Basement.In this place a crypt has been built that received on 4 June 2002, the remains of Andrés Segovia, thus fulfilling his desire to rest in Linares, a city that saw him born.

Ground floor.In addition to the interior and exterior courtyards, the Music Room and the Hall of Acts, are also located on this ground floor the President's Office and a room for Direction and Offices.

First floor.It has rooms for the Library, Archive and Museum. In the latter are installed numerous furniture, essentials and various documentation related to the Segovia Master.

The arch of the cover of access to the porticated courtyard of the House of Palacio has two nobility shields, the one on the left corresponds to the Ponce de León, while the right belongs to the Condes de Garciez, for the fourth count was Lord of Mengibar. This main front is crowned with contemporary stone almenillas. After the arch, a beautiful courtyard is raised, composed of three half-point arches, a bit of brick, which rest on pillars. On the north front the main entrance of the house is raised with a simple cover with armchairs in the jambas and a lintel with cross in the center and the date of 1,663.

In 1808 Casa Palacio became a key space in the context of the Mengibar Action. The house served as accommodation for the troops led by General Reding. In the current dining room, we can see how the weight of the weaponry damaged the structure of the building and large wooden beams are preserved as points.

The house was acquired in the late 19th century by the family of the Girl. The members of this family gave the building the architectural and decorative aspect it has today. In the first decade of the 2000's, it became a hotel. Years later, the City of Mengibar would buy the property.

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.