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The market was built on the site of the former Santa Catalina convent, a 16th century construction that was knocked down in 1844 after having been abandoned following  the Ecclesiastical Confiscations of Mendizabal of 1835. The new building was set in a Neoclassical style, designed by Ramón del Toro in 1842. The building is rectangular in shape, with four sides with porticoes and spaces for market stalls. It is closed with four wrought-iron gates, and was restored in recent years. In view of its decadence as a traditional market, there are plans to bring this trading space more in line with the trading philosophy of our ages, where multiples tapas bars and a oleoteca, a shop specilized in olive oil, are located.

This building is also locally known as Las Tomasas Palace, as it belonged to two sisters who were nicknamed such. It boasts exuberant “historicist” décor, based on the Alhambra’s decorative elements. The entrance hall displays tiles from the Triana neighbourhood in Seville. The artesonado ceilings in the main courtyard and the staircase are also noteworthy.

The Casa de la Cultura was opened in the old Jesuits’ convent. The Jesuits’ church remained on the other side of the road. The monastic space comprises a wide central cloister and a series of rooms that open onto this central space. The cloister can be accessed directly from the street, and the Casa’s offices are on the opposite side of the entrance. The best known room is the Salón de Actos as this is where the town hall, municipal library and music conservatoire hold public events. The Casa de la Cultura is the town’s cultural driving force; it presents temporary expositions and all types of activities throughout the year.   

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.

La Casa Hermandad se inaugura el próximo 24 de enero y el 31 de enero de 2015 abrirá sus puertas al público. Se trata de una amplia casa a la cual merece la pena adentrarse y conocer su interior. Compuesta por varias salas, consta de una zona de recepción, salón de actos habilitado para la proyección de audiovisuales, pudiendo captar una idea global de la Semana Santa Lucentina. En su interior, es posible contemplar también el área expositiva, donde se pueden observar interesantes muestras de arte Sacro y enseres propios de la Hermandad, así como admirar los tres pasos que hacen estación de penitencia el Martes Santo. Con esta visita, el visitante tendrá a su vez la oportunidad de conocer de primera mano el día a día de la Hermandad del Amor. 

This church is also known as Santa María la Mayor church, as it was the new site of the Fortaleza de la Mota’s abbey church, becoming the town’s main church following its desacralisation and destruction. The friars of the third Franciscan Order wer­e accommodated in this church at the start of the 16th century, but this church’s constructive process wa­s long and full of modifications, stretching out until the end of the 18th century. The Virgen de las Mercedes, the town’s patron, is found in this church.

The first convent in Cabra, founded in 1550 as a small chapel, named from the doctrine at the beginning of the 16th century . The current work reflects the traces of reforms from different eras, especially the second half of the 20th century, when the main altarpiece and Santa Domingo sculpture were restored. The exposed brick façade presents a white limestone portal with two marble columns, on which their capitals support a niche with the image of the.  

Granted “Site of Cultural Interest” status, this fifteenth-century Gothic-Mudejar church is located a short distance from the Puerta de Osuna gateway. The church is preceded by a trapezoidal, porticoed courtyard. The door that leads to the street sits below a lintel and is flanked by two columns crowned by a curved pediment and a central niche, which were created by architect, Pedro de Silva, in around 1760. The church has a rectangular floor plan, with three naves, separated by vaulting shafts and a polygonal apse. The church’s pièce de résistance is its main altarpiece, where paintings and sculptures harmoniously complement one another. Carvings denote the transition from Gothic to the Renaissance, with reliefs and sculptures from the Jorge Fernández circle and sixteenth-century paintings on panels. The tower, located at the foot of the Gospel side of the nave, was affected by the earthquake of 1st November 1755. It was demolished in 1757, and construction of the new tower began the same year in a different location. It has a raised, brick shaft, from which two balconies open out, with alternating circle and square apertures. Moulding and carved brick capitals, stony decorative elements, painted plasterwork and glazed blue ceramics are combined to […]

S.XVI. Actualmente no ejerce culto. Cerrado al público. Este convento fue fundado por la esposa del IV Conde de Ureña, doña María de la Cueva. La fecha de esta fundación es 1550. La iglesia es de una sola nave con una capilla, la mayor; los altares se acogen a ambos muros laterales. Su retablo mayor es barroco y estuvo presidido por una buena talla de Santa Clara, que hoy se localiza en la Colegiata. También dejaron las clarisas un púlpito que es de los más pesados pero magnífica obra de detenida y policromada decoración.  

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.