The majority of local arts and crafts are related to the Easter week celebrations: the FACES of the “biblical gures” used in the procession and their accessories, SUCH as INSIGNIA, SHIELDS, CROWNS, HELMETS, SWORDS and SCEPTRES are usually made of gilded metal or silver plate. Many local craftsmen work with wood making carvings, processional thrones and restoring antique furniture. The Ortega family, which has won several national prizes, is involved in CERAMICS, and is dedicated to the manufacture of traditional pieces and their own designs.
Amphora Alojamiento, es un pequeño establecimiento hotelero, bajo dirección familiar, con mucho encanto y cuidado hasta el más mínimo detalle. Cuenta con 10 espaciosas habitaciones decoradas para que te sientas cómodo dentro de un marco incomparable.
Plaza de Santa María, 8, Écija
Alojamiento turístico Amphora
El periódico decenario “PATRIA CHICA” se publicó en 1915, siendo su director y fundador el escritor y poeta D. Carlos Valverde López, bisabuelo de los actuales propietarios del hotel. Se han recuperado todos los elementos arquitectónicos del inmueble (suelos de mármol, de barro, losas hidráulicas, techos artesonados, escaleras de madera, puertas y ventanas, vitrinas, estanterías de obra, herrajes, hornacinas, paredes de ladrillo o travertino, puertas emplomadas, fuentes, sótano abovedado ..) y una exquisita restauración de todo el mobiliario doméstico existente en la casa (muebles de todo tipo, lencería, menaje de mesa y cocina, cuadros, innumerables elementos decorativos,…), realizado todo con el máximo rigor y detalle por profesionales especializados de la comarca. Espacios acogedores e íntimos que te invitan a descansar, combinando la tecnología y todo tipo de comodidades con la forma de vida de una Andalucía de principios del siglo XX. Y además, cuidando los detalles al máximo: muy confortables camas y ropa de cama de la más alta calidad, excelentes productos de baño y un esmerado servicio y atención. Insonorización perfecta para el descanso.
Hotel Patria Chica, Priego de Córdoba
Hotel Museo Patria Chica
El Mercado de Abastos de Priego de Córdoba se encuentra en un entorno histórico- patrimonial puesto que al lado se encuentran las Carnicerías Reales. En su interior podrá encontrar varios puestos de: pan y productos artesanales, frutería, carnicería, pescadería, un asador de pollos abierto los fines de semana, una pizzería, un centro de belleza, una tienda de artesanía y un bar. Además dispone de parking con acceso directo al mercado para poder realizar sus compras. El horario de la plaza de abastos es de 7:30 a 23:00 h (los puestos en horario comercial).
Mercado de Abastos Priego de Córdoba
The church is housed inside the convent-school. It was built on the ancient castle’s remains, dating back to 1649. Found in the upper part of Barrio de la Villa quarter, and on what was once a castle-palace of the Dukes of Sessa and counts of Cabra. The church has a sober architectural design. Its main altarpiece attracts our attention as it features a collection of eight images; the central piece is by Juan de Valdés Leal.
Plaza de los Condes de Cabra, s/n,Cabra
Las Escolapias conventual church
We reach Santiago barrio from the peculiar calle Flores. It’s one of the towns oldest and most traditional neighbourhoods, where we can find Santiago parish church. Very close by is the Llano de las Tinajerías, an area where most of the potters workshops and local earthenware craftsmen were all located. Some are still open and can be visited.
Barrio de Santiago
16th century church. Reconstructed during the 17th and 18th centuries. It is currently closed to worship due to restoration. In 1531, the 4th Count of Ureña handed the ancient San Sebastian chapel and annexe hospital to the monks from the Order of Preachers to found a convent. It seems that the Count did this to show that he didn’t want the chapel to be demolished, he wanted it to be used by a new church. It was finally erected on 7 March 1547. Although it was built in the 16th century, several reforms were carried out during the 17th and 18th centuries.
Santo Domingo Church
Military Almohad bastion from the 12th century, renovated in the 14th century by the Order of Calatrava. It is located close to the Puerta de Teba, which formed part of the town’s defence system. There is a wide sample of remains found in the town: Iberian reliefs, amphorae, Roman glassware and coin collections. This tower, bastion of the belt of 12th century Almohad walls currently houses theArchaeology Museum. It is made up of four rooms organised over two floors. The archaeological remains from the ancient city of Urso and some reproductions are displayed here.
Torre del Agua tower – Archaeological museum
Pequeño oratorio, levantado en el siglo XVI, que alberga en su interior la imagen de un Ecce-Homo. Este enclave se configura como uno de los mejores ejemplos de religiosidad popular, raigambre y tradiciones, tan presentes en el día a día de los pueblos y ciudades de Andalucía. Aquí se iniciaba un Vía Crucis, que continuaba sus estaciones por el cerro de las Cruces y se concluía en la ermita de San Judas Tadeo, en donde se veneraba la imagen de Cristo Yacente.
La muestra de la Santería Lucentina está ubicada en la planta sótano de la Iglesia de San Pedro Mártir. En su interior se encuentran unas salas habilitadas al efecto, dedicadas a la Santería Lucentina y la forma particular de procesionar las Imágenes Sagradas. En ella, el visitante podrá conocer la Santería desde sus inicios, así como los elementos y protragonistas que la caracterizan. Es posible también admirar los tronos de los seis pasos de la Venerable Archicofradía de Nuestro Padre Jesús y una interesante colección de procesiones infantiles, de principios del siglo xx, entre otros. Puede visitarse también el templo en si, recientemente reconstruido y la Capilla de Ntro. Padre Jesús ubicada en su interior. Tras un largo tiempo en total reconstrucción en la que se ha recuperado su belleza original, la iglesia ha vuelto a abrir sus puertas, recuperando así su belleza interior y exterior. Dentro de esta destaca la Capilla de Jesús Nazareno, cuyo espacio principal, y más antiguo, cumple la función de camarín de la imagen titular, fue realizado por Vicente del Castillo y el cantero Andrés Cordón en 1758, formando un espacio circular de estilo neoclásico. En su interior contiene un baldaquino, que cobija la imagen […]
C/ Curados, 14, Lucena
Exposición permanente ‘La Santería una manera de sentir’, Lucena
The ancient Abbey Palace was reconstructed in 1781 by the Abbot Esteban Lorenza de Mendoza y Gatica, given the state of ruin of the original palace within the Fortaleza de la Mota. The new building was the end result of the aggregation of several structures, brought together by the single façade. This building was used until 1851, when the Abbey of Alcalá la Real was abolished. After years of uncertain future, it became the abbey archive and the home of the Archpriest of the Ecclesiastical Territory. Currently, and after years of restoration, the Abbey Palace is the headquarters of the Municipal Museum. This new museum was created to display, preserve and promote archaeological, ethnological, anthropological, paleontological and scientific exhibits organised into different display areas using the latest technologies.Through innovative means, the museum allows visitors to become better acquainted with Alcalá la Real’s heritage and traces of its past. It gives visitors the chance to have an overview of the town’s peculiarities, places of interest and its surrounds. Exhibition spaces: The flour room (dedicated to flour mill traditions), geology, minerals and fossils, Paleolithic, Neolithic, Copper and Bronze, Iberian world, Roman world, medieval, etc.
C/ Carrera de las Mercedes, 31, alcala la real, jaen
Abbey Palace – Municipal Museum
La Muestra de Arte Cofrade de la Soledad se ubica en la Iglesia de San Pedro,donde se encontraba la ermita dedicada a este santo. Su interior, donde aparecen las primeras yeserías barrocas de Priego, alberga imágenes titulares de varias cofradías del municipio, entre ellas, las imagenes titulares del Santo Entierro y Soledad Coronada. También puede verse una muestra del patrimonio litúrgico y cofrade de la Hermandad, junto a una reproducción de videos y fotografías de toda la Semana Santa prieguense.
Plaza San Pedro, s/n,Priego de Córdoba
Muestra de Arte Cofrade de la Soledad
El exconvento Franciscano alberga la muestra permanente de la Semana Santa de Puente Genil, promovida por la Agrupación de Cofradías, Hermandades y Corporaciones Bíblicas. La muestra alberga una simulación de vida de los cuarteles, con exposición de figura y cocinas típicas, así como una exposición de vídeos de la Semana Santa y su Cuaresma. En el recinto se podrá ver un video documental de los momentos más significativos en la Semana Santa de Puente Genil; encierros, salidas, momentos importantes para los costaleros, Diana al Patrón, Noche del Viernes Santo y las peculiaridades que hacen de la Semana Santa de Puente Genil algo único e irrepetible.
Contralmirante Delgado Parejo, 1, puente genil
Muestra de la Semana Santa de Puente Genil
El edifico anexo a la Iglesia de San Pedro Mártir de Verona fue el antiguo convento dominico fundado en 1575 por el obispo de Córdoba y en 1836 por el decreto de exclaustración pasó a formar parte de los Bienes Nacionales. En 1844 se subastó y pasó a la propiedad de Juan de Navas García. El edificio antes de pasar a la titularidad municipal fue fábrica de anises, molino de aceite y bodega. Conserva un espléndido patio manierista porticado con arcos de medio punto y columnas sobre basamento de pedestal. En su centro conserva una fuente rodeada de jardín y palmeras. Actualmente el edificio se ha rehabilitado y se convertirá en un centro público polivalente y de servicio ciudadano. El proyecto ha recuperado el patio central porticado y un segundo patio trasero como espacios verdes abiertos para el disfrute de todos los ciudadanos. El resto del edificio se diseña de manera versátil para diversos usos funcionales tales como exposiciones, docencia, usos sociales, reuniones, etc., con un total de 11 salas repartidas en las tres plantas.
C/ San Pedro, 50, Lucena
Casa de los Mora
The Vadomojón reservoir is one of the most important in the Andalusian basin. It has a capacity of 163 cubic hectometres and a surface area of 782 hectares and is located in the Albendín district,Baena. The reservoir is used to control the volume of water in the Guadajoz and Guadalquivir rivers. Some of the water is also used to irrigate the olive groves. There is a jetty and picnic area with a kiosk on the Vadomojón, as well as the installations used by the nautical club, with a pit for cleaning boats. The reservoir brings us into direct contact with the countryside and nature: the water separating the olive groves is one of its most appealing attributes. This almost virgin water is navigable, with nothing but nature for the eye to see: no buildings, electricity pylons or roads. Only nature can be heard. Vadomojón reservoir is not only a beautiful setting, it is also one of Córdoba’s most important recreational fishing locations, as it is home to large fish populations, among which are barbel, carp, black bass and trout. Nowadays, it is one of the most important fishing scenes in the province of Córdoba.
embalse de vadomojón, Baena
Aceites Florencio Aguilera, empresa familiar dedicada a la producción de aceites de alta calidad y que apuesta por el aceite temprano de variedad picual. Su almazara familiar se encuentra en la aldea La Hortichuela, a 12 km. de Alcalá la Real, en el pequeño municipio de Pilas de Fuente Soto. Se trata de un enclave en plena naturaleza, rodeada de un bosque de olivos y donde habitan familias tradicionalmente dedicadas al cultivo de los frutos de la tierra y la ganadería. Es aquí donde se encuentra el corazón de Aceites Florencio Aguilera. Ofrecen visitas a sus instalaciones y catas.
CXRQ+6V Pilas de Fuente Soto
Almazara Florencio Aguilera
Enrique de la Cuadra built the theatre in 1887, hence its current name. Utrera’s town council acquired the property in June 1985 and it became part of the Public Theatre rehabilitation programme ran by the Andalusian government’s Public and Cultural Works department. The architect Juan Ruesga Navarro was commissioned to undertake the renovation. Works were completed in 1993 and the theatre opened its doors to the public with one of the widest stages in Andalusia. It has an Italian horseshoe-shaped auditorium and a well-proportioned stage, which along with its other facilities, results in a lively space that promotes artistic and cultural activities in the town.
C/ Sevilla, s/n. Utrera,Utrera
Enrique de la Cuadra Theatre
Despite the square’s recent renovation, some of the neighbouring buildings preserve 17th- and 18th-century elements. In the past, Plaza del Altozano was the epicentre for the town’s cultural events, such as famous bullfights and the
plaza del altozano, Utrera
Plaza del Altozano
Construction of the former palace, which once belonged to the Valdehermosa counts and San Marcial marquises, began in the 17th century and considerable works were carried out in the 18th and 19th centuries. Its rococo portal dates to
Plaza de Gibaxa, 1. Utrera,Utrera
Town Hall: Former Vistahermosa Palace
This 18th-century Palace House is located on calle Rodrigo Caro in one of the town’s most picturesque settings. It has served as the town’s art centre since 1990. The façade consists of avitolado brickwork -characteristic of Seville’s Baroque- and is supported by large pilasters. The portal shelters under an impressive arch, flanked by columns at its base and estipites on the top tier. It is believed to date to 1725.
C/ Rodrigo Caro, 3. Utrera,Utrera
Casa de la Cultura Arts Centre
This landmark comprises a gateway, which once cut through the ancient Jewish quarter walls, and a street. The town’s main trading area once concentrated around this small spot, which later became a hospital. Some of the town’s historians hypothesize that this site became a house for foundlings, which is when it is believed to have taken on the name “El Niño Perdido” (the lost child). The town’s archaeological studies suggest that the passageway also served as a cemetery. Private houses and restaurants now currently occupy this area.
C/ Niño Perdido, Utrera,Utrera
El Niño Perdido Passageway
Construction of the church began in some of the houses donated by the Álvarez family. While the works were undertaken, the hospital housed the Virgin Mary sculpture, which was transferred to the completed church in 1747. The Sisters of the Holy Cross congregation currently occupies the church. Since the beginning of the century, the nuns have used the church for public worship, reserving a small oratory for private use. The church has an elliptical floor plan and is a rare and wonderful example of Sevillian Baroque, displayed through its architectural structure rather than highly decorative elements.
san fernando, 33, Utrera
Ntra. Sra. de los Dolores Church
The brotherhood built the chapel at the start of the 18th century (between 1719 and 1723) with the objective of displaying its sculptures for public worship. The chapel’s exterior displays a portal flanked by pilasters, surmounted by a broken entablature, straight pediment and tympanum, decorated with the Trinitarian shield. A belfry sits above it, comprising two sections, which decrease in size: the lower section has a slim opening and a lintel and straight pediment frame the upper section. The church has one single nave with a sacristy behind the main altar. Different types of roofing cover the various sections. The main retablo’s features are typical of the late 17th century and was acquired from the Friars Minor of Seville in the 18th century.
C/ Cristo de los Afligidos, 36,Utrera
Santísima Trinidad Chapel
Locals refer to the chapel as “the Jesús de Nazareno chapel”, which is part of the San Bartolomé Dominican convent. Bartolomé López de Marchena ordered and paid for its foundation in 1542 for the strengthening of the body and spirit. The chapel was built in the 17th century and important alterations were carried out in the second half of the 18th century. The portal’s design is a simple, lintel-based structure, which displays a frontispiece, flanked by pilasters and surmounted by a pediment that frames a tiled picture of the Nazarene. The portal provides access to a small church with a single rectangular nave covered by a barrel vault with lunettes and supporting arches, which sit upon a dentilled cornice. The Jesus Christ the Nazarene sculpture corresponds to the Seville school’s classic style of the late 16th century.
Av. San Juan Bosco, 10,Utrera
San Bartolomé Chapel
The chapel is part of the Salesian College, the oldest belonging to the congregation in Spain (circa 1885). The Salesian building housed within the chapel is noteworthy given its breadth, which stretches across the wide, expansive street, locally known as La Vereda. Although the building’s loftiness is horizontal, a series of belfries were added to bring it closer to the heavens. The chapel was built in the second half of the 17th century. It has a Latin-cross floor plan and a barrel vault ceiling, lunettes and supporting arches propped up by a cornice. Exceptional paintings decorate the chapel’s interior, which pertain to the transition from the 17th to the 18th century: the apogee of the Seville school of mural painting.
Av. San Juan Bosco, 13. Utrera,Utrera
Ntra. Sra. del Carmen Chapel
The Jesuits built the church in 1645 and the Franciscans occupied it from 1797. During the Franciscan period, the complex underwent considerable renovations to adapt to the material and spiritual needs imposed by the Order. The church was abandoned from the second half of the 19th century until the 1920s. The nave’s architecture displays influence from the Early Renaissance, typical of Hernán Ruiz. Beautiful mid-18th century paintings decorate the church and its most striking feature is the dome, which displays a tremendous vision of the resurrection of Saint Francis.
C/ Virgen de Consolación, 1. Utrera,Utrera
San Francisco Church
A fortified wall once surrounded Utrera, which had several gateways into the citadel. Many of them did not survive until the present day, while others are now small archaeological remains. The best preserved is undoubtedly the Arco de la Villa arch, which continues to represent the end of Utrera’s historic centre and the start of the town’s surrounding neighbourhoods.
Final Calle San Fernando, Utrera
Arco de la Villa Arch
The castle is located in the north-east of the town. It sits atop a small hill, and is very close to the Santiago el Mayor parish church. Seville council built the castle over the remains of an ancient Moorish minaret. Alfonso X (the Wise) cited the castle in 1264. In 1368, it was destroyed by Muhammed V of Granada and was later rebuilt at the end of the 14th century. It was abandoned at the end of the 15th century until the present day, and has recently been restored. Its floor plan is rectangular, fitting the topography of the hill at the north-east and south-east of the castle. It has four square towers, which are smaller at the corners on the inside of the walled precinct. Each has a rectangular floor plan and are wider at the north-eastern and south-eastern sides where they adapt to the escarpment. The outer towers and curtain walls were built using the rammed-earth technique. The difference in design could be because the external towers would have acted as buttresses as some have fully collapsed. On the escarped north-east face stands a round-arch opening entrance, defended by the Torre del Homenaje tower, an edifice with a […]
C/ Ponce de León, 13, Utrera,Utrera
Catalina de Perea founded the hospital in 1514, in one of her properties close to the Santiago church. Although its origins date back to the 16th century, the building underwent extensive restoration between the 18th and 20th centuries. In addition to its beautiful church, the hospital’s central patios are remarkable. The entrance to the patio displays a two-storey arcade; the lower level is the older of the two with 16th-century Mudejar pillars. This open area displays wonderful carpentry on the doors and the screen that leads to the dining room. The latter was created in the 18th century and would have featured wonderful panels, rocailles and Jesuit emblems, which are no longer present. The Dormitorios de Ancianos, or the Elders’ Rooms, are also notable and comprise a lofty, barrel-vaulted nave with false lunettes.
C/ Ponce de León, 2, Utrera
Santa Resurrección Hospital
Tiene su origen en 1578 por la fundación que hicieron don Francisco Álvarez de Bohórquez y su esposa Catalina de Coria y Maldonado, a condición de que aceptaran a 12 monjas sin dotes, ligadas por parentesco a ellos. Alberga actualmente una comunidad de monjas Carmelitas en régimen de clausura calzado. El conjunto arquitectónico se remonta al siglo XVI, aunque sufre posteriormente continuas reformas. El interior de la Iglesia, de nave única sigue el modelo típico de los conventos de clausura de la provincia, de reminiscencia medieval. A los pies del templo, en su último tramo reservado a la clausura, cuenta con un doble coro. Destacan en el conjunto sus retablos y el altar Mayor de mediados del siglo XVIII, dorado con elementos vegetales superpuestos incluso sobre los estípites que separa las tres calles que lo forman. En su obrador elaboran sus especialidades de bizcocho casero, almendrados y sultanas, que están a la venta a través de su torno.
C/ Ponce de León, 13,Utrera
Convento Madres Carmelitas
The sanctuary is an artistic and historic monument located outside the town centre. It is accessed via a wide path, surrounded by the Parque de Consolación park. The sanctuary is the final destination for many of the town’s pilgrimages and houses the beautiful sculpture of Our Lady of Consolation, Utrera’s patron. It formed part of a Minim Friars convent, which was founded at the end of the 16th century. However, much of the current church’s structure is 17th century and it was completed in 1714. Although the church’s interior displays a Neo-Mudejar style, partly due to its artesonado ceilings’ characteristics, alternating Marian emblems and Christian legends feature, which extol the glory of the Virgin Mary. The sanctuary has one single nave with a crossing, rendered walls and pillar supports. The main chapel is square with a wooden artesonado ceiling, decorated with Mudejar interlace patterns. A large Baroque retablo, dedicated to the image of Our Lady of Consolation, covers the nave’s front.
Paseo de Consolación, 41710 Utrera,Utrera
The parish church is an artistic and historic monument, which lies in close proximity to Utrera’s castle and fortress. It is an edifice of staggering proportions and displays proof of the change in architectural styles over time. The current church is Gothic, pertaining to the late 18th century. Its model is very similar to the first churches built following the Conquest. It is clearly defensive in character, as observed through the arrow slits featured on the tower-façade and the thickness of its walls. It is a hall church, known artistically by the German name “Hallenkirche”. It has a uniform, rectangular floor plan, separated into three naves by vaulting shafts and covered with an extremely beautiful sexpartite vault or tiercerons of uniform elevations. The ribs of the vault rise from pillars in the centre and corbels at sides of the church. The naves were later completed with a Renaissance dome and Baroque and neoclassical chapels. The main façade, depressed and sheltered within a basket-handle arch, is on the west end of the church, from which the three-sectioned stone and brick tower sprouts.
ponce de leon, 13, Utrera
Santiago El Mayor Parish Church
The church is an artistic and historic monumental complex. It is the tallest building and most important church in the town. The church is of staggering proportions and is located in a magnificent setting among ancestral houses. The original construction is 15th-century Gothic, however important Renaissance-style renovations were subsequently added, the most noteworthy being those to the Puerta del Perdón, which is one of the most beautiful examples of this style in Andalusia.
C/ Antonio Maura, s/n,Utrera
Santa María de la Mesa Church
This chapel dates back to 1613. It is small in stature because construction works were never concluded. It houses an 18th century Baroque altarpiece, work of local artist Pedro de Mena Gutiérrez. It consists of a hemispherical ceiling, supported by walls at the back part and by an adjoining arch. There are several Easter Week images on its altars, such as the Cristo de la Columna, Virgen de la Esperanza, Virgen de la Cruz, Virgen de la Piedad and one of this town’s oldest images, the Cristo de los Valientes, dating back to the 14th century. Every Monday, the faithful visit the chapel to pray before the effigy of San Nicolás de Bari.
C/ Aguilar,61, puente-genil
La Veracruz Chapel
The construction of this chapel was concluded in 1589, thanks to Juan Alvarez Esquire, who donated an orchard to the Dulce Nombre de Jesús brotherhood. The church has a single nave, covered by barrel vault with lunettes that come from a Tuscan cornice, which could be considered to be a vault impost, and not supported by piles or columns. There is a presbytery at the end of the nave, covered by a wooden coffered ceiling, which resembles mosaics given the painting technique employed. There is a small altarpiece on the main altar.
C/ La Huerta,puente-genil
Dulce Nombre Chapel
A factory producing flour, olive oils and soap. It was built in 1904 by Antonio Baena Delgado. It has been completely renovated and was converted into a hotel.
Avenida de la Estación, Puente Genil
‘Nuestra Señora del Carmen’ factory
A collection of 800 objects and pieces from the 19th and 20th centuries. The idea for this collection was conceived from recovering objects, tools, customs and traditions associated with life in the country. However, due to restrictions of space, only a small selection is on display. The collection gives visitors the chance to travel back in time observing objects, tools or machinery that are no longer in use and which older visitors still hold in their memories. The collection is organised into four sections, displaying the types of crop traditional to this area: open land (irrigated or dryland), fertile land, olive groves and wineyards.
C/ Fernán Pérez, 9,puente-genil
Jose Díaz Arroyo Ethnographic Collection
This is Puente Genil’s most significant monument, since it is linked to the town’s foundation. It is our most emblematic monument because it symbolises the union of two river banks in 1834, giving rise to the Puente Genil we know today. It was first constructed in 1589 and designed by the Cordoban architect Hernán Ruiz II. The bridge’s current construct is thanks to the renovation works carried out by the French engineer Leopoldo Lemoniez Renault in 1874.
La Parroquia Jesús de Nazareno, primitiva Ermita que con la denominación de San Cristóbal se encontraba en un pequeño cerro extramuros de la Villa, hoy día se encuentra integrada en el casco de la población. Su origen data de la segunda mitad del siglo XVI y en ella se encuentra además del primitivo titular, San Cristóbal, la imagen de Ntro. Padre Jesús Nazareno, Patrón de la Villa, imagen que data del año 1.622. El primitivo edificio ha sufrido distintas transformaciones a lo largo de los siglos, siendo las más destacables, las realizadas en 1.824 por el cofrade José Atanasio de Rivas y Gálvez y la del último tercio del siglo XIX, en torno a la década de 1.880 en la que se le incorpora el crucero que actualmente tiene y se coloca el nuevo retablo realizado en Málaga por el escultor Casanova realizado en mármol de Carrara. El pórtico se realiza en el año 1900, con lo que la primitiva Ermita, hoy parroquia adquiere su configuración definitiva. Destacar en el interior del edificio, el retablo de la Virgen de los Dolores, de la segunda mitad del siglo XVIII realizado por el mencionado anteriormente Pedro de Mena, es el único de estilo rococó que se encuentra en Puente Genil […]
Plaza del calvario, puente genil
Parroquia de Jesús Nazareno
Roman Villa from the 1st to 4th centuries AD The villa is remarkable due to its extremely interesting mosaics, some of which are the most important figurative and geometric mosaics in Spain. It is believed that this villa’s first settlement corresponds to the 1st century AD, remaining until the start of the Moorish domination. There is proof however that it was most significant during the 3rd and 4th centuries AD. The unique figurative mosaics are impressive and are associated with important, large wall structures.
Fuente Álamo Roman Villa
It was created in 1982 and is found inside the La Victoria convent. It displays archaeological materials taken from sites in and around Puente Genil, such as Los Castellares, Anzur Castle, Fuente Alamo, etc. The museum has two sections: Archaeology and Ethnography. Archaeology section Room I. Pre-history and Proto-history This room displays a collection of materials from the Pre-historic era, from the Middle Palaeolithic to Final Bronze Ages. The first collections are carved stone tools (quartzite and flint). The most outstanding are racloirs, knives and hand axes, which appeared on the river terraces of the Genil. The sample of materials is varied and unique (ceramic, polished stone, bone and metal) from Fuente del Lobo, elements that were important during the Bell Beaker culture. A 6th century BC Corinthium pot, brooches and ceramic fragments are the most impressive exhibits among the objects from the Tartessian world and their relationship with western Phoenician and Greek colonists. Iberian culture has bequeathed several pieces such as zoomorphic sculptures (bull, lioness, horse) in limestone and a series of materials; the most noteworthy being the wheel-thrown pot decorated with stripes and swirls. Room II. Ancient and Medieval ages Exhibits from the Roman world are mainly on […]
C/ Contralmirante Delgado Parejo, 2,puente-genil
Municipal Archaeology Museum
The small chapel that was dedicated to San Antón in the 16th century used to be on the same site of the Inmaculada Concepción sanctuary. Due to the plague that swept across Andalusia in 1650, the town, then Pontón de Don Gonzalo, voted for the Immaculate Concepción to be their Patron. However, the church was inadequate given the Patron’s rank. During the second half of the 18th century, the decision was made to build a church that was more appropriate for the Patron. Several houses on the calle Aguilar were bought for the extension. The church’s portal is the most impressive in Puente Genil, with its frontal platform and staircase closed off by a partition, double columns, broken pediment, etc. All of these elements are created with stone from Sierra Gorda and packed into a large niche. Inside the church, the gypsum-sculpted, polychromed main altar is impressive. It is in imitation of coloured marble and is the work of Pedro de Mena Gutiérrez, from Lucena; the popular-style baroque plasterwork can be found throughout the church around large Corinthian pilasters. The elliptical dome is remarkable. It has plasterwork reproducing Marian motifs. The 18th century chapel houses the image of the Patron, the Immaculate Conception, […]
C/ Madre de Dios, 2,puente-genil
La Concepción sanctuary
The Santiago parish church was built in around 1600 for the area Miragenil, which was starting to form on the riverbank, belonging to the march of Estepa. The church therefore belongs to the 17th century, but the interior décor was added in the 18th century. However, the existing baroque altarpieces are from the former Victoria church from Estepa since the original ones were damaged during the Civil War. The elegant baroque belfry and the large ceramic tile representing Santiago are remarkable. This tile work was created by Sevillian potters and replaced the former large-scale oil painting that was found in the same place. The most important ancient tradition in this vast neighbourhood is the procession held on the Sunday following the Corpus Christi.
PLAZA SANTIAGO, 21,puente-genil
Santiago parish church
This is Puente Genil’s oldest church and was its only parish church until the second half of the 20th century. Its original location would have been due to the first repopulation that occurred in the second half of the 13th century. However, there are no remains from this era, given that it bordered with Granada’s Nasrid kingdom and this land was exposed to the Moors’ continual razzias. It is thought that the current construction must date back to the beginning of the 16th century, which is when inhabitants started to settle definitively in Pontón de Don Gonzalo. The area was named after its founder Gonzalo Yañez Dovinal. The oldest baptism registry book dates back to these early years. In addition to the three naves and some lost altarpieces of the ancient style, there is only a very modified 16th century altarpiece, which holds several painted panels and that today houses an image of the Virgen del Rosario. The altarpiece that houses the Virgen de las Angustias is the one that holds onto its ancient roots, dating back to 1640. It is baroque in style and is not polychromed, except for some small cherubs that support the Solomonic columns. The whole church ensemble was renovated […]
C/ Don Gonzalo, 18,puente-genil
La Purificación parish chapel
One of Puente Genil’s most interesting industrial buildings is next to the river Genil and the avenue. This building is one of the most emblematic in the town given that it started as a flour factory and some years later went on to generate electricity, on 11 August 1889. It was built in 1878 as a project commissioned to the French engineer, Leopoldo Lemoniez, by the shareholders, once the bridge was complete. La Alianza is a building with a square floor plan. It has four floors and an attic, but only two floors are visible from the avenue. The building has French influence given the constructor’s origin, only noticeable in some elements such as the decoration of the attic’s window. The building was built with stock brick from local ceramicists and is exposed. There are numerous windows, framed by white stone from the Sierra Gorda quarries. The whole building only has one central pewter balcony likely to have come from Seville. There are decorative ceramic elements between each of the windows, making the building appear less austere. There are four stone pinnacles at the ends of the gabled-roof, also created with stone from the Sierra Gorda quarries. The building has […]
plaza nacional, Puente Genil
‘La Alianza’ flour and electricity factory
This parish church was built as a chapel for the Industrias de Nuestra Señora del Carmen in 1917 to cover the spiritual needs of the Estación neighbourhood. It became a parish church in 1954. The church has one single, Neo-Gothic nave, with beautiful, medium-sized jasper on the façade and the bottom part of the wall. The baroque altarpiece houses the image of Nuestra Señora del Carmen, the incumbent image of the church. It came from the Caridad chapel that was once in front of the Town Hall. The beautiful, artistic image that represents the Resurrection of Jesus is truly outstanding. It is a Granadan piece from 1630, by Alonso de Mena y Escalante, which came from the former la Veracruz chapel. It was moved to the del Carmen parish church when the current brotherhood, which parades the image of the Resurrection through the streets, was founded.
Av. de la Estación, 62,puente-genil
Nuestra Señora del Carmen parish church
The convent’s construction started in 1649 in a place known as the Cruz de Berral, a street that linked the calle Luna with calle Aguilar. Francisco Gil de Melgar, a local man from Puente Genil, a canon of Seville’s cathedral church and very respected man during his times left money in his will to construct the convent. The church was constructed between 1649 and 1692; this last date appears on a console on the side portal. The interior was decorated from this date: the altarpiece and sides were created before 1738 by the altarpiece sculptor, Felix Pérez de Mena, from Aguilar de la Frontera. The San Antonio altarpiece was created in 1748 by a sculptor from Lucena, Pedro de Mena Gutiérrez. It is a baroque church with a Latin cross floor plan: on its sides it has niches with small, yet interesting baroque altarpieces, which house the following images San Francisco de Asís, San Antonio, Santa Bárbara, the Virgen del Pilar, San Marcos and Nuestra Señora de los Angeles, the church’s incumbent image. This building’s inside walls were completely decorated with decorative paintings. Now, only the ones on the dome and the four Evangelists medallions remain. There is a collection […]
C/ Aguilar,1, puente-genil
La Asunción former convent
The origin of this chapel is due to the 1780 flood. Some children were playing on the riverbank and saw a plank of wood being swept along the river. A swallow flew and rested on the plank. They went to save it and saw that the part covered by waters had the face of the Lord carved on into it. A neighbour saw the children carrying the plank out of the river, who considered it to be something of a miracle. He built a post on the spot where it was found so that the public could worship it. Years later, using the donations made, the current small chapel was built. The Chapel has a small Neoclassical altarpiece, created in 1807. Given that it is such a small space, no mass has ever been held there, except in very exceptional circumstances.
CALLE FERIA, puente-genil
Señor del Río chapel
Since the end of the 16th century, there were wishes for Puente Genil to found a San Francisco de Paula convent. However, it was not until the second half of the 17th century that the lady of the town, the Marchioness of Priego, Juana Enríquez de Ribera, supported this decision. The convent and church’s construction works lasted for the whole of the second half of the 17th century, and the doorway was completed in 1707. The cloister was completed in 1725. The inside of the Church was decorated with mainly carved and gilded wood altarpieces. The most impressive being the main altarpiece, created by Juan Cazorla, sculptor from Lucena, in 1736. Another recently discovered altarpiece is also remarkable. It represents the “Martyr of Judas Thaddaeus”. The fresco is painted by the local 18th century artist, José Antonio Ruiz Rey. The convent was first disentailed in 1822 and all of its assets were sold. The community was reintroduced the following year but with fewer friars and that is how it remained until all were expelled. The convent’s building was used as a home, sometimes a school and sometimes barracks. When it reached a state of disrepair it was bought by the Casa-Padilla family, […]
CONTRALMIRANTE DELGADO PAREJO,puente-genil