With three heights and bounds, the most outstanding is that of the balcony on the first floor, in a vertical line with the access door, and crowned by a small attic with a watch that imitates that of the municipalities colonized in the 18th century, but which is located not in the center but on one of the sides of the building, and on which a small bell is installed.

The construction is part of an ambitious plan for the beautification of the city of Martos, seeking to create a capital worthy of the Endowment according to its Roman legacy. Urbanistically the façade of the Cárcel would vertebrate the space of the main square of the city (current Plaza de la Constitución), also remodeling the nearby church of Santa Marta and the Sanctuary of Nuestra Señora de la Villa, and having in the central part of the square the Fuente de Neptuno, disappeared work of which we have references in the History of the Peña de Martos de Diego de Villalta. In addition to this intervention in the main square, new roads and spaces would be built, such as the street and the square of the Fuente Nueva, the district of the Heras, the street of the Albollón, etc., and a series of convents and churches were also founded.

The main façade of the Prison is structured as a double gallery of half-point arches supported by dogrous columns (four arches on the lower floor and six on the upper floor), the cover being located in a decentralized way on the right side (on which a blind balcony is available as a temple, topped with a straight fronton). In the jets of the central part of the upper arcade we find heraldic shields, killing the whole facade with a large cornice.

These more or less realistic but generally schematic manifestations reproduce human beings, animals and symbols, forming isolated scenes. The representations not only evoke and report part of daily life, but leave us witness to its complex and mysterious spirituality.

World Heritage Site

The Sierra de Quesada houses one of the most prominent rock art sets in Alto Guadalquivir for the many coats and caves where these first inhabitants left their art. In 1998 it became part of the UNESCO catalogue as World Heritage Site.

Outdoor museums

These sites can be considered as authentic outdoor museums of incalculable value, whose preservation concerns each and every fellow citizen. When visiting them, we must remember that we contemplate figures made by the primitive man, not least human and intelligent, more than 4,000 years ago. It's all by law, Cultural Interest Property.

Visit the paintings

Visiting these places can be difficult and frustrating, not only because of their access; it can be dangerous, but because sometimes their conservation status is the least poor; and it is recommended that they be visited with a specialist. For this purpose, before scheduling the visit, it is advisable to consult with someone familiar with the place (to advise and guide) or even to be accompanied by a responsible local guide (it is advisable to contact local authorities or associations).

The Abrigo de Manolo Vallejo, the Abrigo de el Encasiero, the Abrigo del Cerro Vitar and the caves of the ivy and Cabrera stand out. In addition to the rock paintings, there were ceramics and lytics that have made it possible to give the first human occupation of these lands in the third millennium. C.

The religious, administrative and social centre is the Plaza de Andalucía, of generous proportions and houses with arqueras and balconades, to which it is accessed through a replacement arch of another of Gothic origin. This arch, which was the gateway to the medieval fortress of the old walled enclosure, was rebuilt in 1952 over the ancient medieval arch.

Today turned into a cultural and tourist space, this Interpretation Center of the city, welcomes in its interior the brightest pages of local history, the evolution of its urbanism and all its Art and Culture where the Toreo and the Flamenco in Linares have a prominent place. This building, in turn, houses the Museum of Raphael, a English universal singer, the Tourist Information Office, souvenir shop, a Linear Documentation Centre, temporary exhibition room and the Municipal Auditorium, able to host congresses and events of all kinds.

Based on a conceptual recreation of the Santa Margarita Thing, which was erected as one of the largest rings in the world in 1866, the visitor will be immersed in a 360-degree enveloping projection. Six exhibition spaces are offered that explain the importance of the city in the history of the party and its main representatives; such as Palomo Linares, Paco Bautista, Curro Díaz, José Fuentes, Curro Vázquez and so up to 20 great matadores.

In addition, taking advantage of Linares' world fame for being the city where the right-hand Cordobe Manuel Rodríguez Sánchez 'Manolete' lost his life in a tragic evening of bulls, the City Council promotes the tourist product "Linares, after the legend of Manolete," which allows groups to know wineries, museums, scenarios of special relevance, such as the Santa Margarita Coso and the Los Marqueses Hospital, or the Flemish peñas of the city.

The first fact of the existence of the Hospital of San Miguel is given by Jimena Jurado "Historia o Anales del Municipio Albense Urgavonense" 1643, arguing that already in 1488 a total of six hospitals are quoted in Arjona (Santa María, San Miguel, San Juan, Santiago, San Bartolomé, Santa Olaya).

Another data showing the antiquity of these Hospitals was found in 1542, when the Supreme Pontiff issued his Bula to make an inventory of the number of hospitals in Spain, calling for the elimination of those who by their poverty did not meet basic needs. In response to the Bula, the lobby next to the officers of the village's cofradies meet and decide to reduce all hospitals to one, leaving only the Hospital of San Miguel, which was better located and more capable.

As far as the location is concerned, there is no doubt that it occupied the left side of what is now Hospital Street and the old La Plaza Street (now Cervantes). The most obvious evidence of its location is found in a drawing from 1628, published by Don Juan González in "Historia de la Ciudad de Arjona" 1905.

At the end of the 17th century the family of the perpetual regior of the villa Corrales Javalera serves it as endowments, highlighting the breadth of its rooms, highlighting an oratory above all. From this date on, the historical reviews that refer to the above-mentioned hospital are remarkable, highlighting that of Don Pascual Madoz, who, in his "Geographical, Statistical and Historical Dictionary of Spain" 1845 writes "Arjona...... has a Hospital entitled San Miguel, with public prayer, founded in 1665 by Don Bernabé Corrales Javalera...... The hospital is in charge of an administrator and has a surgeon and nurse to assist the suffering humanity of both sexes that is admitted to it."

The progress of the centuries, the new laws inherited from the French tradition, public hygiene and urban police, close the location of the hospital. These ordinances put in place the mechanisms for the new location of the Hospital, June 1863 in a Act of the Council "the governor is asked to allow the House of the King and to temporarily enable the hospital..." This house located in the square of Santa María belongs to Don José Pérez de Herrasti, which gives way for a modest price, thus increasing the works to transfer the Hospital to that place, leaving the works completed in 1868, as demonstrated by the letter that the Architect d. José María Cuenca (architect of the province), emits the mayor of the town.

Since then and after having undergone several remodelations such as that in 1924, in which part of it was sank, it has served as a reference in the cure of the sick, specializing in primary care, until in the 1990s when a new hospital complex in Arjona is built. The site that occupied this hospital, suffered a series of remodeling at the end of the 20th century, passing through the center of Youth Information, until today becoming the Museum of Arts and Costumbres Juan Eslava Galán and the Archaeological Museum City of Arjona, next to the old people's residence "Fundación Corrales Javalera," which follows the legacy used by the Bernabé Corrales Javalera in the second Mitad of the 17th century.