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.

Located in the northern part of the population, at the beginning of it.

The Former Convent of Santo Domingo, in La Guardia de Jaén, is one of the most distinctive landmarks of the Renaissance of the South. Declared a Historical Monument in 1975, it preserves the former conventual church — today the Parish of the Assumption —, part of the cloister, and the remains of the conventual palace, forming an ensemble of great historical and artistic interest.

Founded in the 16th century by Don Rodrigo Messía Carrillo and Doña Mayor de Fonseca, lords of La Guardia with ties to Salamanca, the Dominican convent began construction in 1538. From 1542 onwards, the work took on a new dimension with the involvement of Andrés de Vandelvira, one of the great masters of the Andalusian Renaissance, who introduced innovative architectural solutions in the main chapel and the transept.

The main chapel, with its octagonal floor plan, follows models found in Alonso de Vandelvira's Libro de las Traças (Book of Designs) and is structured through a carefully applied Classical order. The transept is covered by a domed vault with a lantern, resting on four corner piers, creating a space of great balance and clarity. Inside, a remarkable iconographic programme is preserved, with coffered ceilings decorated with Dominican saints, prophets and apostles, as well as reliefs by Juan de Reolid depicting the Passion and Resurrection of Christ.

The ensemble reflects the dialogue between Castilian influences — stemming from the Salamanca background of its founders — and the mastery of the Jaén Renaissance, in collaboration with other stonemasons such as Domingo de Tolosa and Francisco del Castillo. Despite the transformations brought about by the disentailment (desamortización) and its later uses, the former convent still retains Renaissance coffered ceilings, remains of mural painting, a sacristy with a 1547 wooden ceiling (alfarje), and an 18th-century black jasper washbasin.

The Former Convent of Santo Domingo is today part of the Renaissance of the South Route, standing as an outstanding example of religious architecture linked to the figure of Vandelvira and to the artistic splendour of the 16th century in the province of Jaén.

Calle Escuelas, 11. 23170, La Guardia de Jaén 
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From 1835, with the arrival of the deamortizations, it passed into private hands and became houses and oil factory. The original facade was modified in the 20th century with the construction of a double-step artistic and large windows. From the interior, only the basic structure of the church is maintained, which consists of a single ship with side chapels and a lobby at the feet.

It currently houses the Historical Archive and the Public Library.

Among the Caserio de Larva is the old Town Hall, located in an altozano, with narrow walls, large symmetrical and verticalized voids, adapted to the slight level of heights of the street, and which is distinguished from the typology of the houses surrounding it by a prismatic, higher fronton, which hosts a watch and a small bell, following the model of the consistory houses of the illustrated colonization.

Own building of the late 19th and early 20th century.

As the original building was larger than the space it was going to occupy, the solution was to "fold" the ends and fold them on the sides. The building consists of two bodies. In the first body there is a door and three windows, to the right we find the shield of the corridor, and to the left that of the city. The second body is formed by a lookout with square pillars interrupted in the center by the shield of Charles V.

The butcher's shop had a slaughterhouse on the ground floor and a sale on the top. Its uses have varied over time: municipal slaughterhouse, skin dryer, municipal archive, museum etc. It is currently the seat of the courts.

The northern horizon is impractical due to the proximity of the city of Jaén, however, looking east and south we find a true spectacle. It is a highly recommended place for those most expert fans who not only seek dark conditions but also good looking conditions, and is that at more than 1,800 meters high the atmospheric transparency is excellent, being one of the best points for planetary observation and photography.

To arrive there is only to take the detour on the road that links Los Villares with Valdepeñas de Jaén and ascend to the heliport, located on the top.

Note: some days of laminar air flow may occur in which case it is preferable to observe in the explanade that is next to the buildings rather than in the heliport.

There is another much more spectacular one when crossing the Trujala River from the Batan and known as the Moro Bridge, a construction of armchairs and of great monumental.

It is a must visit the track of land that goes parallel to the river, until its connection to the stream of the Yeros, where a small Roman bridge indicates the way to the cortijo of Romilán.