A road to the right is about 400 metres from the forest house of the source of Steel that will take us to the top of the Guadaltiín River.

From the Fuente de los Chorros, which can be considered its birth, to Vado Carretas, the Guadalanimin is watched by a high wall, the Cabrilla saw, which rises almost 1000 meters above its waters, and is shown in a succession of poyos and cliffs. In this Sierra there are some of the highest peaks of the Natural Park, such as the Cerro de los Tornajos, the Pico las Covachas or the Empanadas, which exceed 2,000 m. This saw is also the limit with the province of Granada.

The river is surrounded by beautiful pastures, cortijos and fields of abandoned crops, and with them great nogueras and other fruit trees that show us life in other times. Some of these corijos are in places that are remnants of peace and invite us to make a stop and enjoy the landscape.

We suggest...

• Make the route from Fuente Steel to the Vado de las Carretas in order to admire these landscapes as a whole.

• Stop you in the forest of complaints you'll find on the way.

In Cazorla take the Sierra road (A-319) until the crossing known as the Empalme del Valle. Turn right on the JF-7092 road and after passing the bridge over the Guadalquivir River (4 km from the Empalme) follow the left track (JF-7091). Passing the Sail of San Pedro and the Strait of the Perals we find on the right the ruins of the forest house of Fuente Econo.

Since 2003, it has held a cattle fair in August, which had historically been one of the largest in the province of Jaén.

Many are the places where we can see a good forest in the gallery, both in the Segura River Valley and in the Guadalquivir Valley. The one we have chosen is on the upper stretch of the Segura River, in its way through the charming village of La Toba.

This defines the forests that accompany the rivers. Its components change along the river, from its birth to its mouth. The section we will see in the mountain areas of the Park corresponds to the sections of the high basin.

The forest we visit is made up of choperas (Populus nigra and Populus x canadensis), strawberries (Fraxinus angustifolia), saucedas formed by several willows (Salix eleagnos angustifolia, S. purpurea, S. atrcinerea and S. fragilis), zarzales (Rubus ulmifolius), and herbaceous formations of junches, molinies and cardics (Scripus holoschoenu, Juncus inflexius, Molinia caulea and Carpenex). We can also observe orchids such as daztilorrizas (Daztilorhiza elata) among these junkals.

Any time of the year is good for walking through this forest, with the most recommended autumn for its colors and the advanced spring for the great green nuance it presents and for the flowering of the orchids that populate it.

LOCATION

In the short detour that goes to the village of La Toba, as we pass the bridge over the Segura River, we park and we can enjoy directly a splendid riverside forest.

In the area of Tejina we have a splendid deciduous forest made up of complaints (Quercus faginea) that have leaves that are larger and more lustrous than those of high mountains, mapes of Montpelier (Acer monspessulanum), serbales (domestic Sorbus), pespejones (Sorbus tormentinalis) and pyruetans or wild perals (Pyrus bourgeana).

They are accompanied by shrubs such as majuelos (Crataegus monogina), endrines (Prunus spinosa), skirmishes or tapasses (Rosa spp.) and species of the Mediterranean forest, such as madroños (Arbutus unedo), agracejos or lebiernagos (Phylirea latifolia), wild jazmines (Jazminum fruticans), hedras (Hedera helix). In wet areas there are zarzas (Rubus ulmifolius), and in the forest and stony areas there are splits (Lavandula latifolia).

Among the herbaceous plants are grasses such as Brachypodium phoenocoids, Holcus lanatus, other species such as orchids (Ophrys lutea, O. apifera, O. tenthredinifera), trees (Trifolium campestre, T. strellatum), violets (Viola odorata) and others such as Bupleurum rigidum, Bellis perennis, etc.

We suggest:

• When you are in places like this, very few, remember that these deciduous forests are authentic ecological shelters for fauna, because the fruits of many of its plant species mature in winter, which makes many birds survive when food is scarce in all other places. In turn, these birds help in the dispersion of the seeds. The human transformation of these areas threatens the stability of this ecosystem and involves serious biodiversity losses. Today many of the plant components of this forest are protected by law in Andalusia. We cannot afford to lose the most precious natural treasures, our forests.

Valle del Guadalquivir, on the road A-319 (km 42), a little below the Puente del Hacha, in the area known as Tejina.

The site is really special for the great variety of species we found. In it we can walk and enjoy one of the few high mountain deciduous forests that have left in the Natural Park.

Today we can no longer define as forests the few remaining stains, even though in past times they spread across large areas of the high mountain of these saws, wearing the valleys and vessels of lush forests. At present their presence is limited to small holes, rails and rails in which deep and fertile soil is accumulated.

These beautiful bosquets are made up of maple (Acer granatense), mustard (Sorbus aria), cereal (Prunus mahaleb) and whine (Quercus faginea), accompanied by a shrub of spiners with majuelos (Crataegus monogina), rars (Berberis vulgaris australis), skirmishes (Rosa spp.), madreselvas (Lonicera spladada, L. etrusca), sanjuaneros (Lonicera arborea) and spinos (Cratagulata).

We suggest:

• Later there is Nava Noguera and the control of Rambla Seca, which marks the entrance to the Campos de Hernán Pelea, one of the most original and overwhelming landscapes of the Park.

• There are other very accessible places where we can enjoy these exceptional bosquets, such as the surroundings of the Collado del Ventano in the Calar de Navalespino and the Barranco del Guadalentín.

• Don't miss these sketches in the fall.

LOCATION

We access the road that goes from Vadillo Castril to Santiago de la Espada, which becomes a ground track from Los Collados, but the firm is good and we can reach the destination point without great problems. Once we have ascended to the Saves of San Pedro, we are already on the line, we arrive at the junction of the Laguna of Valdeazores, which is about 9 km from the Navy. We look at the extraordinary landscape, as we take the Guadalanimin ravine to our right. As we pass through the Collado de la Zarca (where there is a track to our right, cut to traffic with a chain), we lose sight of the Barranco del Guadalentín and enter a few rails. Less than a kilometre after a few curves are presented to our right, in the sense of the march, a few holes full of trees.

This type of forest can be the purest and best preserved that we find in the low mountain of the Park, refugee in unaltered ravines and slopes, where a fertile and deep soil is accumulated. There are some delays of this first formation, and one of the places where we can see it is in the lower basin of the Borosa River. On its slopes is an impressive lauroid forest of madroños, gracegos and doves. The highest point of this forest in our tour is the entrance to the closed of Elias, where a plant vault of madroños and agracejo covers us during a good stretch.

But what is a lauroid forest?

In Mediterranean forests we find several types of vegetation, determined by their conservation status, and the presence of more or less deep fertile soil. In the enclaves with better soil, deep and rich in organic matter, the lauroid forests, made up of shrubs and perennial, lustrous and always green leaves, grow.

The main components of this forest are the madroño (Arbutus unedo), the agracejo or labiérnago (Phillyrea latifolia), the pedillo or barbadija (Viburnum tinus), and climbers such as madreselvas (Lonicera implexa) and the zarzaparilla (Smilax aspera). These shrubs are sometimes accompanied by trees such as complaints and oaks (Quercus faginea and Quercus ilex ballota), although in closed formations of madroños and agracejo, it does not develop under them anything but their own seedlings, due to the dense shadow they form. These lauroid forests are the richest phase of plant succession in the low mountain of the Park.

These forests come from the vegetation that dominated southern Europe before the quaternary glaciations. After them the lauroid forests, which had more elements (trees such as the laurel, hence its name), had no choice but to adapt to a drier and colder climate, lost elements and took refuge on the middle slopes of the mountains and valleys where they found soil and softer climate with subhumid namoclima. Other plant elements that arrived with the northern latitudes glaciations found in these forests a suitable habitat, such as the complaints (Quercus faginea), the maple of Montpelier (Acer monspessulanum) and the pespejon (Sorbus tormentinalis).

LOCATION

We'll access the Borosa for the A-319. At the height of the Visitor Reception Center Torre del Vinagre, we turn right to the farm, where we park and remount the river upstream. Soon, at the Shipyard's source, we began to see that Mediterranean formation of lauroid species. We can reach the end of the Cerrada de Elias, where we end our walk through the lauroid forests.

One of the most surprising plant formations in the Park is the nozzles. Their presence is extraordinary for several reasons: for more to the south of the Iberian Peninsula they no longer exist, for they find refuge in many northern species, because the boj (Buxus sempervirens) has created a culture of home utensils and because they keep the ground in channels and slopes.

There are many places where we can see a nozzle. In many streams and ravines it is almost impenetrable, but we can also see it on the slopes of the Banderillas colonizing to the same top. There are also nozzles in any ravine of the Las Villas saw, in the closed of Elias, in the Borosa river, by the stream of the Molinos in Siles, etc. All these are easily accessible by vehicle, but we are going to set ourselves in a place a little more apart from the traditional tourist circuits, although perfectly accessible: a ravine called La Bojeda.

In La Bojeda there is a formation of boj accompanied by deciduous species such as cures (Acer granatense), maple de Montpelier (Acer monspessulanun), mustards (Sorbus aria), pespejones (Sorbus tormentinalis) and complaints (Quercus faginea). In the inside of the bowl, vegetation is not thriving because of the lack of light and the high humidity that is maintained, so the appearance of a bowl is of a continuous, always green tapestry. Only when winters are very cold, the whole bowl takes a tone between dark green and reddish brown. This is a cold defense mechanism. Other species are stripped of their leaves, but the boj, which is of perennial leaf so they are ingested in this way.

LOCATION

To access the port of Tiscar, on the road from Quesada to Pozo Alcón, if our direction is in that sense. When we get to the port we must follow a mile or so, until we reach a crossing of a forest track that leaves us to the left. We can park and follow it walking, it will take a little more than 3 km, which will make us very short, as the panoramic view we will see throughout the tour is spectacular.

Despite the strong emigration suffered over the last half century, both villages are still populated and with some vitality, still keeping their environment calm. The same fate has not been achieved by another village that is located downstream, Arroyo Molinos, which has been completely depopulated.

Although it does not appear on the maps, there is no sign of it, nor is there any separation that can be observed clearly, there are two Belerdas: the high and the low, so it is common to hear the village in plural. Many popular customs are still preserved, even the old public laundry is still used. The inhabitants are farmers and farmers, although there are some services (bakery, shop, bar, etc.).

We suggest...

• Visit the Larguillo Picón, a natural monument to the balance and geological whim.

• Between Belerda and Don Pedro is the Blue Pilon, a natural pool between rocks, which has traditionally been used for the bathroom by the locals. The waters are cold, but the experience revitalizes.

The village closest to Belerda is Huesa, 5 Km., from which part a road, very narrow and with curves, that goes directly to the village (JA-7200) and that links 3 km later with the road of Tícar (JA-6206). On this last road, Quesada is 18 km away. (the crossing to Belerda at 15), Hinojares at 15 (the crossing at 12) and Pozo Alcon at 20 km.

La vieja fábrica gótica de Santa María resultaba insuficiente para el culto, proyectándose un nuevo templo parroquial. Sin embargo, la falta de medios económicos determinó la paralización de las obras y tan solo se fabricó la Capilla Mayor, que quedó unida con el resto de la fábrica gótica en ochavo, y buena parte de la torre de campanas. Tal circunstancia ha generado un perfil del templo ciertamente singular al quedar unidas ambas arquitecturas tan dispares en altura, parcialmente contrarrestado gracias a la esbelta torre de campanas que se yergue a los pies. Documentalmente conocemos la intervención de varios maestros canteros, destacando entre ellos Andrés de Salamanca y Andrés de Vandelvira, director y tracista del nuevo templo renacentista.

El inicio del proceso constructivo de sustitución de la antigua iglesia gótica (siglos XIV-XV), tradicionalmente fijado en torno al año 1573, hay que retrotraerlo a los años 60 del mismo siglo. La primera noticia que conocemos sobre el desarrollo de las obras la aporta el padrón de vecinos de 1564, pues se cita entre los moradores de la calle del Pilar a un maestro de cantería llamado Andrés de Salamanca, del que se dice: en la actualidad trabaja en la obra de la iglesia mayor junto con sus oficiales, todos ellos solteros. Las primeras tareas se centraron en el derribo progresivo de la fábrica gótica, que comenzaron por la cabecera, según se desprende de la carta suscrita por Andrés de Salamanca el 27 de agosto de 1566 por la que se obligó a mudar el retablo viejo de la iglesia para que la obra siga adelante.

En 1568 se dio comienzo a la nueva Capilla Mayor, ya que en este año (16 de octubre) el cantero Fernán Cobo y su fiador Gabriel Jordán se obligan a sacar piedra para la obra de la iglesia mientras durase esta. De 1568 a 1571 las obras se desarrollaron a buen ritmo. El 24 de septiembre de 1571 se publican las condiciones para cubrir la Capilla Mayor, lo que evidencia que esta ya estaba construida; la obra, que consistía en enmaderar el conjunto de la Capilla, fue rematada en el carpintero Ginés de Zamora.

Tradicionalmente se ha especulado con una más que probable intervención en la obra del nuevo templo del arquitecto Andrés de Vandelvira. No ha de extrañarnos tal intervención, ya que por los años en que dio comienzo el arquitecto alcaraceño ya figuraba como maestro mayor de la Catedral de Jaén, cargo que conllevaba el de maestro de obras del Obispado. En buena lógica es fácilmente deducible que un proyecto de la envergadura de Santa María tendría que pasar por las manos de Vandelvira. Nuestras conjeturas pueden quedar avaladas, al margen del propio análisis de la pieza, a través de dos documentos. El primero, publicado por el cronista Sánchez Caballero, deja bien claro que Vandelvira viajó en 1573 a Linares para inspeccionar el nivel de la construcción, ver el modo de tirar pilares viejos y apuntar como ha de seguirse la obra nueva. Con arreglo a este planteamiento, el 2 de octubre de 1574 el cantero Andrés de Salamanca se obligó a llevar a cabo lo dictaminado y trazado por Vandelvira, es decir, a seguir con el derribo de elementos góticos para avanzar con el proyecto renacentista del crucero. En 1579 el visitador del Obispado, Francisco de Huete dispuso sin embargo, que “no pudiéndose continuar el proyecto que había sobre el resto de la iglesia, se liquidase dicha obra”. El proyecto vandelviriano, que entendemos contemplaba la sustitución completa de la estructura gótica, se interrumpió definitivamente. A finales del siglo XVI se remató la torre y en la centuria siguiente se labró la portada con arreglo al diseño del arquitecto catedralicio Juan de Aranda Salazar. La portada gótica, orientada al sur, procede

La Capilla Mayor de Santa María, se muestra al espectador como un organismo independiente, produciéndonos la sensación de un gran espacio centralizado, al estilo de S. Francisco de Baeza o de la iglesia de La Guardia, común según F. Marías a las capillas mayores renacentistas. En Linares este efecto se refuerza al quedar la cubierta gótica muy por debajo de la obra renacentista y además por la ausencia de la proyectada nave única de planta cruciforme con capillas-hornacinas que Vandelvira creemos planteó para esta nueva parroquia.

Como recuerdo del plan vandelviriano quedan los vestigios de las dos primeras capillas que debían abrirse a ambos lados de esta nave, cuyos arranques dan la idea que aquellas serían cubiertas con bóvedas de medio cañón por cruceros. Años atrás Vandelvira ya había ensayado el plan de la iglesia de Linares en la iglesia dominica de La Guardia, aunque en una escala menor. Este espacio centralizado de Santa María está conformado por cuatro arcos torales de medio punto que abren al presbiterio acasetonado, a dos capillas laterales igualmente acasetonadas y en el lado de las naves conecta con el “ochavo”; estos arcos apoyan en pilares de esquina de tradición siloesca con columnas adosadas y traspilastras en las que se alternan el orden dórico y corintio. El crucero se cubría con una bóveda vaída. El ochavo que enlaza el crucero con las naves góticas se materializó haciendo recaer el peso de los tres paños del mismo sobre el arco central apuntado del primer tramo gótico y sobre dos arcos escarzanos en diagonal sustentados entre los primeros pilares góticos y los semipilares de esquina. Las portadas, de haberse llevado a término el proyecto de Andrés de Vandelvira, tendríamos en Linares una importante muestra, ya casi final, de su trayectoria como arquitecto, pero en cualquier caso el conjunto gótico-renacentista es de gran interés.

OTRAS MANIFESTACIONES ARTÍSTICAS NO ARQUITECTÓNICAS

El patrimonio mueble conservado en esta parroquia es especialmente valioso. Sustituyendo al desaparecido retablo barroco de la capilla mayor, destruido en 1936, se alza en ella un hermoso retablo renacentista con pinturas sobre tabla, obra del Maestro de Ávila, en opinión de la profesora Luz de Ulierte. Procede este retablo del pueblo leonés de Villarrabines, y fue adquirido por D. José Yanguas Messía y su esposa Dª. Rosario Pérez de Herrasti. Antes de ser colocado fue recompuesto por el granadino José Navas Parejo e hijos. A este artista se deben otras piezas: tabernáculo y sagrario (labrados con plata procedente de las minas de Linares), mármoles de la capilla mayor y retablo de la capilla Yanguas, retablos en madera tallada y dorada dedicados a la Virgen del Carmen, San Isidro y la Inmaculada de la Medalla Milagrosa.

Sobresaliente es el conjunto de su imaginería, toda ella posterior a 1939. Destaca el impresionante conjunto de la Santa Cena, obra del escultor Víctor de los Ríos, a quien se deben también el Cristo de las Misericordias (venerado en la capilla enterramiento de Lolo, linarense en proceso de santificación) y un hermoso Ángel. La custodia de asiento del Corpus, aunque recompuesta, es una bella muestra del taller de los Morales (siglo XVI).