• The municipal term of La Carolina is full of archaeological vestiges from Prehistory. Places like La Calera, El Minado or El Ochavo, so they testify. We met with Rupéstre art fields like Dona Lady, the Puntal or the Guindo. And also former mining holdings, mainly Roman, like Fountain Spis, or El Guindo.

• The Church of the Immaculate Conception, built as a church of the convent of the barefoot Carmelites of the Peñuela, after the Colonization it is extended to serve as a parish to the nascent population. It has undergone several reforms over the years, and in 1899 the tower was built.

• Palacio del Intendente Olavide, which was the residence of Mr Pedro Olavide, executive of the Sierra Morena Repopulation project. It was built in 1775, in neoclassical style and is located in the center of the village, right next to the parish church.

• La Carolina Museum,The Centre for the Interpretation of the History of Mining in the New Populations of Jaén, integrated in the majestic building of the Palacio del Intendente Olavide, offers countless possibilities of knowledge, culture, history and research of the city, with the latest technologies, an unbeatable infrastructure and a human team that make it an inescapable cultural and tourist resource when visiting the city.

• The Customs Towers, neoclassical style and airy architecture flank the main entrance to the city coming from Madrid.

• Castillo de Navas de Tolosa: For more than two hundred years, it served as a defense and vigilance for the Muslim kingdom of what we know today as the passage of Despeñacolos, once Paso del Muradal. Today the silhouette of its tower stands out in a typical Sierra Morena dehesa in which you can also see braves.

Other monuments of interest are:

• Hermitage of San Juan de la Cruz.
• Monument to San Juan de la Cruz.
• Old jail.
• Monolitos de la Fundación.
• Monument to the Battle of the Navas de Tolosa.
• Mining heritage.

• The Church of the Assumptionbuilt between the 16th and 17th centuries, of classical Renaissance façade and of great proportions. It has a Latin cross plant, with chapels among the contrasts. The deck is of canyon vault and dome on breast on the cruise. The presbytery, the major chapel and the cruise are 1775. The tower of the mid-17th century is decorated with episcopal shields and the neoclassical cover is one of the best in the province for its proportions. Located on the wall is the valuable "Ibero-Latin inscription of Galdur," mythological city and ancient cradle of Jódar, is from the 1st century BC

• Jódar Castle. In the historical core of Jódar, on a rocky podium is the castle, mentioned in documents of 860. It is known that the castle is erected in Iberian times, as indicated by the inscriptions found in one of the armchairs, cthe most dean of the province and one of the oldest in Andalusia. It takes on importance in Muslim times with the Muladian revolts. This fortress has two towers of tribute, one of Arab origin and one raised by Christians. Both are almost square, in the Old Tower the entrance is located at the height of the first floor and has two series of saetera. The New TowerIt consists of a central wall and a central wall. Its saetries similar to those of the North Tower and the interior decks are vaulted vaults of the 16th century. It preserves mudejar stucco remains. Both towers have been restored. The South Tower is currently the Reception and Interpretation Centre of the Natural Park of Sierra Magina. The North Tower has been enabled to recreate and make known the history of the castle and the municipality.declared Historical Monument, under the protection of Good Cultural Interest, in 1985.

• Sanctuary Church of the Christ of Mercy. It was built in 1700 on an ancient hermitage. It is of one ship and there is an extraordinary size of the 16th century of the Christ of Mercy. A baptismal stack of 1660 must also be highlighted.

• Tower of the Pinars, declared Well of Cultural Interest, as Historical Monument in 1985. It sits at the southeast end of a hill that controls the right bank of the Jandulilla River, so its strategic position is beyond doubt. The tower is circular, with a door in height, which divides it into two bodies; the lower one is fully solid and the upper one has a small room also circular. It has an irregular masonry-based mating with plaster argamase, the same material that is used to cover the entire surface of the tower.

Jaén's architecture bears witness to the many civilisations that have inhabited the city and its surroundings throughout the centuries, resulting in an outstanding monumental heritage that includes both religious and civil buildings. Its historical and artistic legacy showcases a variety of architectural styles, including Gothic, Mudéjar, Renaissance, Baroque, and Neoclassical.

Among its most important monuments are the following:

• Cathedral of the Assumption of the Virgin, a masterpiece by one of the greatest Renaissance architects, Andrés de Vandelvira, and the inspiration for the construction of many cathedrals throughout Latin America. It is regarded as one of the finest examples of Renaissance architecture in Andalusia, which is why the process to obtain UNESCO World Heritage status for the cathedral began several years ago. The city's first cathedral was built on the foundations of the former Great Mosque following the conquest of Jaén by King Ferdinand III of Castile, known as Saint Ferdinand, in 1246. Later, during the 14th century, Bishop Nicolás de Biedma brought to the city the relic of the Holy Face (Santa Faz or Santo Rostro), believed to be one of the three cloths that, according to Christian tradition, Saint Veronica used to wipe the sweat and blood from Jesus' face on his way to Calvary. The presence of this relic in the first Christian cathedral transformed it into an important pilgrimage destination, making its expansion necessary in the Gothic style. Elements of this Gothic phase can still be seen in the apse of the present cathedral. Due to structural problems that arose during the 14th century, a new Renaissance cathedral was commissioned from the architect Andrés de Vandelvira. Although construction continued for nearly three centuries, Vandelvira's original design remained largely faithful throughout the project, resulting in what is considered the most architecturally balanced, harmonious, and proportionate cathedral in Andalusia, with one of the most solemn and majestic interiors in the region.
• Basilica of Saint Ildefonsus. After the Cathedral, it is the largest church in the city. The earliest records of the original building date back to 1248, when it was established as a chapel serving the Cathedral. Two centuries later, in 1430, it became the setting for the famous miracle of the descent of the Virgin Mary to the city of Jaén. Following this event, it became a sanctuary dedicated to the image of the Virgin housed inside, under the title of Our Lady of the Chapel. In the 16th century, the Virgin of the Chapel was proclaimed the patron saint of Jaén. Finally, in 2010, Pope Benedict XVI granted the church the status of Minor Basilica. The building features three entrances: the oldest, in Gothic style, is located at the rear of the church. The side entrance, in Renaissance style, displays a relief depicting the Chasuble Bestowal upon Saint Ildefonsus. The last to be built was the Neoclassical main façade, crowned by a statue of the saint to whom the basilica is dedicated.
• Santa Catalina Castle. An ancient Caliphal fortress stood on the summit of Santa Catalina Hill as early as the 9th century. Centuries later, following the conquest of the city by King Ferdinand III in 1246, the Christian castle that survives today was built. During the 19th century, the castle underwent several modifications to strengthen its defensive structures in response to the Napoleonic invasion. Close to the castle, the building that now houses the National Parador was constructed in the 1960s. From the summit there are spectacular panoramic views of the city and its surroundings, especially from the Cross Viewpoint. The fortress also houses an Interpretation Centre that explores the history of the castle.
• The Arab Baths. They are the largest and best-preserved Arab baths in Spain. Built in the 11th century during the reign of Abd al-Rahman II, they are located beneath the Villardompardo Palace in the heart of the city's historic centre. Covering an area of 450 square metres, they still preserve Almohad decorative elements, suggesting that they were restored towards the end of the 12th century. Between the 14th and 15th centuries, after they ceased functioning as public baths, the rooms were converted into tanneries. Later, at the end of the 16th century, Fernando de Torres y Portugal, Count of Villardompardo and Viceroy of Peru, built his palace above them. At the beginning of the 20th century, together with several adjoining buildings, they became part of a women's hospice. A section of the baths was rediscovered in 1913 and, a few years later, they were declared a National Monument. Today, following a restoration project that received the Europa Nostra Award, they form part of the "Arab Baths" Cultural Centre, which also houses the Museum of Popular Arts and Customs and the International Museum of Naïve Art.
• Chapel of Jesús (Camarín de Jesús). The chapel and the convent church of Saint Joseph are the only surviving remains of the former Convent of Saint Joseph of the Discalced Carmelites, founded in the 16th century. The recently restored church, with its characteristic Carmelite façade featuring a niche, houses both the chapel and the Camarín de Jesús, created in the 17th century to enshrine the celebrated Renaissance sculpture of Nuestro Padre Jesús Nazareno ("El Abuelo"). The image belongs to the brotherhood founded in this very convent in 1588 and is carried in procession during the early hours of Good Friday before thousands of worshippers and pilgrims. The façade is adorned with a beautiful terracotta sculpture of Saint Joseph by the renowned ceramic artist Paco Tito.
• Church of La Magdalena. Originally the city's Great Mosque during the Islamic period, it was converted into a parish church following the Christian conquest. Its main façade and interior are Gothic in style, while one of its towers still preserves the former Arab minaret. The church contains several important works of art, including Calvary by Jacobo Florentino "El Indaco", a panel of Our Lady of the Pillar attributed to Pedro Machuca, the 16th-century Christ of Clemency by Salvador de Cuéllar, and the 18th-century image of Saint Mary Magdalene by Mateo de Medina. The courtyard of the former mosque, with its rectangular ablution pool, served various public purposes during the Christian era and was landscaped with gardens and ornamental fish during the 20th century.
• Church of Saint Bartholomew. It is one of the oldest churches still standing in the province of Jaén. Dating back to the medieval period, this religious monument features a Baroque exterior and a Mudéjar interior. Among its highlights is a green glazed ceramic baptismal font decorated with 15th-century Gothic inscriptions.
• Provincial Council Palace. This palace was built in the mid-19th century by architect Jorge Porrua. Originally, the site was occupied by the Convent of Saint Francis, commissioned by King Ferdinand III in the 13th century. A century later, King Peter I of Castile ("Peter the Cruel") granted it to the Franciscan friars. Following the ecclesiastical confiscations, the building became public property and was eventually converted into the headquarters of the Provincial Council. Today, visitors can explore its central courtyard and the lower galleries.
• Oppidum of Puente Tablas. The fortified Iberian settlement of Puente Tablas is located just 4 kilometres from Jaén. Over more than thirty years of archaeological research, the site has revealed its outstanding historical importance through evidence of continuous human occupation from the Bronze Age to the Islamic period. However, its most significant phase dates from the Iberian period, particularly the 4th century BC. Visitors can discover how the Iberians of the Upper Guadalquivir lived while exploring one of the most impressive defensive systems of the period, with more than 300 metres of preserved walls standing over 5 metres high. Visitors can enter the settlement by following the same route once used by its ancient inhabitants, passing through the famous Sun Gate.

Castle. Hornos was granted by Fernando III the Holy, after his conquest in 1239 to the Order of Santiago. The time at which the castle would be built, probably on an earlier Muslim fortress from which the aljibe is preserved.

Of a purely defensive nature, the trapezoidal shape set is built with small masonry. It is made up of a magnificent Tribute Tower, three slender torreons square floor and the outer wall of a room that closed the courtyard of arms.

The Tower of Tribute in square shape and rounded corners, something common in the constructions of the Order of Santiago, has only one entrance at half height.

In its interior two overlapping rooms supported by vaults and communicated by a staircase carved in thick wall.

By the end of the 20th century, the rehabilitation of the castle that was very damaged began. After many attempts, in 2011 the works of their total restoration were completed. It has been declared Good of Cultural Interest in 1985.

Located inside the castle you can visit one of the most important tourist resources of the area as is the Cosmolarium.It is a centre for the dissemination of astronomy that consists of a digital planetarium, with a dome of 8 meters in diameter that shows enveloping audiovisual productions, complete exhibition rooms on the Universe, spaces for workshops and educational games, as well as a terrace for astronomical observations.

Parish Church of the Assumption. Data from the first half of the 16th century. Its construction follows the style of the Order of Santiago. Of a square floor, with one ship and side chapels, it is divided into three square sections separated by fajon arches.

The decks are gothic, the 16-century renaissance-style altarpiece as it is recorded. The cover is one of the first plateresque in the province of Jaén, although it is currently damaged by time.

The tower stands out for the gargobles of the cornice and the Gothic crest of the mast. We can say it's a magnificent example between Gothic and Renaissance.

In it was found the ornamental vessel in the form of a Nazi-style amphora, with motifs glazed in blue and gold on white enamelled background that is preserved in the National Archaeological Museum.

The Villa Gate. It's a door on the wall dating back to the 11th century. It is built in elbow to make access to the enemy difficult, which makes you think of a mothade origin. Made of masonry and red brick in the vaults, as well as a small window of the facade. Declared Good of Cultural Interest in 1985.

Bujaraiza Castle. It rises on a the island in the waters of the Tranco reservoir. It is a small fortress formed by a walled polygonal enclosure and a tower of tribute. It is built with small-size masonry yarn, with lime mortar. Declared Good of Cultural Interest in 1985.

Tower of Bujarcaiz. It is currently submerged under the waters of the Tranco reservoir. It was part of the surveillance system of the Hornos castle. It is a square floor construction and a troncoconic form.

Aguilon Viewer. Located next to the City Hall shows one of the best views of the Natural Park and an impressive view of the waters of the Tranco reservoir.

Cazorla, at the gates of the Natural Park of the Sierras de Cazorla, Segura and Las Villas, is a lesson of how man and nature have forged an alliance that comes to this day. Its rich cultural heritage includes places that cannot be lost.

The castle of the Yedra, whose origins could be Muslims, perhaps from the Almohad era (12th century), although throughout the 13th, 14th and 15th centuries Christians finished giving it their definitive configuration, which explains that in many of their inner stays the Gothic style predominate. The tower of tribute houses the Museum of People's Arts and Costumbres of Alto Guadalquivir. It is a place where you can learn more about how the ancestors lived on these lands.

From its enclave, 831 meters above sea level, it is seen the town of Cazorla and its surroundings.

The ruins of the church of Santa Mariaa sample of the Andalusian Renaissance. It is very likely that its author was Andrés de Vandelvira, as many of its elements can be recognized in the temples of its author located in Ubeda.

It is built on the Cerezuelo River, which was forced to channel previously, and which enters a large visitable vault under the main altar, across the whole church, to follow its course under the square of Santa Maria. It is very likely that the church was never fully completed and that the serious damage caused by the terrible storm and flood of 1694 would further make it difficult to complete it. It is the only church built on the bed of a river.

The City of Cazorla currently houses the Municipal Office of Information and Tourism and the Multipurpose Spacewhere concerts and shows are held.

From its artistic heritage we highlight:

• The Castle-palace, which belonged to Francisco de los Cobos, and was built in the second half of the 16th century, after the purchase of the town by Francisco de los Cobos. Of almost square floor, with four circular towers on the corners, two larger on the main facade. The tower of tribute, square floor. Antaño was surrounded by a moat, now blinded, the slots are preserved to lift the old lift bridge. The cover, with a half-point arc, it is flanked by Corinthian pilasters, with an architrabed, cold setting decorated with grotesques and a cornice on which the half-point arch is raised, which welcomes, in its eardrum, the shields of the founders, and on its fantastic sides, tenants figures with the lower half of their bodies transfigurated in wing and vegetation. On the facade are scattered windows with conventional-style bars. The castle has a inner courtyard It has double gallery of half-point arches with Ionic columns and claustral staircase. The upper gallery, also Ionian, repeats the intellized structure, with the peculiarity of large zapatas on the columns, which support in plintos decorated with military motifs and, it borders a railing of balaustres. The set offers a constructive sobriety and a balance and harmony that demonstrates the authorship of an artist builder like Andrés de Vandelvira. It was declared a National Monument in 1931. It is currently in private hands.

• Our Lady of Conception parish church, It is built in the first half of the 16th century and is of Renaissance style. It is made up of three ships, the largest central than the sides, separated by half-point arches that are based on columns. It also has a crypto of great robustness, dated around 1000.

• Hermitage of Our Lady of RemediesIt was built in the 15th century and finished in the first half of the 18th century thanks to alms, as indicated on the facade. The entrance is protected with a small cancel with three more lower-than-usual carpanel arches and supported by dogrous columns on plintuses.

• Molinillo. It is a hydraulic construction of the Roman era, intended for the grinding of the cereal, and is located on the left bank of the Yedra stream, about 700 m from the urban centre. It was improved at the time of Carlos V, when the villa was bought by Francisco de los Cobos.

• Sources, dedicated to the solace of its inhabitants and the irrigation of gardens. There are several of us: New Source, Caño Source, Ark Source and Pilarejo.

Baños de la Encina has accumulated a rich artistic heritage that has been able to preserve and care for. To visit it is to connect with the tracks of other peoples and cultures that have passed through this territory.
From its heritage, we highlight:

• The castle of Bury al-Hamma (Burgalimar). The impressive silhouette of the castle dominates the rural landscape of Baños de la Encina. He rose in 968, in the califal period. It is flanked by a sturdy, almond wall with 14 towers, plus the Christian tower of tribute, and it has suffered little damage, constituting the best preserved fortified set of the time. The main Christian modification was introduced on one of the original 14 turreons: the Tribute Tower (also known as the "Gorda Tower"). This tower does not look to the countryside, but to the interior of the population, projecting itself above it, which indicates the transformation into a church building. It is Gothic and is built with irregular masonry, presenting cylindrical shape to the outside.

• The Church of St. Matthew. It is Gothic, although the tower has Renaissance finishes, as does the main cover. The most important element in it is the sacred one, one of the jewels of the sacred art of the province dating from the 17th century. It is built of ebony wood, ivory, silver and shell of Carey that make up a plateau with baroque dome, framed by four columns of shell with capitals and silver basements.

• Hermitage of the Jesus of the Llanus. Located in the middle of the Mesteño (sheep) rest, this sober building is raised, with a single ship and a bell tower in swordsman on the main facade. The construction takes place from the 16th to the 17th century. What surprises the interior is the Camarín Tower of the venerated image. Of clear granadine influence, it is a manifestation of the most expressive baroque of the 18th century.

• Hermitage of the Virgin of Encina. The shrine of the Virgin of Encina is 4 km away. from Baths. It was built on a smaller and primitive one from the late 13th and early 14th century. In the 17th century a remodeling was carried out, leaving it as it is today.

• Conistory house. It dates from the 16th century, and stands out for its sober and simple aspect, nuanced by the simplicity of the grating. The cover is made up of a half-point arch, on which a balcony is opened with the typical bathrobe.

• Wind Mill. Old wind mill of the 17th century, located in the upper part of the municipality.

In literature, Benito Pérez Galdós gives the name Bailén to the fourth delivery of the National Episodes.

Within the city we must highlight the church of La Encarnación with more than 500 years old. And there are several hermites that are scattered by the municipal term: that of Soledad, which has a shrimp in plaster of Andalusian baroque; that of Jesus Nazarene, of Saint John the Evangelist and of Holy Christ.

The most recent construction is the Parish of San José Obrero, which was raised in the 1960s, and with a low relief on its façade by the sculptor José Antonio Rivas Fernández. Inside, a fresco painting by the famous painter Francisco Baños, representing the desposorios of the Virgin with San José.

On the walk known as "de las palmeras" we find the memorial of the Battle of Bailén, also by the artist José Antonio Rivas Fernández.

And the visit to the Museum of the Battle of Bailén: a striking building that recreates in plant the weapon leading to the battle: the cannon. Two parallel vaults in the adjacent gardens simulate the ammunition used by this artillery weapon. In its interior, six interconnected rooms show in an amena and didactic way the beginnings, causes and consequences of the War of Independence (1808-1814).

• Parish Church of the Incarnation.We are facing the most emblematic building of local architecture, made of red asperon stone cut into armchairs and started its construction in the 15th century following the canons of the style known as the Catholic Kings or Isabelino, corresponding to the trends marked in other Gothic churches of the province such as that of San Ildefonso de Jaén, Santiago de Andújar or La Concepción de Lopera. Romanesque, Gothic, rebirth and baroque converge in this church declared an Artistic Historical Monument on May 2, 1983. The Mausoleum with the mortal remains of General Don Francisco Castaños and Aragorri, Duke of Bailén and Marqués de Portugalete remain in this church since 1963, when he moved to Bailén from the Pantheon of Ilustrious Men in Madrid.

• House of Culture.This 19th century house is located in whatever the Jaén Road is; one of the main entrance doors to the city. It was used as a family house since the first third of the 20th century by its owner Don Juan Gracia Alonso, mayor of Bailén at that time, who in 1971 decided to keep inside this house the facade of whatever was the Ducal Palace of the Ponce de León, as the fortress was dismounted stone to stone until it was located on the Street of Our Father Jesus.

• Hermitage of the Holy Christ. On this occasion we find ourselves in the face of an 18th century building, which at another time did the role of school and which would later be donated by the families of Bailén, Corchado and Barreda to the co-fradry of the Santa Vera Cruz. Through a half-point arch, the cover gives us access to the temple to contemplate the most prominent element of it, the cover of a half-canyon centralized on the cruise and presbyter, with plant motifs such as decoration in which voluminous acanto leaves surround the shields, two of them supported by a few naive children.

• Hermitage of Our Father Jesus.The street that in the past would unite whatever the Royal High and the Bajo road is known by all with its ancient name as the Cuesta of Jesus, giving greater identity to this 18th century hermitage, which initially responded to the name of the hermitage of the Holy Christ of Nazareth. As we enter the rectangle that delimits its interior, we see two different areas in a presbyter with a half-barrel vault and a quadrangular space with a half-orange dome over four half-point arches. The pechines decorated with baroque plaster next to the oval shields with the symbols of the Passion of Christ adorn the oratory.

• La Soledad hermitage.The Gothic is reflected in the rectangular ship, segregated in four spaces by three pointed arches, all settled since the end of the XIV. Four centuries later we located the baroque-style camarina tower, where a pointed window serves as a link to the ship, from which in turn you can see that element. The altar presents to its left the access to the sacristy and to its right that of the shrimp, both of stone and intelated, discovering vegetable decorations in the vault.

• The Hermitage of Clean and Pure.That day of 1808, he would see the Spanish troops parading at his side until they reached the place from which they would defend themselves from the French offensives. A Galo general, known as Dupré, would be killed during the fight when he attacked the Spanish army with his coraceros, so he would be buried in this oratory because of his proximity to the battlefield. It was a small, poor, rustic and encalada hermitage that had been built at the end of the 15th century and whose name would refer to the image of the Immaculate Conception that it guarded within it.

• Sanctuary of the Virgin of Zocueca.Its building is in the year 1150, when a poor and thick hermitage for the Cross is raised by the MozArab Christians, where a small image of Mary was venerated for having protected its elders and later to them, by winning King Alfonso VII the fields of Bailen. From the end of the 19th century, and annually every last Sunday of September, the people of Bailén celebrate in this place the Romeria in honor of Our Lady the Virgin of Zocueca, patron of Bailen who would intercede in favor of this people in the contest of July 19, 1808.

• The Castle of Macías: It's the most representative medieval building Arjonilla. This medieval fortification was built on an Arab fortress of 8th century. Its most outstanding and ancient element is the Tower of Tribute dating from the 13th century, from a chair with regular chains, it is based on a square-based rock socket. It has three plants that reach 17 meters high. The rest of the compound was erected in the 15th century by the Order of Calatrava. In the form of an irregular polygon of seven sides, three in relative good condition are preserved. This castle is not famous for the war that took place in it, but because in its tower of tribute he lived in prison and died. Macias el Enamorado, whose loves inspired the works of Lope de Vega, "Porfiar to die" and Mariano José de Larra. "Don Enrique the Dollient's maiden." Since 2005 included in the Route of Castles and Battles dand the Diputación de Jaén.It was declared Good of Cultural Interest in 1985.

• Church of the Incarnation: It was built following the Gothic style from the early 16th century. Its plant consists of three ships separated by cruciform pillars and covered with a mudejar roof that in the 18th century was camouflaged with false cross vaults. The chorus and the mannerist altarpiece were destroyed in the 1936 Civil War and later restored. The sacristy is accessed by a plateresque cover. It has a pantheon and side chapels, built between the 17th and 18th centuries. Highlights the size of the tower of octagonal structure and traces mannerist, raised at the foot of the church in the early 17th century. The cover of the church is discovered behind a large half-point arch of silery at the start of the tower. It was declared an Artistic Historical Monument in 1983.

• House of the Court: Known as Old Town Hall is the more interesting civilian building Arjonilla. Of this building built in the early years of the 17th century, only the facade made of stone is preserved. It has three bodies. In the bass, the door with lintel and wide Tuscan pilasters. In the second one a large balcony flanked by two great mannerist figures, popularly known as "the sticks of sticks" and in the third the shield of the Austrians in the center, the shield of the villa and another place on both sides.

• The Hermitage of Jesus: Built in the 17th century, retains the cover of its only floor with canyon vault with lunetes. The 18th century facade stands out for its monocrous simplicity of the brick, the ascending verticality of lines and the articulation of spaces. From its interior to highlight the Jesus' shrimp with paintings of this century in the vault.

• Palacio del Marqués de la Merced: Building of the late 17th century, whose facade has two intellized bodies: on the top it has a forging balcony crowned by a party fronton. It is the seat of the Arjonilla Museum Collections, opened in 2018. It has a room dedicated to the archeology of the municipality, another is the Hall of Historical Ceramic Reproductions of the pottery potter Manuel Bejarano and will shortly have other rooms dedicated to the traditions of Arjonilla to illustrious characters....

From its abundant and rich monumental heritage, we highlight:

• Aljibe Almohade. It is built on the 13th century, work of the pillows and is the oldest building that is preserved in Arjona. It is in the noble area of the ancient alcaza of Aryuna, under what could be the Major Mosque. It is rectangular with 3 canyon vaults, supported on half-point arches that rise on Roman alabaster baseswhich supported Roman sculptures.
• Church of Santa Maria del Alcázar. It is an isabelin-style temple (16th century) with a single ship and short-arms cruise. Located on a sacred place since ancient times (Roman remains, Visigoths and Muslims), it was built on the remains of the primitive Arab mosque. The church custody since 1843 the images of the patrons of the town: San Bonoso and San Maximiano, next to that of Santa Maria del Alcázar, who was also a patron of the city.
• Sanctuary of the Saints and the Sagrada Reliquias. The sanctuary was erected during the bishopric of Moscoso and Sandoval to guard the alleged remains of the martyred saints Bonoso and Maximilian, found in this villa in the early 17th century, as well as the remains of more than 3,000 martyrs of the first Christians during the Roman era. He rose between 1617 and 1619 with stone from Santiago de Calatrava and, as John of Aranda and Salazar planned, who also worked in the cathedral of Jaén, two churches were overtaken. At the bottom a camera was billed to be seen from the outside, as a crypt, with access to the cemetery of the Saints. It has a polychrome plaster altarpiece, baroque decoration, which was not finished until the mid-19th century, tombstones with the stories of the martyrs and a silver cover. The upper part has its entrance from the Plaza de Santa María, by a cover of 1659, and its plant is of a single ship covered with canyon vault with lunetes and architrabed pilasters that hold half-point arches. The upper floor was intended to house the stone images of San Bonoso and San Maximiano, which were never placed. In the year 1843, with the Decriminalization of Mendizábal, the images are moved to the church of Santa Maria, and the relics of the martyrs to the upper floor. The lower floor is not functional. This space currently houses the Religious Museum of the parishes of Arjona, where much of the heritage of the fellowship, as well as ancient drawings and photographs are displayed.
• Church of St. John the Baptist. Building that began to be built in the 16th century, although it was destroyed in the Civil War. His reconstruction was in the hands of Devastated regions which quite changed the plant, adding a more framed crunch over two towers. The inside is of a neo-Gothic style with a three-ship plant separated by pointed arches. Of its primitive construction only remains a cover, of silver style, which gives access to the interior of the temple that was carved by Juan Marquina in 1531. Next to imagining should be noted the sacred made thanks to the donations of gold and silver delivered by the parishioners in donations around 1950. Under the temple of St. John is the Rhipta del Baron de Velasco, covered by a dome made up of thousands of neoByzantine-style tesels.
• Church of Our Lady of Carmen. It began to be built in 1898. A historical style, with a tarootic plant on its only central ship. Neobarroca on its stone cover, with tile for the image of its headline in curved front. The presbytery welcomes in its central altarpiece a magnificent image of the Virgin of Carmen. The Neomudéjar tower, slender and elegant, with brick and tile masonry.
• Church of San Martín. It was built on the pillars of an old Roman temple. Its foundations are gothic, but the remodeling of the last centuries changed its physionomy. The tower was erected in the 16th century.
• City hall and old town hall. The building takes a seat over the old San Miguel hospital. The most important is the room of the former mayor's office, a neo-Arab stay that evokes the palatine dependencies of the Alhambra of Granada and whose decorative elements were brought from the house-palace of the Baron of Velasco. Today it is used as a reception place for official visits and one of the main tourist claims.
• Stone of desires. This enigmatic sphere, which in Arjona is popularly known as "La Piedra de los Deseos" or "Las Casualidades," was incorporated into the city of Arjona in 1995. Despite these "titles" with which the stone currently counts or is known, it is a bethyl or sacred stone. This type of "Sacred Stone," comes from an excavation that took place in the ancient Gothic Cathedral of Jaén, which reaches Arjona by the well-known writer Juan Eslava Galán.