• The Church of the Assumptionbuilt between the 16th and 17th centuries, of classical Renaissance façade and of great proportions. It has a Latin cross plant, with chapels among the contrasts. The deck is of canyon vault and dome on breast on the cruise. The presbytery, the major chapel and the cruise are 1775. The tower of the mid-17th century is decorated with episcopal shields and the neoclassical cover is one of the best in the province for its proportions. Located on the wall is the valuable "Ibero-Latin inscription of Galdur," mythological city and ancient cradle of Jódar, is from the 1st century BC

• Jódar Castle. In the historical core of Jódar, on a rocky podium is the castle, mentioned in documents of 860. It is known that the castle is erected in Iberian times, as indicated by the inscriptions found in one of the armchairs, cthe most dean of the province and one of the oldest in Andalusia. It takes on importance in Muslim times with the Muladian revolts. This fortress has two towers of tribute, one of Arab origin and one raised by Christians. Both are almost square, in the Old Tower the entrance is located at the height of the first floor and has two series of saetera. The New TowerIt consists of a central wall and a central wall. Its saetries similar to those of the North Tower and the interior decks are vaulted vaults of the 16th century. It preserves mudejar stucco remains. Both towers have been restored. The South Tower is currently the Reception and Interpretation Centre of the Natural Park of Sierra Magina. The North Tower has been enabled to recreate and make known the history of the castle and the municipality.declared Historical Monument, under the protection of Good Cultural Interest, in 1985.

• Sanctuary Church of the Christ of Mercy. It was built in 1700 on an ancient hermitage. It is of one ship and there is an extraordinary size of the 16th century of the Christ of Mercy. A baptismal stack of 1660 must also be highlighted.

• Tower of the Pinars, declared Well of Cultural Interest, as Historical Monument in 1985. It sits at the southeast end of a hill that controls the right bank of the Jandulilla River, so its strategic position is beyond doubt. The tower is circular, with a door in height, which divides it into two bodies; the lower one is fully solid and the upper one has a small room also circular. It has an irregular masonry-based mating with plaster argamase, the same material that is used to cover the entire surface of the tower.

• Church of Santiago the Major. It is of three ships highlighting the central ship, and it owes its name to the day in Fernando III won Jimena to the Arabs in 1234. The initial factory of the church is gothic, with elements as significant as vegetable capitals, the pointed backbone that opens the perspective to the major chapel or the starry vault that covers it.His first roof was to move, and the first cover with a half-point bow, you were humming ruthless and wide davelas with ménsula in the key, like the strippers and the aldero piled, show Renaissance prints, which contrasts with the gothic cornice from the outside of the header. The current roofing, the three altarpieces of the header, the size of the Virgin of the Rosary and the square-floor tower, date from the reconstruction of 1960.

• Hermitage of Our Lady of Remedies. It is a temple of small dimensions and harmonious architecture, plant in the form of a Latin cross and camerín for the patron, was built in 1910.

• Castle. Su tower of tribute, the only thing preserved in its integrity, recalls the medieval importance of this castle to strengthen with that of Bedmar, the border line. It appears with the shields that evoke the power of the Marquis de Camarasa, successors of the family of the Cobos, to whom Charles I gave the castle expropriating it to the Order of Calatrava. It has been declared Good of Cultural Interest in 1985.

• Cave of the Graja. It's a shallow coat with rock paintings in which up to seven groups of figures belonging to the schematic style have been located, with red tones. It is attributed to Neolithic period, III millennium BC

Jaén's architecture bears witness to the many civilisations that have inhabited the city and its surroundings throughout the centuries, resulting in an outstanding monumental heritage that includes both religious and civil buildings. Its historical and artistic legacy showcases a variety of architectural styles, including Gothic, Mudéjar, Renaissance, Baroque, and Neoclassical.

Among its most important monuments are the following:

• Cathedral of the Assumption of the Virgin, a masterpiece by one of the greatest Renaissance architects, Andrés de Vandelvira, and the inspiration for the construction of many cathedrals throughout Latin America. It is regarded as one of the finest examples of Renaissance architecture in Andalusia, which is why the process to obtain UNESCO World Heritage status for the cathedral began several years ago. The city's first cathedral was built on the foundations of the former Great Mosque following the conquest of Jaén by King Ferdinand III of Castile, known as Saint Ferdinand, in 1246. Later, during the 14th century, Bishop Nicolás de Biedma brought to the city the relic of the Holy Face (Santa Faz or Santo Rostro), believed to be one of the three cloths that, according to Christian tradition, Saint Veronica used to wipe the sweat and blood from Jesus' face on his way to Calvary. The presence of this relic in the first Christian cathedral transformed it into an important pilgrimage destination, making its expansion necessary in the Gothic style. Elements of this Gothic phase can still be seen in the apse of the present cathedral. Due to structural problems that arose during the 14th century, a new Renaissance cathedral was commissioned from the architect Andrés de Vandelvira. Although construction continued for nearly three centuries, Vandelvira's original design remained largely faithful throughout the project, resulting in what is considered the most architecturally balanced, harmonious, and proportionate cathedral in Andalusia, with one of the most solemn and majestic interiors in the region.
• Basilica of Saint Ildefonsus. After the Cathedral, it is the largest church in the city. The earliest records of the original building date back to 1248, when it was established as a chapel serving the Cathedral. Two centuries later, in 1430, it became the setting for the famous miracle of the descent of the Virgin Mary to the city of Jaén. Following this event, it became a sanctuary dedicated to the image of the Virgin housed inside, under the title of Our Lady of the Chapel. In the 16th century, the Virgin of the Chapel was proclaimed the patron saint of Jaén. Finally, in 2010, Pope Benedict XVI granted the church the status of Minor Basilica. The building features three entrances: the oldest, in Gothic style, is located at the rear of the church. The side entrance, in Renaissance style, displays a relief depicting the Chasuble Bestowal upon Saint Ildefonsus. The last to be built was the Neoclassical main façade, crowned by a statue of the saint to whom the basilica is dedicated.
• Santa Catalina Castle. An ancient Caliphal fortress stood on the summit of Santa Catalina Hill as early as the 9th century. Centuries later, following the conquest of the city by King Ferdinand III in 1246, the Christian castle that survives today was built. During the 19th century, the castle underwent several modifications to strengthen its defensive structures in response to the Napoleonic invasion. Close to the castle, the building that now houses the National Parador was constructed in the 1960s. From the summit there are spectacular panoramic views of the city and its surroundings, especially from the Cross Viewpoint. The fortress also houses an Interpretation Centre that explores the history of the castle.
• The Arab Baths. They are the largest and best-preserved Arab baths in Spain. Built in the 11th century during the reign of Abd al-Rahman II, they are located beneath the Villardompardo Palace in the heart of the city's historic centre. Covering an area of 450 square metres, they still preserve Almohad decorative elements, suggesting that they were restored towards the end of the 12th century. Between the 14th and 15th centuries, after they ceased functioning as public baths, the rooms were converted into tanneries. Later, at the end of the 16th century, Fernando de Torres y Portugal, Count of Villardompardo and Viceroy of Peru, built his palace above them. At the beginning of the 20th century, together with several adjoining buildings, they became part of a women's hospice. A section of the baths was rediscovered in 1913 and, a few years later, they were declared a National Monument. Today, following a restoration project that received the Europa Nostra Award, they form part of the "Arab Baths" Cultural Centre, which also houses the Museum of Popular Arts and Customs and the International Museum of Naïve Art.
• Chapel of Jesús (Camarín de Jesús). The chapel and the convent church of Saint Joseph are the only surviving remains of the former Convent of Saint Joseph of the Discalced Carmelites, founded in the 16th century. The recently restored church, with its characteristic Carmelite façade featuring a niche, houses both the chapel and the Camarín de Jesús, created in the 17th century to enshrine the celebrated Renaissance sculpture of Nuestro Padre Jesús Nazareno ("El Abuelo"). The image belongs to the brotherhood founded in this very convent in 1588 and is carried in procession during the early hours of Good Friday before thousands of worshippers and pilgrims. The façade is adorned with a beautiful terracotta sculpture of Saint Joseph by the renowned ceramic artist Paco Tito.
• Church of La Magdalena. Originally the city's Great Mosque during the Islamic period, it was converted into a parish church following the Christian conquest. Its main façade and interior are Gothic in style, while one of its towers still preserves the former Arab minaret. The church contains several important works of art, including Calvary by Jacobo Florentino "El Indaco", a panel of Our Lady of the Pillar attributed to Pedro Machuca, the 16th-century Christ of Clemency by Salvador de Cuéllar, and the 18th-century image of Saint Mary Magdalene by Mateo de Medina. The courtyard of the former mosque, with its rectangular ablution pool, served various public purposes during the Christian era and was landscaped with gardens and ornamental fish during the 20th century.
• Church of Saint Bartholomew. It is one of the oldest churches still standing in the province of Jaén. Dating back to the medieval period, this religious monument features a Baroque exterior and a Mudéjar interior. Among its highlights is a green glazed ceramic baptismal font decorated with 15th-century Gothic inscriptions.
• Provincial Council Palace. This palace was built in the mid-19th century by architect Jorge Porrua. Originally, the site was occupied by the Convent of Saint Francis, commissioned by King Ferdinand III in the 13th century. A century later, King Peter I of Castile ("Peter the Cruel") granted it to the Franciscan friars. Following the ecclesiastical confiscations, the building became public property and was eventually converted into the headquarters of the Provincial Council. Today, visitors can explore its central courtyard and the lower galleries.
• Oppidum of Puente Tablas. The fortified Iberian settlement of Puente Tablas is located just 4 kilometres from Jaén. Over more than thirty years of archaeological research, the site has revealed its outstanding historical importance through evidence of continuous human occupation from the Bronze Age to the Islamic period. However, its most significant phase dates from the Iberian period, particularly the 4th century BC. Visitors can discover how the Iberians of the Upper Guadalquivir lived while exploring one of the most impressive defensive systems of the period, with more than 300 metres of preserved walls standing over 5 metres high. Visitors can enter the settlement by following the same route once used by its ancient inhabitants, passing through the famous Sun Gate.

The beautiful urban town of Huelma, made up of a set of white streets and houses, located under the remains of its castle, make up a harmonious and attractive set that has valued their cataloguing as Historical-Artistic Set in 1971.

From its rich heritage we highlight:

• Huelma or Alburquerque Castle. It is located on the outskirts of the city centre of Huelma, on a hill that dominates the entire population. The strength we contemplate today was probably built by the Lord of the villa, the Duke of Albuquerque, in the first half of the 16th century. On that same place there was a Muslim castle from which only some of the canvases of the wall and the Great peel inside the castle. A quadrangular plant with 4 cylindrical towers, one in each corner, united with each other by a wall cloth and an open door in a half-point arch at ground level. On the west side it stands directly on a large peñasco, cut to peak, which is already a great fortress.

• Church of the Immaculate Conception. It is considered as a jewel of Renaissance architecture in the province of Jaén. The most great artists of the time: Diego de Siloé, Francisco del Castillo el Viejo, Andrés de Vandelvira and Francisco del Castillo el Joven. The building presents basic plant divided into 3 ships. The header of the flat tester church is covered with canyon vault with cassettes. The southern façade is of great elegance and balance, based on Italian models. He's got the body of peeled bells.

• Ibero Sanctuary of Pajarillo. It's a oppidum ibero found in the pastry of Cabritas de Huelma, dates from 4th century BC, and the sculptures found are found in the Provincial Museum of Jaén. The figures found are: a wolf, a warrior, two taps, a young boy and a carnivore. This sanctuary is located in the Jandulilla River Valley, the commercial pass between Murcia and the Guadalquivir Valley.

• Castle of Solera. Here, on a hill, are the remains of a Nazari castle built in the 13th century. From it you can see splendid views of the Vega in which the Jandulilla and Garganton rivers converge.

• Hermitage of Our Lady of the Fuensana. Located about 7 km. of the population, in the heart of Sierra Magina, the sanctuary of Fuensanta is the epicenter of the devotion of the strikers to be the house of their excellent patron.

Its artistic heritage is spread between the city centre and the surrounding area. Inside the city centre we have:

• The church of San Pedro, built around 1580. On the cover there are two dogrous columns that culminate in a hornaine with a Saint Peter Apostle.

• Hermitage of Our Father Jesus, of 1700 and that preserves the paintings and the original wood size of the Patron, Our Father Jesus Nazarene.

• Hermitage of San Antón, dates from 1800, and was demolished and rebuilt in 2001.

In the urban area:

• Tower of the Batan, of Roman origin to which an Arab body was added. It was used as a flour mill and later oil mill.

• La Villeta, remains of an Arab fortress from which its bottom and part of the wall are preserved.

• Low Head of Beautiful Encina, a fortified population centre, founded at a late moment of Iberian culture and that reached its development in the Roman stage.

• Torre del Marroquín, a medieval atalaya in good condition of 9 m high and that has been declared Good of Cultural Interest.

From the artistic heritage of Cambil we highlight the following points of interest:

• Castles of Cambil and Alhabar. The castle of Cambil It is located on the left bank of the Camil River and above a high rock flask, with a wall that falls vertical on the channel. The castle of Alhabar is located on the right bank of the same river, on another rocky flask and in front of the castle of Cambil. Both castles were declared "Good of Cultural Interest" in 1985.

• Historical helmet, declared Good of Cultural Interest in 2012: located at the foot of two hills crowned by the castles of Cambil and Alhabar, crossed by the River Cambil, and around a historic road: that of Arbuniel. The image that characterizes its historical ensemble is generated by a set of crouched buildings with steep roofs of Arab tile, solarium houses in the lower area, and narrow and winding streets with straps and adarves in the upper parts.

• Castle of Mata Bejidit is located between the mountains of Magina and Almadén, it seems to be of Christian construction from the early 14th century. Its function is essentially strategic and, by its size, it had the capacity to accommodate a small garrison. Also declared Good of Cultural Interest in 1985.

• Our Lady of the Incarnation Parish Churchbuilt in the late 16th century, the exterior is sober and compact. Already inside, the main altar has an extraordinary Baroque altarpiece attributed to Sebastian de Solís.

• Old Hospital of Poor Passengers, raised in the second half of the XVIII and on whose facade the exuberance of the baroque is noticed, being considered one of the most baroque monuments of the province.

• Single houses: House of the Salazares and House of the Palace in Calle Real, both of them also show baroque facades of the 18th century.

• Prehistoric reptile tracks, just a mile from Cambil, we found a trace of eight traces of the arcosaur reptile. Several of them are currently in a ballot box inside the conistory building.

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.
   

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.