The Virgen del Puerto Chapel in Madrid is located on the Paseo de la Virgen del Puerto (formerly known as the Paseo Nuevo de la Corte), in the vicinity of the Royal Palace.

It is the work of Pedro de Ribera, and was built between 1716 and 1718 at the personal request of Antonio de Salcedo y Aguirre, the first Marquis of Vadillo, who was then the corregidor (magistrate) of Madrid. The chapel was completely destroyed in the course of the Civil War during the defence of Madrid, along with the carving of the Virgin located inside it. The existing building at the beginning of the first period of the 21st century is a reconstruction carried out in 1945. For centuries it was the destination of the Madrid pilgrimage in veneration of the image of the Virgen del Puerto inside, a custom that gave rise to the verbena de la Melonera.

Its origin goes back to the carved image of the Virgen del Puerto inside. During the reign of Philip V, the mayor of Madrid, Francisco Antonio de Salcedo y Aguirre, Marquis of Vadillo, commissioned the then young Pedro de Ribera to embellish and tidy up the surroundings of the old Alcázar. Ribera's first major work in Madrid was the development of the land between the Manzanares (Campos de la Tela) and the Campo del Moro. The promenade and grove was called Paseo de la Virgen del Puerto in honour of the patron saint of Plasencia, a city of which the Marquis of Vadillo had been mayor for seven years (1689-1696) and in which he had developed a great devotion to the patron saint of Plasencia.3 The works were completed in 1718. The work was completed in 1718, and on 7 September permission was requested to move the image from the Imperial College to its new home. The procession was held on the 10th of the same month. The event was attended by the City Council, the town council and the Court dignitaries.

It is one of the first examples of Baroque architecture in Spain. The façade is marked by two towers, each crowned by bells and spires. The doorway is lintelled. The interior of the chapel was built during the Bourbon period. The chapel has an octagonal floor plan. Inside you can see the tomb of the Marquis of Vadillo, also made by Pedro de Ribera. The towers are decorated with balconies, privileged places from which the patron saints watched the most interesting moments of the pilgrimages and festivities. The spire of the dome is supported by an octagonal drum.

The building is supported by pilasters. The esplanade around the hermitage was used as a place for the pilgrimages, which were later moved to the Arganzuela Park at the end of the 20th century. Initially celebrated by the Galician and Asturian immigrants who flocked to Madrid, its general form was modelled on the 17th-century hermitages in the gardens of the Buen Retiro palace, and it formed part of an interesting urban complex, as did the Toledo bridge over the Manzanares riverbed.