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Former mosque and very likely Jewish synagogue. Gothic-Renaissance church comprising three naves with Mudejar arches. The Mannerist-style altarpiece is impressive. It is the work of Vázquez el Viejo and its baroque Sagrario (one of the best of its genre) is the work of Leonardo Antonio de Castro. Cordoban baroque trail. 16th century.   

This beautiful Renaissance fountain, called the Pilar de los Álamos, is located directly in front of Los Álamos park. It was built in 1552 and was designed by Jacobo Florentino ‘el florentín’, although he did not complete its construction. He was the predecessor of Diego de Siloé in Los Jerónimos church in Granada and both artists were considered the pioneers of Andalusian Renaissance. Historical accounts recall that this fountain once collected water from ‘La Mina’ spring, located close to the natural site Los Llanos. The fountain’s façade is made of sandstone and displays two warriors holding Alcalá’s coat of arms, protected by two griffins, mythological creatures with the body of a lion and the head and wings of an eagle, which guard treasures. These figures can also be found on other buildings in the town, as in heraldry, these imaginary beings are always related to protecting and guarding the town, a role that Alcalá la Real played for more than a century before the conquest of Granada. To this end, the inscription present on the emblem’s orle reads “key, guard and defence for the Castillian kingdoms”, the title granted to the town by the Catholic Monarchs.

This church is the former Alcantarinos Convent.It is Baroque in style and was concluded in 1690. It has a Latin cross floor plan with half barrel vaults and a dome over the hemispherical crossing atop pendentives with scarce plasterwork décor. The main altarpiece was created by the Sánchez de Rueda brothers, and consists of a section separated into three aisles, by four Solomonic columns. The central aisle connects with the chapel, which houses the beautiful image of La Inmaculada by José de Mora, which is outstanding due to its enhanced colour. The sides feature the images of Santa Rosa de Viterbo and Santa Rosalía.The icon of San Pedro is found in the niche, which dates back to the early 16th century. The altarpiece underwent changes during the 18th century, since it was created behind a wide chapel.It was commenced by Jerónimo Sánchez de Rueda and concluded by Juan de Dios Santaella in 1739.It is a wide space with an octagonal floor plan with a semi-spherical dome, featuring a blind skylight.The décor combines plasterwork, featuring cherubs, embedded mirrors and glass spheres that set off the striking colours in the marble. The Venerable Orden Tercero chapel houses the remarkable image of Santo […]

This wide park was built in 1848, under the mayorship of José Alcántara Romero and is a fine example of nineteenth-century gardening. It is home to many rare and ornamental species, such as centuries-old redwoods, slender London planes, horse chestnuts, lime trees and sycamores and countless plants (trees, bushes, perennials, annuals, etc.). Its high level of biodiversity, the unique varieties, its architectural elements (such as the central esplanade) and the park’s age, make it one of the finest green areas in Córdoba province. Furthermore, the provincial catalogue has classified it as a “Unique Garden” and “Unique tree-populated area”, being home to several “Unique Trees”.  

Like the other wetlands located in the strip between the Baetic mountain ranges and the depression of the Guadalquivir, this complex is a wetland formed by three shallow lakes: Zarracatín, Arjona and Alcaparrosa. Their marked seasonal character means they depend on direct rainfall so they are usually dry in summer or during periods of continued drought. Originally, the wetland landscape was full of holm oaks (carrascas) along with wild olive trees, carob trees and gall oaks. Indeed, the historic succession of different civilisations has led to practically all of the natural vegetation of this land disappearing so the land can be used for intensive farming. Hence the lakes are fully surrounded by crops. Only remnants of natural vegetation remain near to the lake, notably tamarisk, rushes, bulrushes and reeds. Thanks to their location, these lakes are of a high environmental value for birdlife, being a key location for sustenance, reproduction and rest during the migrations of numerous aquatic birds. There is an abundance of anatidae and rallidae, especially the common coot, with the occasional presence of ruddy ducks, flamingos and Western swamphens.

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. Aquatic activities can be allowed as a private individual. 

It was opened on 13 May 1904 and was built using ashlar from Osuna’s quarries. It is open to the public when there is a bullfight. It was opened on 13 May 1904 to hold bullfighting events, which were previously held in the town’s squares. Its architecture follows the design that was typical for that time: an arena, barrier and a space between the inner and outer barriers. It is supported by two concentric walls made of sandstone from the quarries and separated into eight sections, each with their own entrance. Halfway around the ring, in front of the bullpen, there is a vaulted and earthy tunnel reminiscent of the oval entrails of Italica’s amphitheatre. The arena, a circle of almost forty-eight metres in diameter, is one of the widest in Spain. The stands can seat 6500 people.   

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 […]

The Mausoleum commisioned by The Countess of Termens from the famous sculptor Mariano Benlliure was originally built in the local cementery. Later, in 1931 was moved to its current position, in the chapel that bears her name. Reservations by phone: 957 520 510 

San Juan Bautista parish church dates back to the sharing out of the lands that were conquered by King Ferdinand III, nicknamed “the Saint”. It is a Gothic-Mudejar church, with three naves covered by wooden framework and a polygonal masonry apse. Successive reforms took place throughout the sixteenth and seventeenth centuries, which significantly changed the building’s interior. The tower was built in the second quarter of the eighteenth century. In 1776, the building faced imminent ruin and was demolished in its entirety to create a new floor plan. To this end, the current San Juan Bautista church is what would have been the Sacramental Chapel, which was adjoined to the Epistle nave prior to the renovations. The main altarpiece houses an eighteenth-century Baroque retablo, featuring a seventeenth-century sculpture of the Nazarene. Paintings by Antonio de Pereda (seventeenth century) and Juan de Espinal (eighteenth century) are also noteworthy. The tower comprises three bell sections, built with considerable height. The Baroque elements in the upper sections make the tower the most emblematic and beautiful of those erected during the eighteenth century.