• 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.

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.