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.

To understand today's Baeza, we have to go back to the first inhabitants who settled in the place known as the Alcázar hill, in the Bronze Age, evolving to the Iberian city Viatia or Vivatia, passing to the Roman era, when Biatia was one of the most important cities.

It would be the Muslims who made up the city's murary limits, some of which were remade in the 16th century. After the Christian conquest the epoch of splendor of Baeza begins. The new Christian Baeza begins to grow out of the world, where religious buildings are the most representative.

• The Cathedral. It is the most representative building in the square. In this enclave there could have been a Roman temple, over which Muslims raise a mosque and, in 1227, under the Marian advocation of the "Nativity", the cathedralicia headquarters is erected. In the 16th century, a reform is carried out, which will be the one that prints the Vandelvirian Renaissance seal to the building. The cover was drawn in 1587 by Juan Bautista Villalpando with "relief of the Nativity of the Virgin." The base of the tower is believed to be the mosque's miner, adding in time of Vandelvira the body of the bells and the deck.
• Church of Santa Cruz. This work dates from 13th century, of late Romanesque style and preserved after the Christian conquest. The exterior is austere, highlighting its two covers with half-point arquivolts. The interior consists of three ships.
• Ruins of the convent of San Francisco(extracamides). This work could have been one of the most important of the Andalusian Renaissance, but a number of misfortunes have prevented it, among these, the Lisbon earthquake of 1775 that brought down the vault of the major chapel. In this funeral and conventual complex, Vandelvira developed all its genius. The Latin cross church, which is accessed by a half-point arch that frames the entire cover, still remains with the relief of San Francisco and a tondo with the Virgin, which now give way to a large auditorium.
• Old House of Correction and Prison, current City Hall(extracamides). It was built in 1520 as a prison at the request of Charles I. Since 1867 it has been home to the City Council. It is composed of the prison, with a more sober cover on which Justice and Charity are represented, and the house of the corridor with rich silver decoration. On the upper floor we find tripartite balconies with the shields of Philip II, the corridor and the city. It is topped with cornice decorated with membranes highlighted with figures. The Salon de Plenos has a Renaissance potter (horizontal and intertwined wooden ceiling) from the convent of San Antonio.
• Church of St. Andrew. Building from the early 16th century, which held the title of a schoolgirl from 1764 to 1852. The silver-style cover, next to the square tower, stands out. The interior is a large main ship made up of arches pointed with side chapels.
• Jabalfifth Palace.In front of the church of Santa Cruz, the Jabalfifth palace, one of the highest exponents of the isabelin Gothic style, was built in the late 15th century. The isabelin Gothic We find it on the outside, with decoration based on diamond tips, pineapple nails, fronts, florons, ties, pinacles, mocaronas and heraldic shields. The facade it is overcome with five arches of half-point Renaissance period, as well as the courtyard of the late 16th century. Today it is the seat of the Antonio Machado International University.
• The St. Mary's Square, Baezan monumental heart, concentrates the largest number of monuments: the cathedral, the conistorial houses, the fountain of Saint Mary; the seminary of St. Philip Neri, with its picturesque facade plagued with cheers, current headquarters of the International University of Andalusia or the house-palace of Rubin de Ceballos, behind the cathedral.
• The Populo Square, framed by the door of Jaén and the arch of Villalar, is one of the most emblematic squares of the city, where we find the plateresque cover building of the old Escribanías, today the headquarters of the tourist office of the Junta de Andalucía, the old Carnicerías and the source of the Lions in the center.
   

• 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.

The city of Andújar continues to maintain a heritage set of great interest, for the quality of its monuments and for the diversity of artistic styles that can be appreciated.

We highlight some of them:

• Church of Santa Maria la Mayor. The construction of the church Santa María la Mayor, of a basic plant, began in the 15th century and ended in the first quarter of the 17th century. Its pillars and vaults of the first stretch are Gothic and the rest of the sets of the second half of the 16th century. The plant is articulated in 3 ships of 4 sections each. Among his works of great value is the 16th century paving and two pictorial works, the Prayer in the Garden of the Greco Olives and the Immaculate of Giuseppe Cessari. It has 3 covers: Northern front, in the square of Santa Maria. Designed in the early 16th century, in purist style. South front, dedicated to San Pedro. It is from the second half of the 16th century, in the strictest purism. Foot cover. It belongs to the Herriian style, is characterized by its absence of ornate and the sobriety of its elements.
• The chapel of the Christ of Agonyis connected to the church of Santa Maria. It is a Neogotic style, built between 1923 and 1925, by Rafael and Mª Elvira Pérez de Vargas (condes de la Quinteria). It is a private chapel conceived as a crypt of the counts. It has a single ship, organized in two sections, with nerve vaults, the header is decorated with five windows pointed with glass windows.
• Church of San Miguel. It dates from the second half of the 15th century and is a Gothic temple, with a basic plant of three ships. The plant, wider than the sides, ends in polygonal header, while the sides are flat. The interior lacks its own luminosity by not having windows, one of the most characteristic elements. Of its covers, the one of the feet is of a plateresque style; the northern cover is in the transit between the Gothic and the Renaissance; the southern cover has a double conopial bow flanked by pinacles. The 16th century tower has undergone numerous reforms as it is damaged by the Lisbon earthquake.
• Church of San Bartolomé.It is the first parish built to extramurus and later founded. In the initial project it is conceived as a three-ship gothic, articulated in five sections. From the different remodeling, there are signs: at the door of the sacristy the late Gothic (16th century) is observed, the primitive cross vaults are replaced by others of mannerist sensitivity. The tower, which is inconclusive, is from the 17th century and recalls that of San Miguel, is attributed to Francisco del Castillo, the Young. Of the three doors, the one that gives the runner of San Bartolomé is the most interesting. Its vanity integrates a bent bow pointed by another conopial with cardinals and flanked by pinacles.
• Church of Santa Marina.Mosque in Muslim times and Christian temple since the village was taken by Fernando III, the Holy (1225). It is a temple of three ships articulated in four sections. Its main chapel was remodeled in the 17th century, with a square section covered with a half-orange vault on the breast, in which the arms shields of Pedro and Luis Pérez de Vargas Palomino, their patrons, are located. Its two covers are of great simplicity, being that of the feet, of baroque style, which presents a greater monumental. He ceased to be a parish in 1843 although he remained open to worship until the 1970s. It is currently used as a cultural space.
• The Clock Tower.Mudéjar influence tower made in the time of Emperor Charles I (concluded on 20 August 1534). It was part of the royal prison and was conceived as a lookout to observe the village and the surrounding areas of the city. Head the square of Santa María, the heart of the medieval city. Its building is sober, based on alternating brick with stone armchairs. The almenas that kill the whole give it a strong tower air. Two elements stand out in this unique building: the Emperor's bicephalic shield and the beautiful silver-style watch that gives name to the tower. The towers of the church of Santa Maria, both the primitive and the modern, do not exceed the Clock tower in height, as a sign of the primacy of municipal civil power over religious power.
• House of the Children of Don Gome.This single house of the Cárdenas and Valdivia is popularly known as "the Children of Don Gome," reference to the ten children who had the marriage and was built in the late 16th century. The Renaissance palace is built behind the Almohad wall and in the vicinity of the Sun gate. Torreada fachada built in late XVI and early XVII. Two elements of very different use make up the house of the Children of Don Gome, the house of the inhabitants and the cavalry. On the façade of the solariega house, built in a plane more advanced than that of the cavalry, stands out its portada- tower, built unlike the other elements of the whole in sandstone, in the second third of the 17th century, by Don Gome de Valdivia, Cárdenas and Guzmán and Dona Mayor Nicuesa, and that is in the Baroque style. The pillow cover is almost unnoticed by the exuberant decoration, two Indian-accent, repetitive heraldic, and a highlighted cornice, as more prominent elements. The Children's Palace of Don Gome is the venue of the courses of the University of Autumn. Inside is the Archaeological Museum Professor Sotomayor. The stables are preserved with part of the fish, a porticated courtyard and the winery. In the latter is the Casa del Alfarero, which includes the extensive and rich tradition of ceramics that has characterized this land.
• Comedian house - town hall.The current town hall is located in the building that was built between 1620- 1631 for comedia house, which it maintained until 1680. In 1787, the Cabildo decided to move to it, as it had lost its old function. The fruit of this remodeling is its central body of neoclassical style and the beautiful staircase of "empire style." Three floors make up their beautiful façade: In the first one a portico and in the second one, a gallery as a lookout for the taurine celebrations of the time. The building is topped with an airy balustrada, articulated in pillars topped with pinacles. This facade has an Italian orientation and can be located within the most classical mannerism.
• Roman bridge.Its construction dates back to the end of the second century and saves the Guadalquivir River. Built with sandstone armchairs of a seine or brown colour, it has fourteen eyes, of which the twelve on the right bank are of half-point arch and the other two scarves. Like the Merida bridge, it offers lightens or drains on pillars to facilitate the passage of water in the large rivals.
• Basilica and Royal Sanctuary of Our Lady of the Head. Located in the heart of the Natural Park of the Sierra de Andújar, in the area known as the hill of the Cabezo, 32 km. north of the city of Andújar. The sanctuary is built between 1287 and 1304 and was reformed in the late 16th century. Since 1930 the trinitarians have served the cult in the sanctuary. The façade is made up of the door's vain, arco-sino balcony and two-body swordsman. The interior is a single ship covered with a barrel vault. The trinitarians community makes the enlargements of the two side buildings, leaving a harmonic set. In the very dependencies of the basilica is the Mariano Museum, where an important artistic, documentary and anthropological exhibition of the historical legacy has been developed through the centuries by devotion to the Virgin of the Head.
• González Orea Museum of Plastic Arts.Located in the old convent of the Capuchino Mothers.

In Aldeaquemada there are groups of rock paintings, ofschematic and eulogy style, distributed by flashlights and rocky coats of the municipal term. These deposits, calledRupestre Artunique for its theme, are the most important in Andalusia and can be considered as authentic outdoor museums of incalculable value.

These groups of rock paintings, located on most occasions on rock coats, were studied in the early 20th century by the Abate Brehuil and M. Cabré, which catalogued the vast majority of existing groups in the area.

The Rupestre Art is declared Good of Cultural Interest and, in 1998, the Unesco declared World Heritage the Rupestre Art of the Spanish Mediterranean Arc, including the 19 deposits of Aldeaquemada.

The most representative coats are:Table of Pochico, Poyos de la Cimbarra, Cimbarillo del Prado de Recheres, Cave de la Mina, Garganta de la Hoz, Prado del Azogue and Cave de los Arcos, among others.

The urban centre of medieval origin has an important architectural heritage since the villa has had a great expansion between the 16th and 18th centuries, building a large number of civil and religious buildings of many different styles, which embellish and embellish the streets of its historic town.

• Church of Santa Maria la Mayor. The temple of Santa María de Alcaudete is a faithful exponent of the plurality of aesthetic offers that characterize the Spanish art of the 16th century, which explains the coexistence in its plant of two spaces or defiant structures: a Gothic body of three ships and a major Renaissance chapel. In the preserved factory book, the intervention of Vandelvira around 1558 is mentioned, when a rostrum is commissioned by Bishop Diego Tavera. It is declared BIC (Good of Cultural Interest), published in the Gazette of June 4, 1931.
  
• Church of the Incarnation or of Carmen.At present, the early convent of the Incarnation only remains the church known as the Church of Carmen. In its interior it houses images of great artistic importance, such as Our Father Jesus Nazarene, the Holy Inlay, a lying, articulated Christ possibly attributed to Joseph of Mora or St. Elijah, attributed to the famous sculptor Peter of Mena and currently the most important work of imagination of Alcaudete.
  
• Church of St. Peter.The Parish Church of San Pedro was created on an ancient hermitage, in the new arrabals, as a result of the spectacular increase of the population that Alcaudete experienced from the 16th century. The author is the architect Francisco del Castillo, although he was finished by his collaborator Juan de la Monja in the second half of the 16th century. A simple exterior gives way to an interior of great beauty and harmony, which also reflects an atmosphere of austerity, accentuated by the outer counterstrengths of the walls of the silery.
  
• Convent and Church of Santa Clara.The convent of Santa Clara belongs to the order of the clarisas, within the order of San Francisco. The convent is made up of a set of buildings that rise in the neighborhood of its own name, highlighting among all that of its church. In the province of Jaén is the only example of full cover in stone that exists, appearing overlaid on two floors The building is rectangular, drawer type. It can be placed on the border between the 16th and 17th centuries.
  
• Cemetery and Chapel of Santa Catalina: Although the oldest reference is that of its chapel, dated 1511, as regards the municipal Cemetery, in 1807 it was built to extramuras of the villa, next to the hermitage of Santa Catalina, is considered one of the oldest in Spain, and surely in the province of Jaén. The Cemetery of Alcaudete, on the occasion of the third prize in the category "Best Cemetery of Spain as a whole" of the 3rd Cemetery Contest 2016 of the Cultural magazine Adios, is included in the Spanish Cemetery Route.
  
• Castle-Palacio de Alcaudete. El Castillo- Palacio, declared a historic monument in 1985, defended the population and controlled the communication route that links Córdoba with Granada. It is one of the highest examples of the power that, in the Middle Ages, reached the Order of Calatrava, to which King Fernando III the Holy entrusted the protection of the western border of the kingdom of Jaen in front of the Nazari kingdom of Granada. The castle has a centre of interpretation dedicated to its historical evolution and, in particular, to the stage occupied by the nuns-warriors.
  
  The enclosure has three aljibes, on one of them, the one located next to the main door, is located the guard body, in charge of controlling access to the castle and connected directly with the adarve of the walls. In the southern area of the walled perimeter are the cavalry and above them, the capitular room. But, among all these buildings, in the center of the fortress and at the highest point of the hill, the spectacular Tower of Tribute, a symbol of the power of the Order, is prominent for its dimensions (22 meters high and walls up to three meters thick) and is practically inexorable for the difficulty of its access. In it, in addition to the aljibe and the warehouse to store the food, on the last floor, the residence of the planner was located.
  

The extramurous expansion begins through Real Street and will replicate and build religious and civil buildings, including the Rosario and Veracruz churches, which together with San Francisco and the Alcalá gate are part of the missing heritage.

From the walk of the Alamos, with San Antón and the old convent of Capuchino, today Library and Municipal Archive, we began a tour of the Llanillo, a vertical axis from north to south that becomes the new stage of local life, whose heart is in the Compás de Consolación.

The modernist houses of the early 20th century, the Abacial Palace, the Convent of the Incarnation, the Angustias, the City Hall Square and the Houses of Enfronte are very elegant.
Today, Alcalá la Real is a cosmopolitan and hospitable town, of entrepreneurial neighbors who have known, respecting their past, to reach the 21st century with the elegance and humility of those who know of good crib.

• Pilar of the Alamos. It is a Renaissance work, dated 1552, as seen in the legend of the frieze. It shows the frontis a great relief in which two tenants hold and keep the shield of the city, protected in turn by two fabulous hybrid wings, with lion head, dragon body and masked at the ends of the wings, which are related to the guard and defense of the city. The frontis is almond with ten malls. He took part in the work Francisco Florentin.
• Church of the Angustias. It began construction in 1746, and was completed in the early 19th century. As a result, the Baroque and neoclassical styles occur. The vault and the main chapel, of a hexagonal plant, as well as the Neoclassical altarpieces and a meritorious collection of paintings from the 15th and 16th centuries, stand out. In his parish archive we find the baptismal games of Pablo de Rojas, Juan Martínez Montañés, Pedro de Raxis and Pep Ventura.
• Trinidad. At the site of the ancient church and convent of the Trinity, founded in 1475, a multi-purpose building has been rebuilt that respects the typology of the existing space intended to be an exhibition and gastronomic center. In the entrance gardens remains of the former Muslim cemetery, the maqbara.
• City Hall. The city palace is a baroque building of classical descent. It overcomes its cover, in red and black marbles, with the weapons of the city in a circle; the noble plant, with the royal shield of Philip V; and the upper gallery, which has in the key of its arches a series of masquerades alluding to the vices and capital sins. It is worth noting the watch, made by Fernando de Tapia, in 1803, with the originality of pointing out the lunar phases.
• Abacial Palace. We could harmonically link it to an austere Baroque style, with some neoclassical contributions. It is a robust set on the outside, in which the bold alero and the monumental cover stand out. In the interior stands the enclosed courtyard, of rectangular floor, with three open bodies. It is currently the headquarters of the Elemental Conservatory of Music, Museum and Tourist Office.
• Church of St. Anton. In front of the walk of the Alamos, the present church, built in the 18th century in the vicinity of a small chapel of the 16th century, rises. It is worth noting the perfection of its elliptical plant with brick vault and cover, with three bodies, next to which is opened a chapel to the outside where the Christ of Mercy is sold.