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.

The cover is composed of two oversized voids. The one on the ground floor, with Tuscan and dintel pilasters, both pillows, presents in its key the shield of the Court of Inquisition. Above these elements you can see a smooth friso and a moulded cornice, on which you will open a rectangular window, intellized and with pillows and crates. On its sides there is an interesting symmetrical ornament, carved in stone.

Each side is organized into two overlaid bodies and separated by horizontal slices: the bottom side presents some tonds with the cross of the Order of Calatrava, while the top side shows, spirals and pinacles, topped by balls. The window's vain is protected with a good and artistic grate of a drawer type, of forged iron. In its central body and its copete again presents the cross of Calatrava and ornaments, based on flowers of four petals. The façade is overcome with an outstanding alero and a tile cover.

The House has, throughout its history, belonged to several neighbours of Mengibar. Some of them held positions in the Mengibar Inquisition, such as family members, notaries, etc. That must have been the cause of it being known as the House of Inquisition. Thus, in 1751, he lived in it Don Juan Ventura Rubio Galera, a priest and Notary of the Holy Office of the Inquisition of Córdoba. The Notary of the Holy Office was the official, who in the proceedings recorded the statements of the accused and witnesses.

This emblematic building, which had a rather regrettable and ruinous state, was restored by the Junta de Andalucía, building in it several family homes, which were awarded, in 1994, to neighbours of Mengibar. The facade was also restored, being very rightly preserved, as it was built. Protection guarantees any attempt to modify or suppress any part or all of it.

Thus, on 23 February 1995, the General Directorate for Cultural Property, of the Council of Culture of the Junta de Andalucía, initiated the procedure for the registration in a generic manner, in the General Catalogue of the Andalusian Historical Heritage, in favour of the House of Inquisition in Mengibar (Jaén), "determining the provisional application of the protection regime and making known to its owners that they have the duty to preserve it, maintain and protect it, in a way that guarantees the protection of its values." Among the reasons that the said organization argues for taking the said agreement are its historical value, so the building represents for the Inquisition and for its relationship with ancient lineage of Mengibar, such as Rubio Galera and Camacho. Also, for its relevant artistic elements, such as the cover, in which it stands out the vertical accent placed in the disposition of the vain, with classical canons and the excellent labeling of the ornamental motifs. The building is formally registered with the above-mentioned catalogue in February 1997.

The guesthouses were of great extension, with stables and interior courtyards. These houses always show on the facade the arms shield of their owner. The house has original elements such as wooden crafts, stone floors and a winery with tins.

The recreational area in the initial section consists of various elements for the recreation of the users such as children's games, kiosks, fountains, barbecues, tables and benches, trees, football field, etc., making this environment a great place to spend a day in the field.

It is currently in the process of preparing and revaluing tourism under the premise of providing an intervention and rehabilitation that is environmentally friendly, with its traditional character and respecting its current physionomy.

When he received the assignment, the Albacetean architect found it very difficult not to have a space of the size that Francisco de los Cobos asked for, so he solved it by building a vault on the River Cerezuelo; above the vault, the square of Santa Maria and on the square, the church, disproportionate by its enormous size, as they only lived a thousand inhabitants in the town, and yet almost cathedralicia. The project dated from 1535 and was a major engineering challenge for the media of the time.

It is said to be the only church in the world built on a river, and it is today, without a doubt, along with the vault on which it rises, the great tourist attraction in the city of Cazorla.