The built volume, which rests on a basement with stone vaults, is of two floors communicated by a staircase that starts from a corner of the courtyard. The walls are of ripian and tapial of remarkable thickness; the forging of rolls and in the configuration of the main courtyard were used jácenas of large squadría. The cover system is also woody, with chandelier and limas under Arab tile.

In the center of the construction is the main courtyard, with another secondary or garden in the back. The main courtyard, with a square floor, is visually reduced from its original proportions by adding partitions that allowed to protect two of the galleries and to enable a third room, leaving today only the northern panda. As a result of these changes, the elements of wood were altered, among which the large zapatas with the decoration of volts, spirals, crosses, etc. They are also to mention some cassette doors.

From the north-east angle of the courtyard starts the staircase, of a single stretch, covered by an orange half decorated with central floron and supported by pechines decorated by small heads of cherubim in plaster. The top of the staircase offers a flat double arch of a half-point cut that separates a factory machon.

The first floor has rooms for bedrooms with plaster shells on the entrance lintel. On the second floor there are three cameras, including the one that offers the façade to the Garden Street, open with a gallery of eight half-point arches.

The cover, located under that plunder, is high and sober and is shaped by simple Tuscan pilasters that flank the inintered vain.

On the ground floor, straight windows and bars, while on the first floor there are balconies with beautiful grating, likely work of the Lopera family, in which geometric and floral motifs predominate. The vanos on the third floor are closed with simple windows and iron bars.

Inside, tiles of the house Mensaque, of Seville, and a splendid staircase in white marble. On one of the side facades, a beautiful closure gives way to a small garden with a cup fountain and views of the Church square.

The intense functional and administrative use from the beginning has been the cause of numerous radical interventions over time, among which the one carried out in 1791 may be the one that affected the property more intensively, along with that of 1952. When it was declared a National Monument in 1926, it was only the main crunch, zaguan and imperial staircase, elements of which only the first two could be awarded to the original project of the 16th century.

From an uncertain date as to its origin, although some documentation indicates the date of 1523 as its beginning, the style and especially the use of the serlians does not correspond to those years. If you know it was finished in 1564. As for his authorship, although discussed, we think that he has unambiguous structural features of Andrés de Vandelvira, such as the extension of the facade plane laterally to the limit of the crunch, or the use of anthropomorphic supports on covers.

The current building occupies a large corner solar with main façade to Pasaje Cardenal Benavides Street and another side to Gaspar Becerra Street. Apart from the deep reforms, a house was added to the main façade, acquired in 1942.

The Renaissance and vandelvirian part focuses on this facade cloth that points to the front crunch. It is a two-storey flat, separated by a marked cornice, which determine two very differentiated planes: a lower, naked, with no more ornamentation than it is concentrated on the two entrance doors and two small central windows, while on the top the four balconies in the form of "serlian," in addition to the lightening of the wall that the holes make, are enriched by the grutches of grutches in fries, arches and pilasters, approaching a concept of "horror to the void," more like the first renaissance. A fifth vain, this half-point, at the right end indicates the rest of a mutilated or subsequently modified part. This taste for ornamental luxury is reinforced by the official shields of the monarchy and of the city between the balconies and is overcome with a viscous alero under the roof, decorated with classic frisco of ovas and arrows and fantastic ménsulas of medieval raigambre.

Of the two doors, the one on the left was the entrance to the prison, and consists of a large simple half-point arch with allegorical figures as cariatides that support the internment: Justice and Charity. The other, more sumptuous, corresponds to the residence of the Corregior, is opened with a scarlet arch, flanked by two columns on a Corinthian pedestal order with a cast and alternating baquetons in the lower third, to the use of Vandelvira and mascarons in its upper third; a very French type of which this architect likes. On the door and on a large frame, legend allusive to the Corregior, John of Borja, and to the date of its realization: 1559.

In the zaguan the triple original stone arcade is preserved on columns, although cut above the key by the forging of one of the subsequent reforms. At the bottom, the imperial staircase covered with an orange half, is entered in the final moments of the 18th century baroque.

The project for the rehabilitation of the architect Íñigo de Viar Fraile is currently under way.

The infant Charles III, son of Philip V, in one of his travels, stayed in this palace on October 27, 1731, then the infant Charles III, King of Spain from 1759.
He stayed in this palace to avoid an outbreak of smallpox plaguing Andújar.
In the afternoon he was distracted by hunting from his window and at nightfall he witnessed from the windows of his room the artefacts that were prepared for such an occasion in Andújar.

In Beas de Segura we find different examples of this type on Feria Street. In Orcera we find some interesting houses on San José Street or in Genaro de la Parra. In the Gate of Segura and in Siles there are also examples of this architecture called generally regionalist, but what they are looking for at the bottom is to incorporate elements from other times in the design of the houses.

Elements of Muslim architecture will give rise to the ne- mudejar and so during different times as the rebirth or the baroque. Its owners intended to legitimize their situation of being able to recover elements of the medieval or Renaissance past, as an element that would serve to connect with the nobility and thus justify their situation of power. To talk about this type of construction, is to make it from the 19th century, a century of great transformations, a time in which the saws that make up the Natural Park know the province of Jaén and the establishment of mechanism and forms of government totally different from those that exist with the advance of Cazorla and the envination of Segura. It is the century in which great fortunes are formed and at the same time the number of poor families is growing exponentially, all of which are framed in a constitutional regime that is completely unknown to most of the inhabitants.

The House of the Chains is a three-storey construction that offers a compact and solid image highlighting Renaissance elements such as the half-point arches. A large entrance arch contains the shield of the Godoy family, the first owners to be recorded.