The choir is modern, except the rear portion or "trascoro," which dates from the end of the fifteenth century; and the chapels contain little that is of interest. Tomás de Villanueva, the holy Archbishop of Valencia, is entombed in the chapel dedicated to him. The chapel of another Valencian saint, St. Francis Borgia, is remarkable for a curious picture representing his conversion of a dying man. The penitent is depicted almost nude, and attended by comically fantastic monsters. Another painting shows the saint, as Duke of Gandía, taking leave of his relatives when about to embrace the religious state.
Leaving the Cathedral, we visit the noble Gothic Lonja, or Silk Exchange, built between the years 1482 and 1498 by Pedro Compte. Though not in the purest style, the result is imposing and dignified. A French writer (M. Paul Jousset), not addicted to laudatory language, admits that this building is worth a visit to Valencia to see. Its square tower, its crenellated chimneys, open galleries, and high windows, recall the palace-like châteaux of the Loire. Within is a noble hall divided into three by rows of spirally-fluted columns. The roof is studded with stars, and round the frieze runs the inscription: "He only that shall not have deceived nor done usury, shall be worthy of eternal life." For the commercial integrity of Valencia it is to be hoped that the business men frequenting this exchange keep their eyes fixed on the text. Another public building worthy of attention is the Audiencia, in good Renaissance style, with grand halls adorned by portraits of eminent natives of the province. In the Salon de Cortes, the old provincial States assembled till the middle of the eighteenth century.
The minor churches of Valencia are hardly worth a visit—the less so that in this climate the stranger is generally well content to "laze" his time away. He may do this very pleasantly on the Paseo de la Glorieta or Plaza Principe Alfonso, two charming shady spots, where numerous trees are reflected in the waters of the cool basins. Further off, across the parched Turia, you reach the Alameda, a leafy avenue where fountains diffuse a refreshing dew. And if you should chance to doze on one of the benches, you need not fear interruption. This charming promenade, for some occult reason, is neglected by the citizens.
The picture gallery of Valencia is important. It contains fine specimens of contemporary Spanish art, including works by Sorolla and Benlliure. Ribalta may be studied here, and also the less-known masters of the Valencian school, such as Orrente, March, Espinosa, and Juanes. There used to be several fine private collections in Valencia, but these have all been dispersed.
The country round Valencia is far more interesting than the city. In no other part of Spain, says Mr. Brunhés, has man more successfully combated and reduced natural aridity by irrigation and cultivation; so successfully indeed, that from Gandía to Valencia, for instance, a stretch of 100 kilometres, the gardens succeed each other so closely that it is easy to forget—in spite of the naked slopes on the horizon—that these oases occupy a naturally arid soil. This is, in short, the best cultivated province in the kingdom.
The numberless canals and watercourses which intersect the land in all directions are fed for the most part by the Jucár and Turia—the latter the local stream of Valencia—but every possible source is turned to account. Here the water supply, comprised in the Canal of Moncada and the Seven Canals, belongs to the community, by whom is indirectly elected the famous tribunal which meets every Thursday morning at the Apostles' Gate of the Cathedral.