Location: east of the city centre, in the pedanía of Puente Honda.

Distance: 4 km.

Medium: by vehicle tourism.

Access: local road to Puente Honda.

We arrive at the aqueduct by the Service Way that links Pozo Alcón with Cuevas del Campo, once we have overcome the Aqueducts of War and Caramaco we see at a distance the elongated silhouette of it. Its conservation status is quite good.

It is composed of 78 half-point arches of a plant, of masonry built with stone of the area - turroner - and argamase. It is about 400 m long and its arches are higher than those of the nearby aqueducts of War and Caramaco. Several of its arches have a height supplement to correct land irregularities.

They have in the area that in the 15th century, when Isabel La Católica was traveling to the conquest of Granada from Córdoba, it reached this point where Guadalquivir was so grown that it did not allow its passage. In one night, according to the book, his gentlemen raised this robust bridge that allowed him to reach Baza and Guadix.

The place is beautiful by itself: the bridge is surrounded by fig trees and wild rosals. And in the paths around it you can observe boj, strawberries and hazelnuts.

On the right side is joined the Maillar stream - with another beautiful stone bridge - which makes in rainy years the place an authentic vergel and a very busy bathing area.

We suggest:

• Make walking some (or all) part of the road that leads to the birth of the Guadalquivir. They are about 11 km across the Navahondona- Guadahornillos Reserve Area, the most protected area of the Natural Park.

In Cazorla take the Sierra road (A-319) until the crossing known as the Empalme del Valle, 17 km. Turn right on the JF-7092 road and after passing the bridge over the Guadalquivir River (4 km from the Empalme) follow the right track (JF-7091) that after two kilometres reaches the Bridge.

The Mengibar Dam was an important civil work in its time, as it was among the first hydraulic power plants to be built in Spain with mobile doors. Until then, the dams were fixed and, if they exceeded their capacity, overflowed. However, in the case of Mengibar, in anticipation of possible floods, Mengemor engineers designed to install mobile doors that allow the water to be depacked in a controlled way to the river. Built from load walls, with natural stone masonry, lacquered and assembled by concrete mortar. The holes form a half-point arc with material of similar characteristics. Covered with flat ceramic tile, mounted on metal fences. It is in good conservation and is currently used to generate electrical power and inject it into the network.

Although it is possible to reach the Poyos de la Mesa from different places, we propose to do it from the track it leads to the Nava del Espino. From this point comes a path marked as PR-A 315 that in an hour and a half leads you to the top of this mountain.

Once at the summit you will discover a wavy landscape of limestone eroded by the passage of time and covered with green meadows and larive pines. It is a formidable place to see the great herbivores of the Park that pasture to pleasure the juicy grass of these heights. It was also one of Felix Rodríguez de la Fuente's favorite places to shoot some of his famous wild scenes.

Now you have to enjoy the landscape around you and identify the many peaks you can see: The Banderillas, the Cabañas, the Empanadas rope, or the Pico Giillo are some of the most emblematic mountains of the Natural Park.

In these saws, it is known as "poyos" to the high plateaus surrounded by cliffs cut to peak, like huge teeth. The Poyos de la Mesa is one of the most spectacular. From its edges you can see a good panorama of the head of the Guadalquivir and if you look at the slices or poyos that name this mountain.

We suggest:

• Once located in the Poyos you should not leave the opportunity to approach the area of the Marchante Prairie, by the bank of the Gualay Tornillo stream.

In Cazorla take the Sierra road (A-319) until the crossing known as the Empalme del Valle. Turn right on the JF-7092 road and after passing the bridge over the Guadalquivir River (4 km from the Empalme) follow the left track (JF-7091). Continue this track to the Nava del Espino in km 21 of the road signs, where you will find a milestone that points to the rise to the Poyos.

The route of the Borosa River, between the Piscifactory and the Cerrada de Elias, allows to observe a varied set of folds. The structure of the Sierra del Pozo, in which the Borosa River is located, is characterized by the presence of folds and NNE-SSW direction failures. The general geological structure of this Sierra is controlled by two large synchlinals: the birth of the Guadalquivir River and the Cabañas River.

In the four initial kilometers of the itinerary that part of the Piscifactory, folds associated with those of a regional character are observed, the size of which ranges from 1 meter to several tens of meters. These are developed in Cretaceous materials of Urgonian facies and their orientation determines the course of neighboring streams, with the concordant relief of the Arroyo de las Trout valley controlled by a spectacular sinchinal. As an example of anti-linear, the best fold is found in the Los Caracolillo Bridge.

Source: Inventory of Georresources of Andalusia. Environmental Council. Junta de Andalusia.

Located between La Mella and Jabalcuz, Mount Almodóvar is famous for its crest, visible almost from any point in the city of Jaén. With 992 meters in height, this hill does not stand out for its altitude, but it does stand out for hosting very close places for the Jiennans, such as the Fuente de la Peña or the Plazoleta de las Armas. The Plazoleta de las Armas is a small plain surrounded by almonds, majolets and pines that offers beautiful views of the city. Place of play, walk and "bulls" of several generations of jiennenses, this square - which is accessed from the district of the Gloriet - remains a special place worth visiting.

The Church of Santa Maria was the most important monument of the advance of Cazorla. As a Renaissance, his inspiration is attributed to Andrew of Vandelvira or one of his disciples. It is built on the Cerezuelo River, taking advantage of the vault that covers the river and crosses the entire Plaza.

It is not the only unique building we find there: the House of the Clérigos, the Thematic Center of Threatened Species, the old Conistorial Houses (in an alley above the square) or the Fountain of the Chain (built in 1605) are some of the many visits we can make here.

In the square we also find nice restaurants that offer a great sample of local cuisine. To enjoy these dishes in the quiet dusk is one more reason to often go to this suggestive square.

We suggest:

• Visit the ruins of Santa Maria, know its history and its curious construction. You can order information from the tourist office (953 71 01 02).

• Up by the river Cerezuelo, passing the ruins of Santa María in the direction of the castle of La Yedra, and walking along one of the small routes that begin in this area. An information panel will help you to better know this area of the city.

In Cazorla, we leave the Plaza de la Constitución, in the center of the village. From here follow Doctor Muñoz Street to La Corredera Square. At the end of this, we turn right and immediately left, following the signs to the Castle of La Yedra. After passing by the balcony of Zabaleta and crossing the street José Salcedo Cano - a narrow and steep street with numerous pots in its balconies - we reached the Plaza de Santa María.

The simple fact of seeing a seed germinate and growing plants, or of observing animals and the birth of women, made these people wonder about the origin of life. These thoughts were those that moved to the walls of the caves as a representation of facts related to daily life and its world of beliefs. We can imagine one of the inhabitants of the Cave of Birth preparing the pigments, mixing them with animal fat, improvising a brush with animal hair and getting ready to paint a scene. I'd be thinking of painting a composition with a hunting scene, fight, dance trying to tell a moment, a scene of life.

The rock paintings represent one of the most important cultural manifestations of prehistory, as they have helped to know some aspects of these societies to learn a little more about their life forms, fauna, flora and the world of their beliefs. What reasons could lead our ancestors to translate the manifestations of daily life and their beliefs into caves and coats? Maybe they were sanctuaries?