The Finca del Marqués de Valdecilla has a rich and varied cultural heritage. Its almost 15 hectares of extension are delimited by a masonry wall, housing inside several houses, fountains, garden furniture, marble sculptures and other relevant heritage resources. The main access is through a baroque stone doorway, moved in 1935 from Quintana’s house in Penagos. The doorway, dated 1697, has two floors of Doric order, recessed pilasters, abundant decoration and the coat of arms of Quintana, Cuesta, Velasco and Prieto, along with ball and pyramid finials, a split triangular pediment and an allegorical figure of Fame or “giralda”, alluding to fortune.
The buildings of the Estate date from the period between the second half of the 19th century and the first half of the 20th century (with the exception of La Solana, a work from the 18th century), presenting diverse architectural typologies. Thus, La Solana and La Casuca respond to the model of a popular mountain house with a balcony between windbreak or gable walls, with subsequent extensions and renovations. San Rafael appears influenced by the lines of the mountain regionalist architecture promulgated by Leonardo Rucabado and presents notes of a historicist nature such as the use of the tondo of the Virgin with the child outside the chapel following models from the Italian Quatroccento and the Talavera tile decoration of the Queen of the Ruiz de Luna factory. The White House also has Italian influence, conceived by Emilio de la Torriente y Aguirre as a villa in direct contact with the garden that surrounds it. Located at the top of a hill, it has unbeatable panoramic views of Valdecilla, Solares and Ceceñas. The building, with no ostentatious architecture, has bay windows overlooking the garden, alternating semicircular and lintel finishes in the openings, and fronts with few decorative notes except for pilasters and moldings. Finally, the Garage and the Cabin are functional buildings with few decorative concessions (mouldings, tiles with modernist designs under the windows, corners and brick and stone surrounding openings). In La Cabaña, where the stable was located, Ramón Pelayo introduced notable innovations. Thus, to minimize excess light, the windows had blued glass, and the feeders operated by pressure, and were personalized with the name of each cow. The industrial-style architecture of the iron water tank is framed in this same functional line, which refers us to works from Eiffel’s workshop.
In the garden, the Children’s Fountain by Mariano Benlliure stands out, dated around 1928 and made of granite and polychrome and glazed ceramics in collaboration with the Ruiz de Luna ceramics factory in Talavera de la Reina; and the allegorical marble sculptures of four continents by Virgilio Arias, contemporary with the fountain, which use typologies from the iconography of Cesare Ripa. To them we can add the sound table, which owes its name to the sound effect that results from hitting the flight of the stone that makes it up, the old bowling alley, the remains of the greenhouse for orchid production, the two surveillance booths and the fountain of the fountain, with heads of feline animals, leaves, fish and flowers. Complementing all this heritage is the trousseau of the houses, diverse in typologies, materials and styles (furniture, vases, candelabras, carpets, ceramics, photographs, engravings, lithographs, watercolors, oils and paintings, as well as pieces of porcelain, glassware and many other objects).