The current number of pieces is 449 and are classified in the sections of: acoustics, heat, photography, mechanics, chemistry or technology. You can also see archaeological pieces of Martos and his region that was gathered in his work as local scholar Father Alejandro Recio. Its library also includes archaeological topics from all over the town.

On the basis of the fact that it was the Archaeological Museum of La Carolina and continuing the previous trajectory, this museum centre was opened in 2011 to gather, preserve, investigate and transmit the historical cultural heritage and the testimony of the human communities that have lived and left their mark on this territory, a land so linked to mining and to the despeñacolos parade.

An important and exceptional collection of all types of objects, together with the achievement of museum and multimedia resources, allow us to know the physical characteristics of the territory and the uniqueness of its natural environment, as well as to make a chronological journey through its history, from the first vestiges of human remains in the Paleolithic, to practically today. Highlighting stages as important as the Spanish-Roman mining, the period of creation and development of the New Populations as a colonizing project of Charles III and the intense contemporary mining activity that ended at the end of the last century, traces all so present in the collective memory of its inhabitants.

On the other hand, the Museum of La Carolina offers a wide range of temporary exhibitions and activities, both in the museum itself and in the territory.

The seizure of the fortress of Salvatierra, the province of Ciudad Real, by the Almohades in September 1211, prompted Alfonso VIII of Castilla to organize a campaign for the summer of 1212 with which to destroy the Almohade military capacity, inciting Innocent III to enact a bull that turned the campaign into a crusade. This is a decisive act, as it brings them together with the company across Europe and gentlemen of the different military orders.

On June 20, 1212, three troops left Toledo: Aragonese and Catalan under the command of Peter II of Aragon; Castilians with his king Alfonso VIII; and Ultramontans; Leonese and Portuguese under the orders of Don Diego López de Haro, lord of Vizcaya. The troops of López de Haro, in their advance, take the castles of Malagon (24 June) and Calatrava (1 July), the latter by capitulation. The lack of booty and the course of events began to create unrest among foreign combatants, most of whom decided to return to their places of origin.

The Almohad Caliph Muhammad al-Nasir in whose army were integrated fighters from the Maghreb, from sub-Saharan territories and from Turkish troops, set in motion his men who leave Jaén with the aim of blocking Christian troops in Sierra Morena.

Between 4 and 6 July Alfonso VIII continued his progress by taking several fortifications, including that of Alarcos. With the arrival of Sancho VII of Navarra the total of Christian armies is gathered at the foot of the castle of Salvatierra, from where they continued in search of the Almohade army.

On July 12 advanced from Don Diego López de Haro took the Puerto del Muradal, with the fortification of Castro Ferral. Two days later, after being blocked in the passage of the Slayer, they camp in the place known as the King's Table, from where they go to the battle that took place on July 16, defeating the Alphade army that will withdraw from the fortresses that defended the entrance to the Guadalquivir Valley. On July 19 they occupied Baeza and a day later they besieged Ubeda, who would eventually capitulate.

After the campaign was completed and access to the Guadalquivir Valley was assured, Christians withdrew to their kingdoms in the north.

Archaeological investigations seem to confirm some of the sites where the written sources placed the contenders' camps. The results obtained by archaeological prospecting in Mesa del Rey corroborate the presence of a camp occupied not only by the troops, but also by higher-ranking characters of the Christian army, having identified areas within the internal organization of the camp, such as that intended to change the horseshoes of the beasts. It can be proposed that the King's Bureau be the place that occupied the troops of King Alfonso VIII of Castile, but not all of the Christian armies.

Similarly, in the surroundings of the castle of Castro Ferral, the great concentration of weapons material can be interpreted as the vestiges of the assault by Alfonso VIII's troops to the fortress. Parts related to daily life have also been documented in El Ferral and its military function (horsemen, furniture elements, garrison of clothing, tools, nails and passers).

The set of recovered pieces points to the existence of a large concentration of materials related to the battle, despite the intense expolity suffered throughout the area for more than a century.

LEYENDAS

The pastor of the Navas de Tolosa. In July 1212 the Christian hosts, on their way to the heart of al- Andalus, were to cross Sierra Morena through the natural passage of La Losa, a narrow throat in the port of Muradal, defended by the fortress of Castro Ferral. Alfonso VIII sent Don Diego López de Haro to take the castle, but despite his conquest, the road remained strongly defended.

At the Christian camp came a man from the place, a connoisseur of those border lands, who showed them an alternative path between the mountains, leading Don Diego López de Haro and his troops to a high-level, ever since known as the King's Table. In it, the Christian camp was set up to launch its offensive against the Almohad army, on July 16, 1212, a confrontation that would open the door of al-Andalus to the Christian armies. The man who showed them the way was called Martin Halaja, a shepherd for some, a hunter for others and for the most pious of the same Saint Isidro.

The Museum is divided into seven rooms:

1. "Narciso Mesa Fernández" Culture Hall with conference room, Galdurian theme library and authors and the "Saudi" Phototeca and video library since the mid-19th century.

2. City History Room.

3. "José María Balboa Ruiz" room dedicated to popular arts and customs with the reconstruction of a house and various trades.

4. Room "T.E. Traschina." Dedicated to popular arts and customs, with spaces for popular religiosity, media and historical memories.

5. Hall of the spartum crafts and olive culture.

6. Temporary exhibition room.

7. The "Brilop" Naif art museum that collects the pictorial legacy of Blas T. Rivera López.

It is formed by the donation of original works and documentation made by the family of Jacinto Higueras Fuentes in 1963, in addition to the awards of the International Sculpture Competition that is held in memory of the sculptor. The exhibition spaces are articulated around the two floors with which the building has

On the lower floor we find a single room, with well-defined spaces; in it are exposed the religious sculpture, the family of the sculptor and the monuments. On the upper floor there are two rooms, in one there are portraits made by the sculptor and in the other the awards of the International Sculpture Competition. The permanent exhibition only allows to contemplate a part of the considerable volume of the work housed in the museum.

From its first occupation (Bronze Age 2500-100 BC): Ceramics and funerals, loom weights, tips or needles, among others.

From the Roman Age (Flavia Dynasty S. I d. C.): Packaging and ceramic and domestic like dishes, pot, bowls, dishes, glasses, etc.

From the Medieval Time, the distinction is made between Arab civilization (Almohad invasion) and Christian: Decorative elements and domestic life as remains of pliers, candles, jars, dishes, etc.

From the Modern Time, you can pick up passing doors, keys, arches, flow box, portraits, etc. From this time to highlight three very significant pieces, the first the painting of Juan de Bolaños, The old (the only preserved specimen of this author's pictorial work) that represents the scene of the Battle of the Navas de Tolosa that occurred in the vicinity of the castle of Castro Ferral. The second is the impressive tincture shown in the lobby of the Baeza Museum for oil storage. And, finally, the door known as the three keys and which in its day kept the most important documents of the city in the building of the High Concierial Houses.

They are therefore pieces that serve visitors of excellent procedure to know the life of man and brushes of the history of the city. But the main capital of the Baeza Museum is its own public, who when visiting it regains collective memory.

The Museum of People's Arts and Costumbres reconstructs environments specific to the ways of life of the province of Jaén of the last centuries, with pre-industrial scenarios. In their rooms are exhibited objects such as agricultural tools, ceramics, typical suits, furniture or children's toy, among others. The International Museum of Naif Manuel Moral Art is the only museum dedicated to this art in Spain. Among its many rooms are works by national and foreign artists.

The collection is very much related to trades (barber, doctor, blacksmith, boticario, pastor, espartero, carpenter, midwife, sewer, tendero...) that are exposed in independent units with a multitude of objects forming a wide reproduction, where you can also see a wonderful sieve of the 18th century and the textile production of flax, wool and silk at the time. Also included are the domestic spaces of a bourgeois house, such as the living room, bedroom, cupboard, etc.

The Museum of People's Arts and Costumres of Begíjar has a library of consultation, specialized in anthropological themes with special attention to Andalusian ethnography and topics related to the contents of the Museum.

In recent years, the Museum has held numerous temporary exhibitions and published various publications related to workshops and research carried out by the museum itself. It continues to cooperate in all types of cultural events, whether their own, private or public, in order to promote the study of anthropology and social history in Begíjar.

In the first room of the museum, a chapel has been installed with a natural-sized Roman-Byzantine Christ mounted on a cypress wood cross. It is surrounded by a complete collection of twelve anonymous paintings of the 17th century representing the Apostles and a baroque size of Bishop Saint Ambrosio.

In the second room (weapons room) of the Museum of People's Arts and Costumbres of Alto Guadalquivir is decorated with shield-shaped panoplias with various weapons: swords, crosses, axes, alphanxes, etc. It also has two strands and carved arches, as well as furniture from the 16th and 17th centuries.

The third room (noble room), is the one that most structurically stands out for its completion in a Gothic cruise vault and its arches windows pointed with parteluz, also Gothic. It presents three flamenco tapestries of the 17th century, signed by Ian Raes and four bargueños forming together with their corresponding tables of the 18th century.