in 1917 to transform this storied convent into a hotel were met with mixed emotions, as the proposal risked altering the character of one of Benissa's most iconic landmarks. Instead, the convent remains a treasure of cultural and spiritual significance, even as its use evolves to accommodate modern realities.


Architectural Features of the Convent

Felipe II (1527–1598) The Renaissance King with a Big Ego & Painful Death


Imagine a man so convinced of his divine right to rule that he believed his kingdom wasn’t just vast—it was illuminated 24/7 by the sun itself. Enter Felipe II of Spain, the ultimate monarch with a cosmic-sized ego to match his colossal empire. Born in 1527, Felipe wasn’t just any king; he was the king—God’s personal pick to manage the affairs of the mortal world. And he had every reason to think so, with a résumé so glittering it could outshine the treasures of the Americas (which he also happened to own).

Spain's Golden Age of Architecture - Monday, 13, January 2025


Discover the Splendor of Spanish Renaissance Architecture: The Golden Age

Step back in time to the opulent world of 16th-century Spain, a period celebrated as the "Golden Age" of art, culture, and architecture. Book NOW for this engaging talk with slides where we will explore the iconic architectural styles, masterful architects, and royal patrons that defined an era of unparalleled wealth.



Who is commemorated by the bust in Benissa?


DID YOU KNOW

The bust in Benissa commemorates Jaume el Conqueridor (James the Conqueror) King James I of Aragon, who reigned from 1213 to 1276. He is renowned for his military campaigns that expanded the Crown of Aragon's territories, including the conquest of Valencia in 1238. This expansion played a significant role in shaping the cultural and historical landscape of the region.

What defines the Monastery of San Jerónimo's church portal?


The door and portal of the Iglesia del Monasterio Jerónimo de la Concepción (Monasterio de San Jerónimo) in Granada, Andalucía, are remarkable examples of Renaissance architecture, crafted by Martín Díaz Navarrete around 1593. 

What secrets lie within the portal of Carlos V at the Alcázar of Toledo?


The main portal of Carlos V at the Alcázar of Toledo is a stunning example of Spanish Renaissance architecture, reflecting the grandeur and ambition of Carlos I of Spain during his reign. Designed in the Plateresque style, the portal combines Gothic, Renaissance, and Moorish influences, showcasing the highly decorative and intricate craftsmanship of the era.