The history of the Royal Parish of Santos Juanes is also the history of Valencia. Few churches so clearly encapsulate the centuries of transformations, fires, and reconstructions that have shaped the city. Located next to the Central Market, in the heart of the old Boatella, it was built in the 13th century on the site of an old mosque and an Islamic cemetery. Since then, the church has witnessed the passage of time, changing its form while preserving its spirit.
The first church, in Gothic style with a single nave, was built after the Christian conquest promoted by Jaume I. Simple in structure, with side chapels between the buttresses and rib vaults, it was destroyed by a fire in 1311. Rebuilt shortly afterwards, a new fire in 1362 forced it to be restored once again.
At the end of the 16th century, another fire marked a turning point. The reconstruction, which lasted more than a century, preserved the original Gothic layout but adopted Baroque forms: the nave was extended towards the chancel, a new polygonal apse was built, and side chapels were added, including the Chapel of the Eucharist, one of the first in Valencia dedicated to the Blessed Sacrament.
At the end of the 16th century, another fire marked a turning point. The reconstruction, which lasted more than a century, preserved the original Gothic layout but adopted Baroque forms: the nave was extended towards the chancel, a new polygonal apse was built, and side chapels were added, including the Chapel of the Eucharist, one of the first in Valencia dedicated to the Blessed Sacrament.
Between 1699 and 1702, the church underwent its definitive transformation. The old Gothic vault was covered by a new barrel vault, conceived to house the great decorative programme devised by Antonio Palomino—painter, theorist, and priest—one of the most prominent figures of Spanish Baroque. His vision turned the interior of Santos Juanes into a true visual catechesis, where painting, sculpture, and architecture come together to convey a spiritual and theological message.
The Royal Parish of Santos Juanes is a living reflection of Valencia’s history. Built in the 13th century on the site of an old mosque, it has survived fires and reconstructions that transformed it into a jewel of Valencian Baroque. Its architecture unites the Gothic roots of its origins with the decorative grandeur of Antonio Palomino, who turned the church into a true visual catechesis. Today, Santos Juanes remains a place where art, faith, and memory intertwine to tell the soul of a city that is always reborn.
Immerse yourself in eight centuries of art, history, and spirituality. Visit the Royal Parish of Santos Juanes and see up close its Gothic architecture, Palomino’s Baroque splendour, and the restoration that has brought the church back to life. Walk through the spaces where time, faith, and beauty meet. Santos Juanes awaits you to relive the soul of Valencia.
Sculptures of the Twelve Tribes of Israel
On the first level, above the pilasters, stand the stucco sculptures by the Italian artist Giacomo Bertessi, representing the Twelve Tribes of Israel. These figures symbolise the foundations of the chosen people and are accompanied by elements that allow their history to be recognised: Ruben, with a sceptre and crown beside a fallen amphora; or Benjamin, holding a chained wolf.
The Ovals Dedicated to the Holy Johns
The second level is dedicated to the patron saints of the temple: Saint John the Baptist and Saint John the Evangelist. Palomino painted ovals and allegories that narrated their lives, accompanied by inscriptions in Latin and stucco allegorical figures, works by Bertessi and Aliprandi. These allegories represent virtues such as Faith (with a burning heart and tablets of the law), Obedience (with a cross and yoke), and Knowledge (illuminating a book with a torch).
Although much of these ovals were lost in the 1936 fire, the treatise *El Museo Pictórico de Palomino* allows us to imagine the complete sequence.
The Great Celestial Vault
The third level, the vault, lifts the gaze towards celestial glory. Inspired by the Apocalypse of Saint John, Palomino depicted the Heavenly Jerusalem, with God the Father at the centre, surrounded by choirs of angels and saints, presided over by Saint Vincent Ferrer, the “angel of the Apocalypse”. At the opposite end, the archangel Saint Michael fights his battle against the infernal dragon, while light and colour envelop the visitor in a vision of transcendence.
The ensemble culminated in the apse, now disappeared, where the Holy Spirit, the Mystic Lamb, and the two patrons of the temple were represented, completing the message of the Trinity and Redemption.
