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  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. 

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.

16th century church. Baroque convent from the 17th and 18th centuries. Ancient convent of the Minims of San Francisco de Paula. It was originally the conventual church of the Minims of San Francisco de Paula, and it is currently the Nuestra Señora de la Victoria parish church. There are master imagery works inside the church. The wonderful sculpture of Virgen de los Dolores was created by the Granadan José de Mora, and Nuestro Padre Jesús Nazareno, work attributed to the Roldán family workshop, as well as Virgen de las Angustias.   

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 […]

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 […]

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.  

This ancient convent is found mid-way along Calle Real, which according to historic information, was of grand stature, although only one of the façades is preserved. It was built at the end of 16th century and rebuilt in the mid-17th

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.

The first reference to this church, located in the highest part of the town, dates back to the 13th century. It is thought that it may have been the site of a mosque, given its location, importance in the town and due to references made in  documents from that period. Its floor plan consists of three naves, with no crossing, separated by ogival arches, sat on Gothic pillars, typical of 16th century Cordoban architecture. From the outside, there are two doors, named the Angel and the Forgiveness. The first was named as such due to the monument to San Rafael, which is in front of it. It is remarkable due to its convex and concave grid on the jambs and lintel, typical of Cordoban architecture. The other door (Forgiveness) is plateresque in style from the end of the 17th century. One of the most prized and well-preserved pieces of art in the church is the large railing that used to enclose the main altar before it was restored in 2003. It is plateresque in style, from the mid 16th century, given its crenellation, embossed friezes and the way the elements are distributed. It is typical of the Andalusian railings that […]