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Las Teresas convent is located in the former Condes de Palma palace, an extremely interesting Mudejar building erected during the fourteenth and fifteenth centuries. The convent belongs to the Discalced Carmelite nuns, who are known in the town as “Las Teresas”. It was founded in around 1630, when the Discalced Carmelites had to move to the site, which caused serious conflicts with the town’s governors who were accustomed to meeting in the palace. Works on the church were initiated in 1655 thanks to donations and Sister Paula de San José’s dowry. The monumental portal belongs to the transition from Gothic to the Renaissance with light Manueline décor, as can be observed through maritime motifs. The façade’s decoration is uncommon to this area: the Palma counts “imported” it during the fourteenth century, mimicking the style that existed on palace houses in south Portugal, where they also owned land. Some of the palace’s rooms are decorated with interesting fifteenth-century Mudejar yeseria. It is believed that they are works from the same masters who created the ones in the Royal Alcazar of Seville. The church’s entrance door features an interesting piece of Mudejar carpentry from the second half of the fourteenth century, yet […]

A seis kilómetros al Sur de Lucena, en la eminencia de la Sierra de Aras, se alza el Santuario de Maria Santísima de Araceli, Patrona de Lucena y del Campo Andaluz. Una carretera conduce a través de feraces olivares y agrestes y pintorescos paisajes serranos desde la ciudad de Lucena hasta la explanada del Santuario, a 863 metros sobre el nivel del mar. El panorama desde el privilegiado balcón natural que es la Sierra de Aras, situado en centro geográfico de Andalucía, es extraordinario. Tierras de cinco provincias andaluzas y más de treinta pueblos se muestran a los ojos del visitante. El Santuario consta de dos partes bien diferenciadas: la iglesia con sus dependencias, y la hospedería, donde antaño vivían los capellanes y hermanos sirvientes de Nuestra Señora. Una escalinata conduce desde la explanada exterior hasta la iglesia que ostenta una sencilla fachada de piedra con tres arcadas de medio punto con cierres de forja, siendo la central, la puerta de acceso al pórtico. Cuenta asimismo con una espadaña angular y dos huecos para campanas. La Ruta Aracelitana comienza con la subida al Santuario de la Virgen en la Sierra de Aras. En el recorrido hacia el Santuario, encontraremos en el camino la Primera Cruz que según la tradición, marca el comienzo de un vía crucis […]

Latidos de Carmona is a patisserie which is fully committed to quality and flavour. We are passionate about the artisan production of each of our products, which are of premium quality. Our specialities are traditional confectionery from Carmona, including torta inglesa (‘English cake’). We also have a wide range of Moroccan pastries and artisan confectionery. 

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.

This neighbourhood is located on the Cerro de las Cruces hillside, facing the Cerro de la Mota hillside. This popular district owes its name to the large number of white crosses in the manner of a Via Crucis, ascending to the chapel of Fátima from Juego de Pelota. At the top of the hill, there is a spectacular viewpoint, where you can admire Alcalá and its fortress. 

The church was once a shrine dedicated to San José, rebuilt in the eighteenth century by Remigio del Mármol,  in a style which marks a movement away from baroque, towards neoclassical. It has a single nave, with an arched roof in three sections, surmounted by a segmented dome resting on corner supports with inset windows. Its décor highlights the combination of neoclassical and baroque elements. The altarpiece is by Juan de Dios Santaella: the base is mounted on a plinth, and the main body is in a single piece, with columns framing the chapel of the Virgen del Carmen – a work by Granadan craftsmen. It is flanked by San Joaquín and Santa Ana, the parents of Mary,  and above is the figure of San José.  The chapel itself, a typically neoclassical design, is by Remigio del Mármol. The sacristy, which today is joined to the main body of the church, in the form of a chapel, was completed before the church itself. It is of baroque design and rectangular in shape,  with a segmented roof leading up to a skylight – all supported by typical Corinthian columns. The doorway by Remigio del Mármol is completely neoclassical: it is formed […]

Several sections of Écija’s medieval wall have been preserved and some of its gateways can be recognised. Of the fourteen gateways documented, four originate from the Roman layout, and therefore connect the two main roads in the town. The first road goes from east to west, from the Puerta del Puente gateway to the Puerta Cerrada gateway. It is extremely interesting given the variety of historic sites and picture-perfect spots found along its length. The Torre del Carmen tower, a stretch of wall, La Cárcel and Ciudad Real buildings, the ancient inn and stone fountain can be observed along this road and provide an evocative setting: the sound of water from the fountain, the breeze and shade from the trees and impressive buildings. The second road stretches from north to south of the town, from the Puerta de Palma gateway to the Puerta de Osuna gateway. Its location is historically interesting, given the Moorish wall ruins. This stretch once provided access to the Moorish fortified town, known as Bab Usuna. The rest of the gateways documented originated in the Almohad era, and others were later than the Christian era. Several stretches of wall have also been preserved, the most emblematic are in Calle Alcázar, Cavilla, […]

Baena’s Madre de Dios Dominican convent was erected in the heart of the Almedina, between the castle and the Santa María la Mayor church. It was founded in 1510. Its floor plan consists of a single nave and crossing with adjoining chapels covered by vaulted ceilings with lunettes.  The convent church has two doors to this vestibule; the first of which is of primitive stonework and is work of the Catholic Monarchs’ era. The other is more classical, of lesser merit and seems to date back to the 17th century. In addition to the painting that dominates the main altar, there are 64 paintings on the altarpiece, of which the two images in the lower area are attributed to the Bossanos studio and depict the Epiphany and Adoration of the Apostles. The choir, of plateresque decoration, is located at ground level. The seating is 16th century carved wood and is separated by baluster columns and lonic capitals, crowned by crenellation with busts of the apostles, saints, and fathers of the church. 

In 1612, the Jesuits occupied it and in 1626 the 4th Duchess of Osuna, founded the Monastery that was governed by the Royal and Military Order of the Merced on the former hospital’s site. Through the church we enter the Patio, surrounded by an 18th century wall, adorned with Sevillano tiles, which depict biblical scenes, the five senses, four seasons of the year, street motifs and nuns praying. There are also hunting and bullfighting scenes. Most of the interior has been transformed into a Museum, being displayed around the main cloister. The 18th century Sevillano tiled-adorned walls are extraordinarily beautiful, decorating its lively patio and original staircase. It is a cloistered convent, although it is open to visitors and the nuns even offer guided tours. As well as the tours, visitors can purchase sweets and pastries, typical of Andalusian convents: roscos, tortas, bollitos almendrados, bolas de coco, bocaditos colombianos, yemas de San Ramón or suspiros de ángel.

The necropolis is found in an open space, meaning that any visitor is able to access it every day for free. Many of its remains can be found in the local Archaeology Museum. If these caves had not been looted repetitively in the past, Osuna would have one of the best Roman Ceramic and Glasswork Museums in Spain. Some of the caves are separated into sections with vaulted ceilings, dug out of the rock, the walls decorated with birds. There are a large number of tombs in the ground. A series of more recent tombs can be seen from the enormous funebrial ensemble, the latest being from the Visigoth era.