The tower has in its interior a chapel, which has access from the road of the bridge, through a door with arquivoltas, located on both sides of the same stone paths with inscriptions allusive to the bishop of Jaén, Mr Alonso Suárez of the Fuente del Sauce, who financed it. On the door, three shields reproduce the weapons of the prelate. On the three remaining sides of the tower, there are open and half-point windows, also topped by shields.

Thanks to an important documentation preserved in the Royal Chancellery of Granada, published by J. P. Cruz Cabrera, we know much of its constructive process. In 1561 the work was started according to a first trace designed by the Baezan quarry Ginés Martínez, reciting the material execution of the works in the Juanes de la Carrera and Pedro de Mazuecos, neighbors of Canena and Ubeda, respectively. The intervention of Pedro de Mazuecos in this work led to the popularly known bridge as "de Mazuecos" since the 17th century.

The bridge designed by Ginés Martínez was one-eye, wide light and 100 feet wide. Shortly after the works began, and after the inspections of various quarries, the project of this bridge, with a narrow and narrow profile, was abandoned to begin the construction of another of greater scale. From 1565 there is a documentary record of the intervention in the work of the famous singers Andrés de Vandelvira and Francisco del Castillo "El Joven," which gave a radical turn to the initial idea by projecting a monumental bridge more specific to a city than to a rural property. The traces, signed by both quarries and preserved in the above-mentioned documentation, allow us to know their configuration.

The plateau includes a large central arch of a half-point of 33 meters of light between four thick semi-cylindrical pillars with tachamars; the area facing the villa of Jimena is built directly into the rock in a descending way and only a small arc of discharge was worked; on the side facing Baeza, also descending, the composition is more complex due to the strong change of level, being formed by a sewer in the base and double line of half-point arches in the way of the Roman aqueducts, from which only the lower one is preserved; in this area of the bridge with the vaults were installed, in addition to a few of the vaults, and in a half-vaults.

They were used for storage and even leased. The work as a whole presented a careful aesthetic, both in terms of its architectural composition and in the decorative details; the ancestors, the balls of the rivets, the cardines of the pillars, the molding with double thread of the great central arch, the tones of the gears, among other elements, certainly embellished its image, radically disfigured after the intervention practiced following the sinking of the great central arch at the beginning of the 20th century; the central arc was replaced by an adintel metal structure and to adapt it to the rogiven traffic other original compositives disappear.

Vandelvira and Castillo show on this bridge, once again, their extensive knowledge of classicism as well as an extraordinary practice of stereotomy or cutting of the quarry stone. The Mazuecos bridge, which has a great resemblance to that of Ariza, a work also of Vandelvira, is to be related to that of Benamejí (Córdoba), made by Hernán Ruiz "El Mozo" between 1550- 1556. Vandelvira and Castillo, perhaps more intensively, conceive a bridge in which ornamental and constructive details are inserted clearly Italian. We must not forget, however, that it will be Vandelvira who carries the bulk of the work, participating Castillo with him in the assessments. In addition, without subtracting merit from the contribution of Castillo, Vandelvira, when working on the bridge of Mazuecos, is already an experienced architect in this type of work, as close to those carried out by the council of Ubeda on the bridge of Ariza on the avenue of the Guadalimar, more distant those practiced on the great bridge of San Pablo in Cuenca, and, for the same time, those of the bridge on the river Guadalmena, between the current terms of Siles (Jaén) and Montiel (Ciudad Real), for the Order of Santiago, whose remains are still unseen in their ingraceful shores.

Its construction ended in 1789 and retains the colonial typology of these buildings intended to store the grain and seed, control and regulate its production, as well as its redistribution.

Rectangular plant with factory of thick walls covered with sandstone silery and resistant interior arches. It originally consisted of a single plant, but then a second was built.

The Pósito de laboradores has been used as a warehouse, civil guard headquarters, dusty during the War of Independence and children's school.

The plant is in the form of "U" and has only one height. The main ship is divided lengthwise by a half-point archer on square pillars, an archer that runs parallel to the main plane, and on it is another series of half-point arches. It has recently been rehabilitated as a library and cultural center.

In 1572, the cantero Pedro Venetian and the mason Luís de Vilches committed themselves to building the posio, in accordance with the conditions and traces dictated by Andrés de Vandelvira. The building, of a rectangular floor, defines the confluence of the streets Corredera and San Antón with the square of the Constitution. It rises in the planned enranche in the 16th century, outside the medieval compound, essentially formed by the castle and the Renaissance church raised at the foot of it, in which, although perhaps not directly, Andrés de Vandelvira was able to intervene.

The ground floor, with a stone factory seen, is most likely the best preserved part, as the high ones (originally compartmentalized in trickery and built in brick and masonry) were later adapted for other local administrative functions. The singularity of this building is in the division drawn by Vandelvira on the ground floor, made up of five small rectangular ships covered with parallel half-barrel vaults, popularly called the "positillos," built in silery, which communicate directly with the outside based on half-point voids, being the largest central than the other ones.

Typically Vandelvira acuña a model, developed in such a way in the Pósito de Baeza, in which the knowledge of the stereotomy or cutting of the stone requires a great perfection due to the need for the isolation of wetlands to preserve the genre stored in the best conditions. Several heraldic shields are preserved in the building and, as a reminder of the recovery of the advance of Cazorla (in which the villa of La Iruela was included) by the Archbishopric of Toledo, in the early 17th century was placed by the command of Archbishop Don Bernardo de Rojas and Sandoval in the capitular room an allusive inscription to perpetuate this important event. A lot of effort and money cost Toledo's mitre to be made again with her old territory, which was taken from her in 1545 by Don Francisco de los Cobos, Secretary of the Emperor Charles V.

The square is configured as the union of several spaces that give it a trapezoidal set, it is an arrogant and self-affirmative place whose perspectives, coals and prints are located on the corners of as many streets as they reach it. The reference idea, however, is established by the Sacred Chapel of El Salvador del Mundo, the largest civil mausoleum built in Spain. It was formerly known as Llano de Santa María and Paseo de Santa María in the 19th century. It is the ideal place to start a tourist itinerary through the monumental city of Ubeda.

The sculpture of the center is dedicated to the settlers arrived in 1767 and symbolizes the rebirth of the dreams that the first settlers had to achieve a better future on this land.

Dedicated to the first Guarromanense, that is, the first son of settlers born in Guarroman. Nicolás was born on October 26, 1767 and today the nearest Sunday to this date is the Festival of the Colonos, in which a bell has eight times, one for each generation of Guarromanos. It was remodeled in 2010.