En la Font-Monument hi veiem tres parts: base, columna i estàtua. La base és quadrangular amb 8 brolladors, que són relleus de cares humanes. La columna és d'estil dòric, amb la part inferior del fust estriada, i la superior presenta unes noies dansant amb càntirs a la mà (símbol de l'alegria ciutadana). La base presenta garlandes als costats i animals als angles. L'estàtua representa el rei Neptú coronat i amb la fitora a la mà dreta. La portada d'aigües de l'Espelt va tenir uns efectes espectaculars sobre la població i la millor demostració la tenim en el monuments aixecats per commemorar l'efemèride. El monument formava part d'un conjunt de quatre fonts públiques projectades com a culminació de la portada d'aigües. L'obra de la font havia estat planejada per Francesc Vallès, enginyer d'ascendència francesa, i la realització artística va ésser feta per l'escultor Damià Campeny. Va ésser inaugurat l'onze de juny de l'any 1832. L'any 1970 l'ajuntament va fer reconstruït el monument. L'obra va ser realitzada per Hugo Pratch sota la direcció de l'arquitecte Joan Bassegoda i Nonell.

The clock tower stands in the centre of the Plaça de la Vila de Gràcia and, at almost 33 metres high, is the tallest public tower in the district. Although it is built mainly of stone ashlars, brick was used for the construction of the windows that open out, the vertical bands that decorate it and the corners of the structure. The tower has a solid square stone base, topped on each side with the coats of arms of the Vila de Gràcia, Barcelona, the Principality of Catalonia and the arms of Queen Isabella II. In the keyhole of the base facing the City Hall building, there is a fountain, framed by a large arch and with two sculpted spouts in the shape of faces that spout water from their mouths. On the upper part of the fountain, also framed by the arch, is a commemorative plaque commemorating the year of its construction (1864), the damage it suffered during the popular uprising of the “Quintes” in 1870 and its restoration in 1882. The body of the tower itself is built on the square base. It is octagonal in plan, although the eight faces are not of a unitary size; rather, those that make up the corners are smaller and projecting, more like a kind of chamfer. For this reason, the windows that open onto the tower are only on the four main faces, which coincide with those of the square on the ground floor. The tower is organised in elevation on three clearly differentiated levels, the first of which runs directly on the square podium and is topped by a large cornice. This cornice is decorated with twelve sculpted plaques representing the zodiac, which are the most emblematic element of the tower, making it the only civil tower in the Vila de Gràcia (the rest were church bell towers). The next section, which is higher than the previous one, has two groups of windows that are configured as small openings in sardinel brickwork and are framed by the vertical brick strips that decorate the tower. These strips extend to the cornice that closes this second body and are finished off with a kind of arches reminiscent of those found in Romanesque mountain constructions. This cornice, which separates the second part of the tower from the crowning, develops in the form of a continuous cantilever, giving rise to a circulation element that surrounds the top floor. This continuous balcony with an iron railing makes sense because of the structure of the building itself: a bell tower with a clock. On the top floor there is a clock with four dials that can be seen from any point in the town. The machinery was built by the Swiss watchmaker Albert Billeter, the true precursor of electric clocks in Spain. The structure is crowned by a large bell, the work of Isidre Pallarès, decorated with elaborate friezes, the coat of arms of Gràcia and reliefs of Saint Isidore, the Virgin of Gràcia and the Blessed Sacrament. On the ground floor, there is a door that leads to the inside of the tower, where there is a spiral staircase with a continuous return and without landings that leads to the clock machinery.

Public fountain with four spouts and four sinks with a circular base, located in the centre of Plaça de Sant Joan. In the central body a pillar with a square section rises, at the top of which there are plaques showing the date of construction and the coat of arms of the town. The work, of great formal simplicity, is eclectic. It is made of stone.

És un edifici petit de planta quadrada amb quatre portals, un d'accés a l'interior i els altres per accedir a un balcó que envolta l'edifici. Els fonaments són de pedra, la resta és de totxo, utilitzant-lo com a decoració geomètrica. L'edifici es degué construir al mateix temps que una nau nova de la fàbrica de cal Sala amb la qual l'uneix l'estil decoratiu.

The monument to Anselm Clavé stands in the middle of the last pedestrianised section of Passeig de Sant Joan, between Carrer de Antoni Marià Claret and Travessera de Gràcia. The figure of Clavé, raised on a 5-metre high pedestal, is made of bronze and is shown standing, with a baton in his raised right arm. The sculpture's vertical axis is very rigid, and the head is oriented in the same direction as the baton. The pedestal is made up of different sections or drums. The first, which is wider, has no decorative elements. The second, which is also very regal, is crowned by a lower section decorated with geometric motifs made up of dots. The third drum is the longest, narrowest and most complex one, and reaches the foot of the sculpture. In the lower sections there are four small buttresses which, in their vertical development, have a small pedestal crowned with vegetal motifs (probably laurel wreaths). In the middle of the two buttresses facing Avinguda Diagonal, one can read ‘Clavé’. Above this section there is a narrower section formed by four claws on the same line as the buttresses mentioned above. Above it there is a small drum with the sculpture by Anselm Clavé.

Public fountain with lantern at the top. It has a single spout, with attached trough and a central stone column. The set responds to the characteristics of the eclectic language. The Font dels Alls was built in November 1890. The stone and the tap came from the fountain that was previously located at the gate of the disappeared barracks. The trough was previously located on the corner between Carrer de Consellers and Rambla de Sant Francesc.

A stone fountain with a circular base with two steps, a triangular pedestal with three sinks and three spouts, a triangular-section pillar and a sculptural crown. The spouts are placed on supporting elements of classical inspiration. They simulate columns with decorated bases, shafts and capitals. The pillar bears several inscriptions, and the crown is decorated with a warrior's helmet, the coats of arms of Catalonia and Vilanova, and acanthus leaves. It was inaugurated on 17th January 1893. It was erected in memory of Joaquim Soler i Gustems, who, upon his death (1891), had left a legacy of 7,500 pesetas for the construction of a fountain-monument to him. The town council chose the site in the Plaça dels Carros and commissioned the architect Josep Font i Gumà to design the project. On 5 June 1902, by municipal agreement, the square was named after Soler i Gustems.

Funerary monument composed of a rectangular base resting on a stone paving that forms a step, a rectangular pedestal with smooth faces and the following inscriptions: 'Víctor Balaguer. Without love for me I had it for everyone'. Plus a crown formed by an altar and a sarcophagus. The base contains two inclined tombstones worked in relief and with floral motifs. These contain inscriptions in Latin with the birth and death dates of Víctor Balaguer and his wife Manuela Carbonell. The altar is decorated with ogival tracery, folds of clothing and coats of arms with the four bars of the Catalan flag, the cross of Sant Jordi, of Vilanova and his initials. The sarcophagus – rectangular and with a gable roof – is divided into bands, with floral motifs and inscriptions. In 1905, the remains of Víctor Balaguer were transferred from the Samà family pantheon to the new monumental pantheon, built in his memory by his heirs. This monument was designed by architect Bonaventura Pollés i Vivó, cut by Alfons Juyol and carried out by builder Joan Sas i Gorgori.

Ramon Montaner, Lluís Domènech's uncle and co-owner of the Montaner i Simón publishing house, bought the Casa Forta in Canet in 1881, thus returning the property to his family. He commissioned his nephew to restore and extend the building in order to monumentalise it and turn it into a representation of his lineage. With this intention, the publisher had acquired several historical buildings to extract their architectural elements of value and transfer them to his castle, such as the medieval monastery of Tallat. The original building was an old domus, the Casa Forta de Canet de Mar, which before the intervention had the appearance of a compact fortified country house. Domènech's project consisted of building new rooms around a courtyard that recreated a castle, reusing stone elements from other medieval buildings. From the monastery of Tallat, Ramon Montaner bought a large part of the cloister and several window and door frames, which were drawn, numbered piece by piece, dismantled and transferred to Sant Florentina, where they were reassembled in their new location. The new courtyard had a monumental exterior staircase in the style of Gothic palaces, and the towers were topped with battlements, barbicans and machicolations. The complex has many stone sculptures, decorated corbels, sculpted gargoyles, medievalist stained glass windows, polychrome wooden coffered ceilings and antique furniture, in which original Gothic pieces were mixed with modern fragments to achieve a medieval fantasy. Antoni Samarra i Tugues, Carles Flotats i Galtés and Dídac Massana collaborated on the stone sculptures and Josep Pujol on the stained glass windows. In 1905 work began on the crypt, in the basement of one of the old towers of the fortress, for the late wife of Ramon Montaner, Florentina Malató. In 1908, with the renovation of the castle almost finished, King Alfonso XIII was there, the same year that he granted Ramon Montaner the title of Count of the Canet Valley. The Montaner family ruled the castle until the marriage of their daughter Julia passed to the Capmany family. It is currently owned by investors and although it is still used as a private home, it is a museum and can be visited.

The first stone of the monument was laid in January 1904, but shortly afterwards Domènech abandoned the direction of the work due to political differences with some of his colleagues. The sculptor Josep Llimona continued the work alone, which was inaugurated at the end of 1910.

The fountain is composed of two rectangular bases of different sections. A semicircular sink with shell relief protrudes from the upper base. The pedestal has a rectangular section with lateral volutes, an upper cornice with permodules and moulding on the main face with a central faucet. It is crowned with a wrought iron lantern.

Creu que presenta una estructura de cos circular a la base, la qual s'eixampla en un collaret i immediatament es torna a fer més petita a mesura que puja en tres cercles concèntrics superposats. El fust de la columna també és cilíndric i està coronat amb un capitell decorat i rematat amb una petitona teulada molt senzilla. Tota aquesta estructura és de pedra, mentre que la creu que la corona és de ferro.