History of the building
The Gothic palace
The construction of the old Palace building is due to the Rabassa de Perellós family, saga started by Francesc de Perellós and Joana Rabassa. It will be his grandson, Giner Rabassa de Perellós y Montagut, who will acquire the lordship of Dos Aguas in 1496 to Luis Cornell Boil de Ladrón, thus initiating the Baronía de Dos Aguas. Perhaps then the first important reforms of the building will be promoted, which will extend to the following centuries, even extending its surface through the purchase of adjoining properties.
However, the exterior appearance of the building will not vary excessively, in relation to the medieval configuration, until the rise of the barons to the marquisate. There is graphic information that allows us to appreciate this evolution, such as the plane of Valencia made by Father Tosca in 1704, which includes contemporary views of the Palace when the marquisate was reached with Giner Rabassa de Perellós and Pardo in 1699. The Gothic building was a construction that consisted of intermediate level, noble level and attic with continuous gallery, such as other similar palaces of the time, like the one of the Almoina. The set was completed with three wings around the patio with mezzanine and floor. In the rear part, this configuration was repeated around another courtyard closed by two bays. This second patio was actually an orchard that would become a garden later (around 1825).
The palace in the 18th century
Around 1740, Giner Rabassa de Perellós, III Marqués de Dos Aguas, decided to renovate his ancestral home as a sign of his power and lineage, commissioning the engraver and painter Hipolito Rovira to do the work, who replaced the severe character of the old house with a great decorative abundance.
Of this reform it emphasizes especially the main cover, that was realized in alabaster by Ignacio Vergara, according to the design of Hipólito Rovira. The facade, of purely baroque style, presents two allegorical figures of the river, in allusion to the marquisate and it is topped by a niche with the Virgin of the Rosary that was made by Vergara himself. It was protected by a continuous balcony from which engravings and photographs are preserved.
A photograph taken between 1854 and 1863 shows the original appearance of the front cover of the nineteenth-century reform, in which a prolongation of the base ornamentation towards the west side stands out. In fact, the project of José María Xímenez y Cros to reform the facade, dated in 1863, eliminates this part and proposes a neo-baroque facade to integrate and contextualize the cover of Rovira and Vergara.
The palace in the 19th century
But the major reform will be undertaken with D. Vicente Dasí Lluesma, who inherited the title of Marquis of Dos Aguas in 1853, when the direct succession was exhausted. He decided to carry out a wide reform of the building between 1854 and 1867, basically ornamental in a clear eclecticism, combining Rococo, neo-Empire and Chinese motifs.
The reform was based on a careful study of the essence of the property itself, as shown in the project of Ramón M. Xímenez y Cros. Thus, it was modified, replacing the flimsy stucco figurine of Rovira and redone by Ferrer in the eighteenth century with a marbled stucco, since it lacked any constructive protection, such as an eaves or projection. The eighteenth century balcony was also demolished.
In the inner courtyard the Gothic windows were replaced by balconies with reliefs of allegorical figures alluding to the arts (architecture and sculpture), agriculture and commerce, the basis of the wealth of the Marquis. Salustiano Asenjo and José Brel, together with Plácido Francés, José Felipe Parra, José Marcelo de Contreras, Francisco Molinelli, Eleuterio Álamo and others were involved in the reform, as architects of the decoration, creating programs adapted to the function of each area.
These works created a set of spaces, altering the height of the rooms, shortening others or covering the ceilings with plaster that would then serve as support for the decoration of each area.
Also, furniture of the time was purchased, such as the set of Dresden furniture with Saxon porcelain applications of the so-called Porcelain Hall. After years of works the reform was inaugurated on May 17, 1867.
The palace in the 20th century
The Palace was declared a historical-artistic monument in 1941 and it was sold and acquired by the Ministry of Education in 1949 to locate the important ceramics collection of D. Manuel González Martí and his wife Doña Amelia Cuñat, donated to the state in 1947, February 7. For seven years it was based in the founder’s home, but after the rehabilitation of the Dos Aguas Palace, carried out between July 26, 1950 and June 18, 1954, the National Ceramic Museum opened its doors there .
Between 1969 and 1972 the Museum was extended, beginning the construction of a new wing that in its exterior reproduces faithfully the style of the facade of the Palace of the XIX century
In the 80s the Museum needed to improve its infrastructure and facilities as well as undertake the restoration of the building and the renovation of its museology. In 1990 the Museum was closed to the public to undertake rehabilitation works, which would extend until 1998, when it reopened its doors to the public.
Online Ticket Sales
All visitors must present the ticket to access the Museum. Tickets can be purchased:
a.- The same day of the visit, at the museum’s ticket office, in cash or by credit card.
b.- In advance through the online sales service.
Important information regarding the advance purchase:
-Before making the purchase, check if you have the right to reduced or free entry according to the general conditions of access. Check if you have the right to a reduced or free entry here.
-The advance purchase allows you to select the day of the visit.
-The online purchase of the ticket does not grant access preference to the Museum.
-The receipt of the ticket purchase must be presented at the ticket office at the time of the visit in order to collect the tickets.
-The tickets for Saturday afternoons (from 4pm to 8pm) and on Sundays (from 10am to 2pm) are free.
-The online sale is not operative for groups (from 8 people).
-The purchase of tickets online does not allow refund.
-Our temporary exhibitions are free. If you are going to visit any of them you should not do this process.
-In addition, remember the special days of free admission to the museum: April 18 (International Day of Monuments and Sites), May 18 (International Museum Day), October 12 (National Holiday of Spain), December 6 ( Spanish Constitution Day)
Considering the security and conservation of the collections, the maximum number of visitors per group will be 25 people.
– It is allowed to take images inside the Museum, except with flash and tripod.
– It is not allowed to eat or drink inside the Museum.
– The big packages, bags, umbrellas, backpacks etc. It is requested to be deposited in the lockers of the wardrobe
– Please disconnect mobile phones during the visit to the Museum.
– The entrance of animals is not allowed, except guide dogs for the blind.
– Smoking is not allowed inside the building.
- From Tuesday to Saturday from 10:00 a.m. to 2:00 p.m. and from 4:00 p.m. to 8:00 p.m.
- Sunday and holidays from 10:00 a.m. to 2:00 p.m.
- Mondays, January 1, May 1, December 24, 25 and 31 and two local holidays.