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Although it was founded in the 16th century its fundamental structure is from the 17th century. It was an annex of the convent ruled by the brothers of the Order until 1835. The portal, stone carved, sober, presents the image of San Juan de Dios. Inside we can observe a single nave with a groin vault and dome at the end, the developments of its abundant cornices being very significant. The beautiful altarpieces are also noteworthy.   

  This chapel was built in 1718, in line with Leonardo Antonio de Castro’s designs and under the patronage of the Bruna-Ahumada family, whose coats of arms can be observed on the pendentives of the interior dome. The single-nave church is separated into five sections with its dome in the chancel. It has a harsh, ashlar and brick façade, finished with a pediment and belfry. The main altarpiece displays influences from Leonardo Antonio de Castro and was created by Francisco José Guerrero in 1762. It features a wonderful series of murals based on phytomorphic motifs and a votive image dedicated to the Assumption, which is also the work of Leonardo Antonio de Castro. The imagery is impressive including the Sagrado Lavatorio sculpture collection, by Pedro de Mena and the image of Nuestra Señora de la Estrella by José Verdiguier. 

Easter week in Alcalá la Real exudes a unique, very original sense of expressive and aesthetic refinement far removed from the religious processions. It is chiefly characterized by the merging together of religious devotion and popular revelry in processions with scenes from the Passion, living dioramas and proclamations. The origin of this tradition is found from the fusion of two traditions: autos, or misterios, which had formed part of the Corpus Christi celebrations from the 15th century; and ingenios, religious and festive representations associated with the town’s different trade guilds. These representations of Christ’s life, Passion and death were created at the end of the 16th century for Maundy Thursday, Christmas or Corpus Christi within the churches and were used to promote the Catholic doctrine. Nowadays, the Ecce-Homo, Jesús en la Columna and Penitencia de los Apóstoles de Jesús brotherhoods take these processions to the streets during Easter Week.  The town criers, dressed in mourning, declaim compositions which mix poetry and prose, each with their own individual musical feel and intonation. A visit to the Ecce-Hommo and Jesús en la Columna brotherhood’s house allows us to become better acquainted with the distinguishing characteristics of their Easter Week. The house displays figures that they represent with […]

The Castil de Campos museum is located in a small house with traditional architecture in a rural setting. It exhibits everyday artefacts from the end of the 19th and the beginning of the 20th century, contextualised in the Priego de Córdoba’s rural environment. It is undoubtedly an excellent sample of popular art and customs, located in the district of Priego de Córdoba.  

During the Roman era, Carmona had four gates that allowed the walled city to communicate with the outside. Only two of them now remain: la Puerta de Sevilla and la Puerta de Córdoba. This is due to numerous, crucial battles that occurred on our land ov

Antiguo convento-hospital de la Orden de San Juan de Dios, anexo a la capilla barroca que aun hoy sigue siendo templo de culto, se nos presenta el “Casino” o Círculo de la Amistad lugar donde destacados personajes de la obra valeriana vivieron largas tertulias y acalorados debates sobre los más variados temas del momento. En su obra “Pepita Jiménez” encontramos una magnífica descripción del lugar: “El centro de la concurrencia era el patio, enlosado de mármol, con fuente y surtidor en medio y muchas macetas…”. En él encontramos un azulejo que recuerda al escritor, durante un tranquilo recorrido por las diferentes dependencias podemos observar algunos cuadros de su familia y podremos visitar un pequeño museo sobre el costumbrismo de la época que Valera recoge en sus obras.

Construction started in 1794, but the current aesthetics were adopted in 1925, some years before the 1929 Ibero-American Exposition held in Seville. These transformations acquired the Andalusian regionalism style, influenced by architect Aníbal Gozález

La Almedina means ‘town par excellence’ in Arabic and is the highest part of the town. Its streets and corners evoke times and places, typical of the Arabic era. Plaza de Marinalba is located in Baena’s Almedina, and can be accessed through the Arch of Santa Barbara, where we find the Crismón de Baena, a large Visigoth cross that symbolises Christianity, worked in bronze, which became the icon for the town’s civilisation and culture. The Plaza Palacio is the heart of Arabic and Medieval Baena, which appears to be dominated by another of the town’s most representative symbols: Baena’s Iberian Lion. It is a bronze reproduction of the original that can be found in the Archaeological Museum of Madrid. La Plaza Francisco Valverde or Plaza Vieja, pays homage to the great 19th century writer and historian Francisco Valverde y Perales who brought us the “Historia de la Villa de Baena” a book about the history of the town. The town’s most important monuments are all found in this Arab barrio, such as the Santa María la Mayor church, the Madre de Dios convent and the castle’s remains.   

This castle was originally Jewish and was renovated following the Christian reconquest. The Moral tower is quite remarkable. King Boabdil known as “El Chico”, was the last Nasrid King of Granada and was kept inside the tower during the first of the battles that he lost until he finally lost his kingdom. Medieval Subbética trail and legacy of Al-Andalus trail. 14th century.  The museum takes visitors on a thematic route, through eleven rooms that reflect the transformation and idiosyncrasy of Lucena, marking its historical milestones.

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.