The old city of Palma de Mallorca - The Southeast

This house was owned by the Vallespir family of the town of Inca. In the eighteenth century, it was sold to the Dameto family. From that time the house will be known as Can Dameto. Later, however, "de la Quartera" will be added to the name, by reference to the adjacent square, Plaça de Sa Quartera.

The front of the Can March has four floors. Its doorway is semicircular, wider at the bottom to allow the passage of vehicles. On the first floor there are balconies, while the terrace is equipped with ogee arches.

Admission includes two separated by a large arch and covered with wooden beams spaces. On the left are two other sections covered. Pilasters arches are Tuscan style. An archway opens onto the courtyard. To the right of the court stairs rotates counterclockwise is.

At the end of the courtyard, under the stairs, there is another arch, surrounded by a wooden fence, and another arc on the left. To the left of it opens a small Gothic portal.

In the seventeenth century, the house was owned by Villalonga, then in the first half of the eighteenth century, it belonged to Pere Jeroni net Armengol. This surname has died in 1817 at the death of Antoni Nét Escofet.

In 1846 the house was acquired by Miquel Font Muntaner, which is why this patio is known as Ca’n Nét or Ca’n Font.

The building went through many transformations in the nineteenth and twentieth centuries, especially those made ​​by the architect Guillem Reynés, who used the traditional Majorcan code patios.

With over 700 years of existence, the Can Cera is one of the oldest houses in Palma: its origin is prior to the conquest of Mallorca by Jaume I (1232), arrived on the island in the company of Catalans and Aragonese.

We all know the owners of this house since the reconquest. Jaume I gave freehold Rolland Layno. She then passed successively to Francesc Desportell until 1351, then families Desbach, Reixach, Amer and Mayol, until family Palou de Comassema in the second half of the eighteenth century made ​​it his principal residence. That’s why Can Cera is also known as Can Comassema.

Over the years, with different owners, Can Cera underwent numerous expansions and numerous renovations, according to the artistic styles of each era. The biggest renovation was half of the seventeenth century when, as in many homes in the area, under the influence of the Italian Renaissance architects, famous patios were created, giving these homes a very attractive personality, but always in great austerity.

1822, Can Cera was purchased by the Aguiló family, a family known as the "Cera" (wax) which turned deep owners. The Aguiló family largely kept the facade and the original distribution, the Court of traditional entrance, but the decor and furnishings can enjoy the sumptuous and eclectic tastes of the time: large rooms, high ceilings coffered, balconies and most decorated palatial. The patio, though remodeled in the nineteenth century, still has its original structure, and we notice the two large low profile arches made ​​of sandstone, and the elegant side staircase, which at the bottom on the left side retained a Gothic arch, testimony of the medieval past of the house. The house has a lounge Elizabethan furniture and colorful decor and warm, especially a dining room in Art Nouveau style, coated wood and ceramics La Roqueta. A unique and protected area are the stables, which were common in wealthy homes Palma, but most of them have disappeared.

Since that day, the following owners have maintained Can Cera as one of the best examples of XIXth century.

The Can Cera has been transformed into a luxury hotel of twelve rooms, including seven suites with a restaurant. The rooms are spacious, comfortable, quiet, comfortable and very refined decoration. All rooms are different despite their similar style, with large beds, typical of Mallorca, some antique furniture combined with other, modern design, and dressing rooms and large and modern bathrooms.

Phone: 00 34 971 715 012

Site on the Web: www.cancerahotel.com

It was in the sixteenth century the property of Francesc Desclapés. In the seventeenth century, Cal Comte de la Cova belonged to the Villalonga family, and first Don Francesc de Villalonga i Fortuny, whom King Philip IV had granted the title of Count of Cova, which gave its name to the house. At that time the building underwent several renovations and contributions of late Renaissance style. Over time, it passed into the hands of various owners. In the twentieth century it belonged to the Bosch family, a period that also brought renovations.

The patio is distinguished by its monumental and medieval elements still preserved. At the entrance we see the coffered ceiling in the fourteenth century polychrome wood, Mudejar, in the courtyard, the staircase in the late Gothic style, was restored a few years ago, still has panels with interlacing original.

In recent years, the School of Tourism has its headquarters in the Cal Comte de la Cova.

In 1561, the Jesuits arrived in Mallorca under the guidance of Father Jeroni Nadal. The Jesuits occupied what had been the previous Estudi General Lul·Lia, where once stood the Great Synagogue. In 1571, Bartomeu Coch began the construction of the new church, funded by Ramon de Veri.

The building has a single nave with a square head and six chapels on each side. In the first chapel on the left is the tomb of St. Alonso Rodriguez who was the pastor of this church for many years, until his death in 1617.

The portico dates from 1683. The altarpiece of the fifteenth century is due to the Majorcan school.

The patio is a fine example of medieval typology, although transformed, noticed by his court, and two Gothic arches supported by octagonal pillars. On the walls you can see the remains of some old mullioned windows. In the center, an old well with a collar of limestone. On one of the sides of the patio, there are the remains of a medieval staircase, as well as sections of the old siding built in sandstone. The old chapel has a beautiful Renaissance altarpiece, he restored a few years ago.

Can Dusai is the house of the sixteenth century. The large low arch, supported on pilasters, shows the architecture of the patios of the early seventeenth century. Although it was restored in the twentieth century, we guess, on the stairs, its original appearance. Since the seventeenth century, it is the property of Dusay a family from Sardinia. The crest of this family can be seen in the arcades of the courtyard.

According to legend, the Coch knight killed a dragon at the gate, he gave to his fiancée, the daughter of the house.

The building was acquired in 1968 by the Museum of Mallorca where she became the seat.

The whole history of Mallorca is traced in this museum with outstanding collections.

The prehistoric objects found on the island are numerous, but presented in a fairly educational.

The museum also has a small section devoted to the remains of the Muslim era: under Muslim occupation of the eighth century to 1229, Palma was called Madina Mayurga. It was the twelfth century one of the most important of al-Andalus cities. This time still only the Almudaina, the Arab Baths and the arc of the Almudaina. On the ground floor of the museum are exposed capitals, artesonados ceilings and ceramics of this period.

Section of Fine Arts presents an excellent selection of Majorcan Gothic painting of the fourteenth and fifteenth centuries. The works of the first half of the fourteenth century clearly show Italian influence: among its oldest artist dominates the master Privileges, influenced by the Sienese miniatures, which we can see an altarpiece of St. Quiterie.

From 1349, the date of the annexation of Mallorca by the Kingdom of Aragon, returns to the school of Catalan painting: the "Crucifixion" of Ramón Destorrents, interesting by its composition and facial expressions, influence of other painters. In room 2 exposed the "Annunciation," "Lucia" and "Sainte Madeleine" the master of the Bishop Galiana (late fourteenth century). Francesc Comes, one of the most prestigious in the early fifteenth century painters, is represented by a "St. George" by striking the interests of the great depth and execution of the landscape. We also note the altarpiece of Saint Onufre the master predellas (fifteenth century). In the rooms devoted to the sixteenth, seventeenth and eighteenth centuries, we see Saint Michael and Saint John by Juan de Juanes.

Visit:

Address: Carrer de la Portella, 5

Hours: 10:00 to 14:00 and from 17:00 to 19:00, Sunday from 10:00 to 14:00, closed on Mondays and holidays.

Entry fee: € 2.50; Free admission on Saturday afternoon and Sunday morning.

Phone: 00 34 971 71 75 40

In the fourteenth century, the house belonged to the family Oleza. In the eighteenth century, it was owned by Don Serra Ferragut y Bonaventura (1728-1784), chronicler of the city and one of the most important scholars of his time. Finally Serra tied links with the Espanya family. During the twentieth century, the building served as an inn.

The museum displays more than 120 works by the Catalan artist J. Torrents-Lladó (1946-1993), including many portraits and landscapes.

Schedule: June 15 to September 15, every day except Sunday and Monday from 11:00 to 19:00, Saturday from 10:00 to 14:00, from September 15 to June 15, every day except Sunday and Monday, 11:00 to 18:00, Saturday from 10:00 to 14:00.

Entry fee: € 4.

Phone: 00 34 971 729 835

Site on the Web: www.jtorrentsllado.com

The hotel is named after the title of Marquis de la Torre that the Archduke Charles, pretender to the Spanish crown during the war of succession, had given Don Nicolau Truyols i Dameto.

Cal Marques de la Torre is now occupied by the College of Architects of the Balearic Islands.

We could not accurately determine the age of these baths, but most historians agree that the tenth century AD would be the most likely time. By cons it is certain that it was built from older items, such as capitals of earlier eras (Byzantine or Roman).

These facilities should be part of the palace or fortress, belonging to a rich Arab notable of the medina, and should be backed this building. They are identical to those that were used in some Muslim cities, spas, meeting and pleasure, copied from the Romans.

One enters the baths by a door with an arch-shaped horseshoe through the thick wall. Only two rooms, the central hall for hot baths and an adjoining room, were preserved.

The room warm baths, caldarium, is a piece of square covered with a dome supported by twelve columns. The brick dome in the shape of a half moon, was pierced by 25 holes, or oculi - most still sealed - designed to ventilate the room and the light diffusely. The arches iron horse to the dome are based on columns with capitals rudimentary and irregular shapes, recovered from Roman buildings.

The floor of the caldarium was formed by two year paving with openings let the vapors escape the fire, warming the atmosphere and the pavement system (hypocaust). To intensify the action of certain facilities, they threw hot water from the top floor, the water turned into an intense and thick vapor. There are still vestiges of home and hot water pipes and steam.

A narrow corridor leads to an adjoining room with a barrel vault, which was to be the room with warm water, or tequila. It would normally also be a frigidarium.

These baths have continued to be used after the reconquest by the Christians and Jews.

Before the nineteenth century, the garden and the bathroom were part of the Can Serra.

Address: Arab Baths (Banys Àrabs) are located in a maze of alleys, at No. 7 Carrer de Can Serra, east of the Cathedral and north of Sea Park (Parc del Mar), in what was the area of Madina Mayurga (or Medina Majurka).

Hours: April to November, from 9:30 to 19:00; December to March, from 9:30 to 17:30.

Entry fee: € 2 (a bit expensive for a few minutes visit).

Phone: 00 34 971 721 549

Catalina Berenguer and Guillermina, his sister belonged to the nobility, and this allowed the monastery to grow rapidly. Over the following centuries, the monastery was renovated and expanded, as evidence of these expansions can still see blinded portals, arched, from civil constructions such as house Monzon family. In the seventeenth century, significant changes were made ​​to replace the Gothic part post-Renaissance and almost baroque. In the year 1837, the Franciscan Sisters of the Convent of the Immaculate Conception of the Olivier went to St. Clare Monastery. In 2007, a process was begun to fully restore the monastery.

The present church is the third church built in the convent. The gate dates from 1671 and is lintel. The legs are shaped stems decorated with plant motifs, ears and faces. The entablature is a cornice surmounted by a broken pediment in the center of the pediment, a medallion with a relief depicting the image of St. Clare. On the left side of the facade is a square tower built into the wall with three protruding body.

The chapter house is the sixteenth century. The four chapels on the left are rectangular with a vaulted ceiling, those on the right have different plans and a barrel ceiling.

Above the altar is a statue of the Immaculate Conception, and basically, a statue of St. Clare of Assisi.

The corridors of the cloister contain the Gothic tombs of abbesses.