It is characterized by its quadrangular plant and because it has neither protective walls nor stands. The public is located on the slopes of the mountain for free and free, and can meet more than a thousand people. There continue to be taurine celebrations between 6 and 8 October, coinciding with the holidays in honor of the Virgin of the Rosary.

It was designed by the architect Mr Angel Arbex, Commander of Engineers. It was opened on 10 September 1928 by the rejonador Antonio Cañero and the matadores Manuel Jiménez Chicuelo, "El Algabeño" and Vicente Barrera before eight bulls of the cattle-making of Veragua.

This monument marks the architectural explosion of the 1920s in Villanueva del Archbishop, since to it would be added the House of the Arches, the Old Casino of the Commercial Circle, etc.

The 3rd Category Square has a capacity for 6,000 spectators. It is one of the most important Taurino things in the province of Jaén and through which the first figures of the Toreo have passed, from Manolete to the brothers Rivera Ordóñez, the Cordobés, Fandi... witnessing great taurine evenings and other cultural events of the villa.

It was built on the grounds occupied by the Garden of the Convent of San Nicasio, reusing the materials of this and another ancient convent, which was that of San Antonio. It opened in 1857, being one of the first five built in our country. Traditionally, in Ubeda, the races were held in squares and streets, until the 19th century, when the bullfighting squares began to be built throughout Spain, adopting a certain similarity for their circular and progressive plant, with the Roman amphitheaters. This work is an exponent of the decimononic architecture in the city, with the incorporation of the use of cast iron, typical of this century, in the corrido balconage and rails with interesting outings of sticks and balconds. The square consists of two floors and a capacity of 5,000 spectators. There are two covers, that of the Great Gate, intellized and topped with a shield in which a taurino lance is represented, and that of the interior, which is from the 16th century, perhaps from the convent of San Nicasio. The first figures of the bullfighting have passed through this square. Here took the alternative one of the best bullfighters in the entire history of the country, "Lagartijo," on September 29, 1864. There are currently runs at the San Miguel Fair, between September 29 and October 4, as well as other musical and artistic events throughout the year.

The square has a capacity of 9,000 spectators. Circular with an alley of 1.30 meters high, it consists of three floors: lying, standing and gallery, to which they lead four stairs, one at each access door to the enclosure. Among its dependencies is cavalry, corrals, ten chickers, concierge, administration, bullfighting room, lockers, nursing and desolate.

Full of history and legend, in which memorable afternoons have been lived, the best priests and rejoners have tried luck in their course. But the one that remains recorded in the collective memory of the hobby and for which the Linares coso is worldwide known, was for the mortal capture of Manuel Rodríguez Sánchez "Manolete" on August 29, 1947, for the myura called Isero. Next to the ring door there is a ceramic and marble plate commemorative of that tragic afternoon of the Royal Fair and Fiestas of San Agustín.

The first run was held on 18 October 1960 with the unfinished work and was in charge of the bullfighters "Pedrés," Gregorio Sánchez and Victor Quesada. The official inauguration of the coso took place two years later with a sign formed by the swords Diego Puerta, Paco Camino and Palmeño. On October 18, 2010, coinciding with the celebration of the San Lucas Fair, it commemorated the 50th anniversary of the first walk in the square, with a cumshot by José Carlos Venegas, Enrique Ponce and El Juli. It has a capacity for more than 10,000 spectators and a restoration area in the lower area of the square.

This square was built in 1892 using neo-Mudejarianism as a style, both inside and on the outer gates, where horseshoe arches predominate. Some of the materials were reused from some churches and property abandoned after the deamortization, as well as from the remains of the first Plaza de Toros.

It consists of three floors: laying, stand, palches and second stand. It also has two cavalries, corrals for the cattle of ligia, covered poultry to verify the section and corraleta, six chickers, bulldozers room, chapel, nursing, administration, pallet of drag, butcher and ticket office.

The square offers the possibility of organizing events for incentives and congresses, concerts and shows.

The Church of Santa Maria was the most important monument of the advance of Cazorla. As a Renaissance, his inspiration is attributed to Andrew of Vandelvira or one of his disciples. It is built on the Cerezuelo River, taking advantage of the vault that covers the river and crosses the entire Plaza.

It is not the only unique building we find there: the House of the Clérigos, the Thematic Center of Threatened Species, the old Conistorial Houses (in an alley above the square) or the Fountain of the Chain (built in 1605) are some of the many visits we can make here.

In the square we also find nice restaurants that offer a great sample of local cuisine. To enjoy these dishes in the quiet dusk is one more reason to often go to this suggestive square.

We suggest:

• Visit the ruins of Santa Maria, know its history and its curious construction. You can order information from the tourist office (953 71 01 02).

• Up by the river Cerezuelo, passing the ruins of Santa María in the direction of the castle of La Yedra, and walking along one of the small routes that begin in this area. An information panel will help you to better know this area of the city.

In Cazorla, we leave the Plaza de la Constitución, in the center of the village. From here follow Doctor Muñoz Street to La Corredera Square. At the end of this, we turn right and immediately left, following the signs to the Castle of La Yedra. After passing by the balcony of Zabaleta and crossing the street José Salcedo Cano - a narrow and steep street with numerous pots in its balconies - we reached the Plaza de Santa María.

The simple fact of seeing a seed germinate and growing plants, or of observing animals and the birth of women, made these people wonder about the origin of life. These thoughts were those that moved to the walls of the caves as a representation of facts related to daily life and its world of beliefs. We can imagine one of the inhabitants of the Cave of Birth preparing the pigments, mixing them with animal fat, improvising a brush with animal hair and getting ready to paint a scene. I'd be thinking of painting a composition with a hunting scene, fight, dance trying to tell a moment, a scene of life.

The rock paintings represent one of the most important cultural manifestations of prehistory, as they have helped to know some aspects of these societies to learn a little more about their life forms, fauna, flora and the world of their beliefs. What reasons could lead our ancestors to translate the manifestations of daily life and their beliefs into caves and coats? Maybe they were sanctuaries?

The Pinar de Cánava is an interesting forest ecosystem that has the carrasco pine as its protagonist. The uniqueness of this pineapple, of about 120 copies, is found in its high degree of naturality and, above all, in its longevity, with pine trees between 100 and 250 years old.

This pineapple has great value as an educational resource, as it offers a unique opportunity to understand the different stages of ripening of a forest. In addition, the appearance of a pine can be observed at a stage near old age. In front of the typical forms of young pineapples with straight trunks and conical cups, they contrast the twisted specimens of this Natural Monument. Its rounded, parasol-shaped cups remind of other tree species. The bush in this forest has almost disappeared. This complex aspect is the one that every forest would have in a natural way, but man's intervention changes this process, tending towards greater simplicity.

Precisely, to the cloister of the said convent, Mr Gonzalo Messía Carrillo Fonseca, I Marqués de La Guardia, commissioned the execution of an exempt fountain, crowned by the Magdalena and dated 1577, which has been attributed to Francisco del Castillo "El Mozo," currently located in the courtyard of the Excel. Provincial Council of Jaén. Years earlier, and perhaps to commemorate the appointment as I Marqués de La Guardia, Gonzalo Messía ordered to raise a pilar-abrevadero at the entrance of the population, near the Dominican convent, to serve as a water supply to the neighbors and their animals. This beautiful space, threatened with splendid gardens, over time became a plateau made up of the source itself and a nobility house of silery built according to the date of 1814.

The pilar-abrevadero, in a landscape and built of silary stone, is formed by a wall articulated by two bodies and attic. In the first body there are five caños of bronze out of avenerated hornazas that pour abundant waters on a rectangular pillar, in the second a beautiful frame was carved with hanging cloth with the inscription allusive to the comitant and the date of execution: "This work command to do the Iltmo. Mr. Don Gonzalo Mexia Carrillo, my lord. Year 1566." Throughout this second body there is an internment supported at the ends in Ionian striated columns. In the center of the attic two canes, with the garruches of the Messia family, hold an oval shield on the mould with the crown of Marquis and the following inscription "Plaza de Isabel II Reina Constitucional," with which this place has been known since. In its origin the dogs held the shield with the weapons of Don Gonzalo Messia Carrillo; it is overcome with a fronton with a central relief flanked by fins and crowned with a Cross, to the ends and bearing the cross of Santiago have settled two lying lions (all very redone).

Although the tracist of this beautiful pillar is not known, the stylems incorporated in it, columns with alternating sticks, the scroll with cloth (similar to the carved ones in the City Palace of Ubeda), the molding of the inlet and the cut-off hides of the shield held by the canes point to a possible intervention by Andrés de Vandelvira. Professor Galera Andreu expresses himself in this respect: I do not believe that the public source is not at his hand, despite the reforms (...) to be highlighted by the small scale of the columns attached in an application to the reverse of what was done in the chapel of the Benavides in Baeza. The set was restored by the local workshop school in 1991.