Historians say, that the house of the Marqueses of Dos Aguas was considered in Valencia for centuries, as a paragon of nobility and opulence and that its fortune came from the year 1500, at which time a family of merchants, the Rabassa, was enriched, first with the commercial treatment and then with the leases of the rights of the Generalitat Valenciana, i.e. the contracts of indirect contributions.

The space in which it is located is believed that was probably originally the field intended to a Roman necropolis of the 1st and 3rd centuries, due to the findings in one of its courtyards on September 9, 1743.

[2] In its origin and at the view the Plan of Father Tosca, the palace was a Gothic building by the year 1400, of three bodies willing around a courtyard, facade at north, embattled tower at northeast (left of the front), midpoint portal, loggia run under the eaves and tiled roof.

The three main architects of the renovations were Hipólito Rovira Meri (painter), Ignacio Vergara (sculptor) and Luis Domingo (1718-1767) (decorator).

[3] This renovation changed its previous Gothic structure entirely; it stands out above all its main entrance gives onto the street of the Marqués de Dos Aguas.

It is made of alabaster by the Valencian, Ignacio Vergara Gimeno, founder and professor of the Royal Academy of Fine Arts of San Carlos, on the design of Hipólito Rovira, protected of the Marquis.

So between its quarters it can find the surnames Perellós (represented by some pears), Rabassa, the lineage of the Lanuza, Rocafull, Boil, Hijar and Maza de Lizana among others.

In the upper body of the entrance, in a niche artistic, the image to natural size of the Virgin of the Rosary, chosen as special patron saint by the House of Dos Aguas.

The Virgin of the Rosary is work in polychrome wood by Ignacio Vergara in 1740 but it disappeared, it now see is a plaster copy made in 1866 by Francisco Cano Molineli.

The decor is based on rockeries and fruits, highlighting the central panels two masks of the Greek god Pan (in Roman mythology: Faun).

In addition it stand out among the rockery ornaments two sets of metal letters with the initials MD (Marqués de Dos Aguas).

The vault rests on four pechinas in stucco subject by Atlanteans and decorated by Luis Domingo with the four parts of the known world represented by its allegorical animals: America with a caiman, Africa with a lion, Asia with an elephant and Europe with a horse.

In the inner courtyard (Patio de la fuente) were replaced the Gothic windows for Rococo balconies with allegorical figures in clay (terracotta) alluding to the interests and tastes of the Marquis.

At a lower level it see allegories of the Fine Arts as female characters and related elements to the same: thus it see displayed the architecture (holding a plan of the palace), the sculpture (with a bust in its hands).

On a third level and the top of the balconies of the second floor six medallions with busts of various gods: Apollo, Athena, Dionysus, Flora, Demeter and Helios.

The interior of the palace was also decorated with beautiful paintings and artistic marble on floors and halls, which were famous dances with the performance of singers and musicians who moved to Valencia, specially invited by the Marquis of Dos Aguas.

The dining by Rafael Montesinos y Ramiro, the ballroom by Salustiano Asenjo Arozamena, the bedroom of the marquis by Plácido Francés y Pascual and the toilets and the red hall by José Brel Giralt.

Climbing the stairs access to the first floor and the first room we found is the: Chaired by a niche with a sculpture of the goddess Flora in Carrara marble.

In which stands rectangular in the center of the roof, an oil on canvas in oval shaped with a representation of "The light fecundating to the Creation" by Valencian Rafael Montesinos Ramiro dated in 1862.

On the canvas it can see allegories of the four parts of the known world, represented by female characters with allusive animals: Africa with a lion, America with a parrot, Europe with a horse and Asia with an elephant.

Highlights in this sumptuous decor, the four female busts (allegories of the four seasons), made of stucco by José Nicoli and which are situated in the spandrels of the walls.

Presided over the oratorio an altarpiece with an image of the Virgin of the Rosary (patroness of the Marquisate) made in 1866 by José María García Martinez.