He was a man of total confidence of the secretary, Don Francisco de los Cobos, who was appointed by this great chaplain of the Sacred Chapel of El Salvador, whose building process followed closely. Built in quarry stone, by the middle of the 16th century it had to be largely built.

There are few documentary references to their constructive process, but V. M. Ruiz Fuentes has published some data of great interest in this regard. On October 31, 1550, the carpenter Diego de Ocón was forced to work various pieces of carpentry: high and low windows of the façade, interior doors, covered by the corridors and high rooms. The guidelines for all these works were dictated by the royal architect Luis de Vega, related to the works of the palaces of Ubeda and Valladolid, to be built by Francisco de los Cobos.

On the same date, the bartender Martín de Mendiola was committed to linking the main courtyard, among other actions, under the supervision of Andrés de Vandelvira. In 1553, the works of the West facade were projected, with the bartender but George in charge of providing the stone, determining that both the frieze, the cornice and the moulds of the windows would be equal to those of the main facade, although in fact they differ. The limited documentation on the relationship of Andrés de Vandelvira with the works of this palace does not prevent him from linking him to his building process.

The compositional elements are part of the architectural lexicon used by Andrés de Vandelvira, although certain particularities are noted. The building, with a rectangular floor, is made up of a large main facade of landscape proportions and two sides, with two heights and basement. The stylems of Vandelvira are clearly seen in the sintered windows with marmorea column, used by him in the Vela Cobos palace or in that of the Count of Guadiana; in the triangular front with mirror in his eardrum; in addition to the various compositions of windows, balconies and cornisamento, with great work of ovas and darts, similar to that used in the building of the House of Corridor and Royal Prison of Baeza, traditionally also inscribed in the Vandelvirian catalogue.

Essential part of the whole is the courtyard, one of the most beautiful and elegant of Andalusia, with four galleries in its two panda, with half-point arches in elegant and fine columns of white marble in order of dórica, in the mirrors. Vandelvira uses in this palace stylems taken from Sebastián Serlio (cornisa, side cover of the facade is preserved in its original trace, etc.), and in general the language of the classicist, but it also remains true to the tradition in the fine and graceful composition of the courtyard, accommodated to what has come to be called the "Andalusian module," a consequence of the fine supports of the Nazarite art, used in this same city in the patios of the House of Torres and in the palace of Vázquez de Molina, present City Hall.

Vázquez de Molina al no tener descendencia de sus dos esposas decidió fundar en este palacio un convento, recayendo para tal fin en la rama femenina de la Orden de Santo Domingo (Dominicas). Tras ser suprimido el convento en el siglo XIX, el conjunto del edificio fue adquirido para instalar en él la actual sede del Ayuntamiento de la ciudad. Pocos son los datos conocidos sobre su proceso constructivo, que hasta no hace muchos años se daba como fecha de inicio la del año 1562. La historiografía más reciente sitúa sus comienzos en torno a la década de 1530. Documentación más precisa al respecto ha sido publicada por V.M. Ruiz Fuentes, según el cual hacia 1546 la fachada principal debió estar finalizada dado que en el mes de noviembre el rejero Francisco López se comprometió a forjar las rejas para las ventanas del palacio; en 1557 la fachada principal y sus rejas están concluidas, iniciándose los cuerpos laterales a cargo de los canteros Antón Sánchez y Alonso Fernández.

En este mismo año también se dieron las condiciones para la ejecución de toda el ala norte por los canteros Martín de Perona y Juan de Madrid. En todas estas intervenciones, así como en los minados, solerías y otras obras menores, consta documentalmente que Andrés de Vandelvira estuvo al frente de la fábrica supervisando, tasando y dando condiciones en los contratos. Sin embargo, no se ha encontrado aún el contrato del encargo arquitectónico. El inmueble, cuya ejecución material tanto se dilató en el tiempo y que nunca fue habitado por su dueño, sufrió importantes cambios para adaptarlo a monasterio y después a Casa Consistorial.

A pesar de ello, tanto su fachada principal como las laterales, el patio y el cuerpo alto (cubierto con hermosa armadura de tradición mudéjar), en el que se conserva el Archivo Histórico, mantienen en buena parte su configuración original. Este magnífico palacio, labrado en piedra de cantería, forma parte del conjunto monumental de la Plaza Vázquez de Molina y de Santa María, presentando su fachada principal hacia la de esta iglesia colegial. Es la pieza de mayor envergadura dentro de la arquitectura palaciega de la ciudad, pero además su conformación es excepcional en el panorama español, “(...) tanto por su condición exenta como por la ordenación de su fachada, con la que compite solamente el Palacio de Carlos V en La Alhambra (...)”, en opinión del profesor Galera Andreu. Andrés de Vandelvira, para plantear tan soberbia arquitectura, recurre a Vitrubio, edición de Fra Giovanni Giocondo de 1511, en la que, entre otras ilustraciones, hay una planta y alzado de la “casa romana” con cuyo diseño guarda el Palacio un gran parecido.

Al margen de otras piezas, los mejores elementos arquitectónicos originales del conjunto son el patio y la fachada principal. El primero, de proporciones cuadrangulares, está articulado en planta baja por cuatro arcos de medio punto sobre columnas corintias de mármol de fino fuste de tradición nazarí, cubriéndose a lo florentino las galerías circundantes a base de bóvedas de arista y baídas en los ángulos; en la planta alta los arcos se rebajan y se mantiene el orden corintio. En ambas pandas las enjutas de los arcos se embellecen con la heráldica familiar de Vázquez de Molina. A este elegante patio se accede desde la Plaza de Santa María tras pasar un amplio zaguán, convertido en capilla para el monasterio.

La fachada, el elemento más contundente del conjunto arquitectónico, destaca por su perfecta ordenación; se divide horizontalmente en tres plantas y semisótano o cantina, verticalmente en siete calles separadas por pilastras cajeadas con capiteles corintios en el piso bajo (en él se abren ventanales enrejados) y jónicos en el primero o noble (con balcones rematados a base de frontones triangulares). El piso último –con ojos de buey- se exorna a base de cariátides y telamones portando la heráldica familiar, vinculados a la producción del escultor francés Esteban Jamete, responsable del programa iconográfico de la capilla de El Salvador. Una hermosa y volada cornisa con graciosas linternas en los ángulos sobre las cubiertas rematan esta singular y sorprendente gran fachada renacentista. Andrés de Vandelvira introduce en ella elementos ciertamente conservadores, pero también innovadores. Una vez más el maestro de Alcaraz sorprende con su versatilidad y buen hacer estereotómico.

El palacio, en opinión del arquitecto don Fernando Chueca, rezuma “savia bramantesca”, que pudo llegarle a Andrés de Vandelvira a través de Machuca y el palacio Real de Carlos V de Granada.

OTRAS MANIFESTACIONES ARTÍSTICAS NO ARQUITECTÓNICAS

Se conservan en este Palacio-Ayuntamiento diversos programas pictóricos al temple sobre yeso repartidos por algunas de sus estancias. En la actual Oficina de Intervención destaca –entre otros motivos- el escudo heráldico de D. Juan Vázquez de Molina, de mediados del XVI. En las Oficinas de la Escuela Taller (antigua Sala Capitular) se representa la lucha de los Dominicos contra la herejía (1595), atribuida a Pedro de Medina; La antigua Capilla Mayor conventual (actual zaguán) fue decorada con motivos florales e imitación de mármoles hacia 1760. En la última planta, orientada a la Plaza Vázquez de Molina, se custodia el valioso Archivo Histórico de esta ciudad, con fondos referentes a ella y a otras poblaciones cercanas como Sabiote, Torreperogil, Jódar, etc. De gran valor artístico es el cuadro de la Virgen de los Remedios (S. XVI), pintura que se encontraba originalmente colocada en la Puerta de Toledo, ante cuya efigie juraron defender los fueros de la ciudad Carlos V y su hijo Felipe II (la situada en dicha puerta es una copia de la original). Son interesantes también un retrato de la reina Isabel II, de Esquivel, y otros bienes pictóricos o de mobiliario de los siglos XVI y XVII.

It has an interesting gastronomic library, and a dream environment for celebrations, congresses, conferences or business events. A place of forced passage for gala dinners in congresses, it has hosted in recent years important events held in the city of Ubeda.

The building has been of great importance for the Garcíez community, both at the economic and social level, which transcends the history of the lordship itself and its successive owners, as well as in the urban configuration of the town.

Despite the numerous remodeling it has suffered over time, the building maintains the original structure of an Italian Renaissance palace. From the artistic point of view, it is a unique building in the panorama of the 16th century architecture in the province. The six covers, part of the porticated galleries of the two courtyards, decorated with Renaissance, medallion and heraldic motifs, as well as the magnificent staircase. The palace is located in the central area of the historic town of Garciez. Its main facade of marked horizonality and powerful volume stands out among the different surrounding constructions.

This house is the most outstanding civilian building as an architecture of the people and must be judged, at the same time, as a sign of their power through this special ornamental treatment of classical cover and the symmetrical composition of the facade that confers on it that seal of the palace as a dwelling, centre of dominion and administrative control of a territory.

The cover It is divided into two bodies by an injunction.At the bottom is a half-point arc with acanto highlighted key and framed by acanto pilasters. The upper body is crowned laterally by two vases on pedestal and in the center a shield with a dome and cross of Santiago between columns decorated with reliefs.

On the other hand, distribution of the inner space It does not correspond strictly to that of rooms and housing, but to that of the depositary of the goods in kind that, as income due to the lord, had to be collected there. This aspect is above that of housing in the general consideration of the property. This deposit primacy is well justified by the agreement of the Marquis, whose residence since the end of the 16th century was not even in the land of Jaén, but in Valladolid. This primary function is demonstrated by the two large ships that run on the second floor along the entire body of the house and on whose access bank there is still an allusion to the date of construction of the barn.

In 1997 it was included in the catalogueGeneral of the Historical Heritage of Andalusia.

The first reliable constancy of documentary sources dates from 1,371, year of creation of the lord of Santisteban by Henry II in favor of Men Rodríguez Biedma, later last name Benavides. The lordship included the Villa de Santisteban del Puerto, along with the places of Castellar and the Navas. Later in 1,473, Henry IV made the title of Count by Sánchez de Benavides and Dávila with the same name. It is at this time that the construction of the walled enclosure that is still preserved begins.

After the Christian Reconquest, the Castle loses its military function. The Dukes of Medinaceli, the last feudal lords of the place, kept within them the tower of the fourteenth century tribute, called Pallarés, and the courtyard of arms of the old fortress, raised a palace of good silery. In line with the Spanish stylistic fashion, the cover presents a robust half-point arc and blasphemous shields in the outgoing key and in the shrouds, framed by stylized columns and flaminers.

His name as the Palace of Medinaceli is due to the second half of the 18th century, when Louis Mary, Duke of Medinaceli, son of Pedro Alcántara and Maria Javiera of Gonzaga, obtained the title of Duke of Santisteban for his marriage to Joaquina de Benavides, daughter of Antonio Benavides and Ana Maria, sister of Pedro Alcántara.

At the end of the last century the Palace became a Liberal Casino, after the civil war it was the seat of the Labradores Circle and is currently the Casa Consistorial de Castellar, restored following the original guidelines.

As for the tower, called Pallarés, of a square floor, it consists of two floors with ten meters of width and fifteen meters of height. From its first floor it is worth noting its beautiful pointed bow, and from its second floor, it is worth admiring its dome on the breast as well as its unrelenting steaks or saetries. In 1996 it was registered in the General Catalogue of the Andalusian Historical Heritage and since 1998 it has been hosting the Iberian Museum of Castellar, where you can see some of the important archaeological pieces found in the town, mostly bronze exvotes, as well as arrow tips, axes or ceramic containers.

The double personality of the whole, Castle and Palace, Palace and Castle is visible, with the refined and crude, civil and military, rustic and urban, naive and sophisticated concepts appearing in one and the other, both of which are the protagonists of this unique conglomerate.

The palace floor is rectangular with built-in garden. It has a large landscaped facade enriched with two sillery covers dated in the last third of the 16th century. The main, south-facing, opens with a half-point arch framed by pilastras with Corinthian capitals on high bases. It is broken to accommodate a balcony of intellized vanity and an ancestor of forged iron. On their sides, there are two large-pack nobility shields held by tenants, carved a century later, which have an oval shape on a parchment and crowned sheet. On the sides are opened new asymmetric voids for windows with forging grille. The other cover is intellized, with large candles, pilasters with basaments, simple cornice and, on the top floor, a shaft window with the cover. In its interior is drawn attention to the vestibule, probably from the 19th century, whose roof is intertwined with small vaults; the railing of the ladder, of forged iron; the grating, subtly decorated; and the slender pillars that hold it.

A funeral monument with the date of 1895, with vegetable ornamentation and composite capitals, and another magnificent Baroque shield in the courtyard, is also preserved in a carved stone. In 1985 it was declared Good of Cultural Interest.

It is a hipogee that consists of three caves excavated in the rock, of which the major has a monumental facade simulating a porch in the form of blind arches, with horseshoe arches and eardrums decorated with palmetas of classical tradition, all carved in the slope of the ground. Inside there is a three-ship chapel with canyon vaults on square pilasters. The other two caves, of simpler resolution, had to serve one as the residence of the monks who lived in the oratory, and the other possibly as Baptistery.

It was declared Good of Cultural Interest in 1970.

Another place of worship or visible cenobium existing in the municipal term Rus, 12 km from the village, is the recently located "Cueva de la Veguilla."