In this class, we analyse, investigate and marvel at the life and times of this Gothic warrior Queen of Castile, Isabella I.
She was the driving force of 15th-century Spanish culture and politics. Also known as Isabel la Católica, a title granted to her by Pope Alexander VI, Isabella reorganized the governmental system, brought the crime rate to the lowest it had been in years, unburdened the kingdom of its enormous debt, completed the "Reconquista" by taking the rest of Spain for the Spanish crown, ordered the conversion or exile of Muslim and Jewish citizens, and financially supported Christopher Columbus's in his 1492 voyage that led to the opening of the New World establishing Spain as the first global superpower, which dominated Europe and much of the world for more than a century.
This class explores the vast array of architectural treasures in the grand city of Valencia making it a very special place since the time of the Romans. It really excels with the wealth of traders, nobles and royalty in the medieval era. The marvelous manifestation of man and creation come to life in the facades and interiors of churches, convents, monasteries and secular buildings and palaces of Valencia city branding it as the 2nd most important city in Spain.
This class explores the most well preserved and famous examples of Valencian Gothic temples and civic buildings in the province. Valencian Gothic architecture developed during the 14th century and reached its maturity and maximum expression in the 15th century, showcasing its own artistic style and characteristics, which developed and grew based on existing Mediterranean constructive systems and architectural arrangements already used by the Romans and Arabs rather than adopt the novel architectural styles from northern France.
Discover Benissa, a hidden gem tucked away on the Costa Blanca. To truly experience its charm, park your car in the lot behind town, step out, and let the adventure begin.
At the heart of Benissa lies a true architectural marvel: the Iglesia de la Puríssima Xiqueta. This neo-Gothic masterpiece, proudly called the "Church of the Pure Girl," stands as a testament to the town's deep-rooted faith and collective effort. While its name poetically references the Virgin Mary, its structure tells a story of revival and resilience.
For architecture enthusiasts, this is no ordinary Gothic church—it’s a neo-Gothic interpretation. Built between 1902 and 1929, its towering spires and intricate details reflect the community's dedication, both spiritually and financially.
The neo-Gothic style, inspired by medieval Gothic architecture, emerged as a romantic response to the rapid industrialization of the 19th century, idealizing the simplicity and unity of medieval society. Why did Benissa embrace this nostalgic style over others, like the Renaissance? Perhaps it was a deliberate nod to tradition in a changing world.
Whatever the reason, the Iglesia de la Puríssima Xiqueta now stands as a beacon of Benissa's rich history and enduring beauty, waiting to captivate all who visit.
Report by Karla Ingleton Darocas, Hons. B.A. (c) No part of this text or photographs may be reproduced.
Many of the church’s external decorative elements stay true to the pure Gothic style, lending it an air of medieval splendor. Look closely at the pinnacles, those delicate, tower-like structures that grace the edges of the building, adding both elegance and a sense of verticality. Above it all, the crown completes the façade, a striking symbol of architectural ambition and devotion. These intricate details make the Iglesia de la Puríssima Xiqueta a feast for the eyes and a treasure for those who appreciate the artistry of neo-Gothic design.
In true Gothic tradition, the Iglesia de la Puríssima Xiqueta, with its twin bell towers, soars toward the heavens, a testament to both faith and architectural ambition.
The church’s structural integrity relies on a series of buttresses, which gracefully support the rectangular, three-nave design, combining functionality with aesthetic beauty.
Dominating the façade is a magnificent rose window, a hallmark of Gothic cathedrals. This intricate feature serves as both a source of light and a spiritual symbol. Below the rose window lies a decorative blind arcade, an elegant series of arches applied to the surface of the wall purely for ornamentation, adding depth and texture to the structure.
Each of these elements, from the reaching towers to the delicate masonry, contributes to the timeless allure of this neo-Gothic masterpiece.
One of the most captivating features of the Iglesia de la Puríssima Xiqueta is its striking octagonal crown, a design steeped in symbolism. The number eight, often associated with renewal and harmony, lends a mystical quality to the structure. This crown is further adorned with elegant pinnacles, adding a touch of Gothic grandeur.
Illuminating the church's dome in the transept are eight stunning Gothic windows, their light casting a celestial glow during ceremonies. This dome, a unique architectural element, becomes a visual and spiritual centerpiece, symbolizing the divine music that resonates through the church during sacred events. It’s a harmonious blend of light, sound, and faith that leaves a lasting impression on all who enter.
The lancet windows are a classic feature of Gothic design, characterized by their tall, slender form and pointed arches at the top. Their name, "lancet," derives from their resemblance to a lance or spear, evoking a sense of elegance and precision. These windows not only enhance the verticality of the Iglesia de la Puríssima Xiqueta but also allow light to filter through in a way that feels both serene and transcendent, creating an atmosphere of divine grace within the church.
The video below tells the story of the altar and the relic that guides the Church's mysterious traditions. It also shows some impressive aerial views of this cathedral and some of the painted polychrome sculptures.
One of the most enduring and frequently depicted themes in the history of art—especially in the Western tradition—is the image of the mother and child. The earliest recorded and most iconic representation is the Byzantine image of Mary and Jesus, revered for centuries by both the Catholic and Orthodox churches.
Raised in a Catholic household, Picasso understood the emotional weight and spiritual resonance of this motif. The mother and child theme appears throughout his entire career, each version shaped by the particular style or visual language he was exploring at the time. These pieces are among my personal favourites, as they reveal his evolving approach while staying rooted in a deeply human connection.
Let’s explore a few of these works and consider how Picasso infused this timeless subject with his own artistic transformations.
** Report by Karla Darocas, Hon. B.A. (KarlaDarocas.com) ** Stay Connected : Learn More Appreciate More - Join SpainLifestyle.com
One of the most important monuments in the city of Gandia is The Ducal Palace. It is a treasure chest of mind blowing artifacts deemed with legendary stories and adventures!
This palace showcases four distinctive periods of architecture from Gothic to Renaissance, Baroque to Neo-Gothic styles.
You can feel the grandeur of being in an elite family home. Wealth invites the arts to decorate and record and this palace has it all!
So, let's get started with a detailed inspection of this glorious place...
When Joaquín Sorolla first came to Xàbia in 1896, it was to witness grape farmers in harvest as well as the marvelous raisin industry that had taken hold of Europe with its rich flavoured and nutritional snack.
The Marina Alta region, especially the coastal village of Jávea/Xàbia, has its 20th century heritage wrapped up in raisins. Not just any raisins, but the succulent Sultana raisins made from the marvelous muscatel grapes, which brought fame and wealth to the industrious villagers.
Within the Soler Blasco Archaeological and Ethnographic Museum are an important series of artworks by Soler Blasco that immortalize traditional trades, fiestas and legends. One of these impressionistic paintings showcases the process of blanching and drying of grapes to make raisins.
Xàbia artist, teacher and resident Soler Blasco (1920-1984) became an important local figure because he was the mayor from 1974 to 1979. He was also involved in great cultural projects such as the creation of an archaeological museum and the Municipal Public Library.
Blanching accelerated the drying process. It all started with lighting the oven or fire, "el fogater", then filling a pot with water, herbs, caustic soda and bringing it to a boil. Then the grapes were tossed into the pot for a good 15 minute boil, then spooned out onto a drying mat.
In the back of this painting by Soler Blasco you can see the landmark mountain named "Montgo" and a white building with a "Riurau". During the 19th and 20th centuries, Riuraus flooded the the entire Marina Alta rural landscape. These unique Roman arched constructions were used to dry the raisins when it rained.
BRIEF HISTORY
The technique of blanching grapes goes back two millennia. In the writings of Julius Moderatus Columella, a prominent scholar on agriculture in the Roman empire, he describes 'l'escaldà' ". This information comes from Josep Antoni Gisbert, the archaeologist and director of Denia's Ethnological Museum.
The oldest documented sources relating to the production of raisins in the Valencian territory date back to the second half of the 15th century. In the Marina Alta, there is evidence of the production dated 1476, whereby Valencian merchants wrote out billing contracts with Morisco farmers who lived in Dénia, Xàbia, Xaló, Pedreguer and Ondara, for their supply of raisins.
After the expulsion of the Moors and Moriscos in 1609, the grape production disappeared and so did the raisins because the Christians did not know the procedure.
It was actually because of travelers to the Marina Alta and La Safor regions in 1800's who prompted the production of raisins again, especially the English Navy who wanted raisins to combat scurvy and other diseases because of poor diet, but also the miners and textile factory workers wanted raisins to keep in their pockets to fight fatigue.
HERITAGE FESTIVAL
Each year, the celebration of the "Escaldá de la Pasa" takes place in the village of Jesus Pobre on the last morning of August. The villagers keep their heritage alive by recreating the process of making raisins via blanching. The ritual lasts all morning and ends with traditional dances.
As you drive into Carcaixent, the wonderful ceramic dome of the Church of the Assumption of Carcaixent (Església de l'Assumpció) catches your eye, sparkling in the sun. As soon as you reach the town centre, you will find this Catholic place of worship in the town's main square.
I was lucky enough to photograph this wonderful, historic monument while the magnificent jacaranda tree was in full bloom
I was unable to go inside the church, but the uniqueness of the exterior construction was enough to catch my attention and make me look for more clues about this historical artefact.
Let us begin our exploration...
* Report by Karla Ingleton Darocas, Hons. B.A. (c) no part of this text or photos may be replicated
For those who travel to Toledo, these historical photographs may surprise you by their stark landscapes in contrast to the tourist torrent that we know Toledo to be today. For those of you who adventured with me on the Art Lovers Trip 2018 to Toledo, these photos will be of greater interest.
In 1906, the 43 years old Sorolla was at the height of his career. He had just sold most of his 500 works, oils and drawings, at a spring exhibition in the Gallery of Georges Petit in Paris. He celebrated by spending a few weeks in the flashy tourist resort of Biarritz, of course painting landscapes, so different from those of the Mediterranean. At the end of this summer, he was heading back to his residence in Madrid but decided to jaunt over to the once grand old city of Toledo, then neglected as the capital due to the rise of Madrid city.
This decision came from his close relationship with friend and associate Aureliano de Beruete with whom he shared a fondness, even a love for Toledo .
Several letters between the two of them suggested that Sollora could come to Toledo to assist his friend with the much needed actions being taken to recognise the works of El Greco and the inauguration of the El Greco house-museum.
Sorolla arrived in Toledo on October 21, at first alone, and days later joined by his wife Clotilde and their children.
Their hotel of choice was the extraordinary first class hotel Gran Hotel Castilla, now the General Treasury of Social Security. This was the hotel to rub shoulders with illustrious and wealthy visitors, bourgeois, dealers in search of artistic heritage, and nobles such as Beruete himself.
During his stay in Toledo, he produced twelve canvases. The family returned to their home in Madrid on November 4.
