Countries<Spain<Comunidad Valenciana<El Real de Gandia< Iglesia de la Visitación de Santa María

Iglesia de la Visitación de Santa María(El Real de Gandia)

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It went from being a Moorish temple to a modest church, appropriated by the old Christian repopulators of Teulada, who arrived until 1609. The church is a building in plant of the nineteenth century, covered by a round cane articulated by arches. The transept is appropriated to highlight the altar of the Roser, on the Gospel side, and to give access to the Communion chapel, on the Epistle side. This chapel, dedicated to the Mare de Déu de los Desemparats, is an annex with a Greek cream floor plan and a dome on shells, added to the main body of the church. From the transept to the foot of the central nave, two bands of four more lateral layers are obtained, incommunicating and separated by pillars. They contain the altar of the Crist de l'Empar and the Baptisteri, those of the Heart of Jesus and the Beat Carmel.All the interior walls present the polish and a recently restored polychromy typical of the discreet and contingent baroque of the second half of the 18th century. The altarpieces are from after the war and imitate the artistic language of the Valencian baroque. In this period academic and discreet facades are erected, with a simple triangular front and with the baroque record of the wall crowned by pinnacles. Similarly, the time of the priest Antoni Pont (died 1885) is the current bell tower, with the public filling and stitching of bells articulated by flat pillars and crowned by an eclectic capital of bearings and pinnacles. The purchase of the clock came about at a general meeting of neighbors (August 28, 1883) to approve the budget of 1750 pesetas requested by the clockmaker Salvadora Terol, widow of Felip Beltrán. The machinery, which is preserved, is an artifact of bronze and iron gears. The most beautiful part of the exterior is not the bell tower or the facade, but the play of domes and green glazed tiles that is manifested on the outside of the building. The walls of the upper body present a rough decoration, made in fresco, with Marian allegories in a baroque but sympathetic style, which brighten up the view of the passerby. Inside the church there is a 19th century wall filling, left by Pascual Simó Monzó in his will in 1868, and beautiful baroque silver fish.

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