of the Sierras de Cazorla, Segura y las Villas

Two-day route departing from Úbeda, which aims to visit the domains of the Imperial Secretary, Francisco de los Cobos, as Adelantado de Cazorla, and the first interventions of A. de Vandelvira in the lands of Jaén in the domains of the Order. Military of Santiago in the Sierra de Segura.
The route allows another option, splitting it in two, each lasting one day, leaving and returning to Úbeda. Option A: Cazorla Route, which would include only up to La Iruela, returning through Cazorla-Peal de Becerro-Torrperogil to Úbeda. Option B: Route of the Villas and Sierra de Segura: Torreperogil-Villacarrillo-Iznatoraf-VillanuevaBeas-La Puerta de Segura-Orcera-Segura de la Sierra-Hornos de Segura, with return bordering the Pantano del Tranco until leaving Villanueva del Arzobispo.


8 kilometers from Úbeda in the direction of Albacete, the town of Pero Gil, a knight from Ubeta from the 14th century, stands out for the power of its two medieval towers, known as Dark Towers, remains of the old fortress. Next to them, the parish church of Santa María, is the most unique monument. Of late Gothic construction (beginning of the 16th century), it shows two exterior facades from an early Renaissance and inside a stone chapel-altarpiece, dated 1571, the Chapel of the Descent, very Vandelvian.
Also noteworthy is the dressing room of the Ermita de la Misericordia, of Baroque invoice with plasterwork from the 18th century, and some late Renaissance houses and a wide series of historicist houses dated between the 19th and 20th centuries.

Peal de Becerro

22 kilometers from Torreperogil, towards Cazorla, the town of Peal de Becerro preserves nothing more than two medieval towers of what had to be an important fortress conquered in the 13th century by the Christians and included in the Advancement of Cazorla belonging to the Archbishopric of Toledo.
The most interesting is located two kilometers away in an open field: the Toya Burial Chamber, one of the best funerary monuments of the Iberian culture of Spain, a stone hypogeum, dating from the 5th century BC. (For your visit you must request the key at the Town Hall).


13 kilometers from Peal, Quesada, a medieval town that was alternately in Muslim and Christian hands since the 13th century, until it was awarded Úbeda in 1331, shows a beautiful and interesting urban core within the walls of narrow streets, walkways and two open access gates in its defensive walls, that of “los Santos” and that of “la Manquita”. Inside this nucleus, the parochial church of San Pedro and San Pablo stands out, very restored, but with some Renaissance element, which tells us of a great temple, built under the Castilian influence of the architecture raised in the Advancement when it was under the domain of the Mitra of Toledo. Very interesting are some paintings by modern artists, sons of Quesada, such as Zabaleta, Hidalgo de Caviades or Verdes, and pieces of baroque goldwork.

Outside the intramural nucleus or “Barrio de los Santos”, near the Plaza del Ayuntamiento is the Church of the Hospital de la Purísima Concepción, with a simple architecture evocative of the dominant Toledo construction tradition in the area and inside which part of a Baroque altarpiece and dressing room from the 18th century.

Of special singularity is the Rafael Zabaleta Museum (2008), a building of notable architectural interest, the work of José Gabriel Padilla, which houses a large part of the work of this famous painter from Quesade, who died in 1960, in addition to the work of other contemporary Spanish artists. , friends of Rafael.

The town, located in a mountain landscape of extraordinary picturesqueness, frequently represented by Zabaleta, offers other cultural landmarks worth visiting in its surroundings. In the beautiful area of ??Puerto de Tiscar, about 15 kilometers away, stands a medieval castle of Muslim origin and at its foot the Sanctuary of the Virgin of Tiscar, patron saint of the town and the object of a famous pilgrimage. Nearby is the Cueva del Agua, a space of unusual natural beauty enabled for musical concerts, and in different shelters that are also natural in this environment, Neolithic cave paintings, included in the arch of Mediterranean paintings declared a World Heritage Site.

Returning to Quesada to go to Cazorla by the local road we find the Roman villa of Bruñel, of great amplitude, dated between the second and fifth centuries of our era, and from which part of its mosaics can be seen, in addition to the architectural structures.

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City, head of the Advancement that bears his name, territory administered by the archbishopric of Toledo since its conquest in the 13th century by Archbishop Rodrigo Ximénez de Rada until it passed into the hands of the Imperial Secretary Francisco de los Cobos in 1537, and later returned, in 1605, at the hands of the Toledan Mitra. Its location, at the foot of the Sierra de Cazorla, and crossed by the Cerezuelo river, gives it an extraordinary beauty due to the staggered arrangement of its traditional white houses, among which are embedded churches and convents with high towers and the superb Castillo de la Yedra , in front of them dominating the neighborhood of his name.

Around the popular Plaza del “Huevo”, alluding to its shape, the main one in the city, stands the church of San José, belonging to the disappeared convent of Augustinian nuns, dating from the 17th century, restored in modern times. The interior chapel of the Sagrario is worth highlighting, with its centralized floor plan and decoration with baroque plasterwork.

The current City Hall, overlooks this square at an angle, at the beginning of Calle del Carmen, installed in what used to be the Convento de la Merced, the largest of all the Cazorlan convents and in part better preserved, dating from the 16th century with added in the following century.

In the same steep street we find the church of the Carmen convent, although in reality it is a Jesuit foundation created by the Marchioness of Camarasa, Mrs. Ana de Guzmán, daughter-in-law of Francisco de los Cobos, in 1589. The current church is a trace of the architect from Jaén, Blas Antonio Delgado, at the end of the 17th century, already sponsored by local benefactors. However, the tower, which shows a peculiar stone and brickwork, of Toledo tradition, responds to an earlier moment in the late seventeenth century, perhaps the remainder of the primitive church.

In the lower part of the city, in the valley that separates the Castillo neighborhood from the rest of the stepped city at the foot of the Peña del Halcón, and on the vaulted river, a wide square extends, the nerve center of La Cazorla del Adelantado Cobos and where the powerful lord wanted to leave his mark. This space is presided over by the ruins of the Church of Santa María, a monumental temple with magnificent Renaissance architecture, which in its ruins have a special scenic beauty. Two different styles can be seen in them: at the head, clearly Vandelvirian around 1550, and the one at the feet, very refined and later, from the end of that century.

Next to the church, the Fuente de las Cadenas, a work from the last quarter of the 16th century, shows in its monumentality the importance of the square as a public space, reinforced by the old Town Hall and the Carnecerías, to which the headquarters of the vicar of Toledo.

Crowning the heights and the surroundings of Cazorla there are a series of ancient hermitages of medieval origin with ornamentation from other times and styles, particularly from the Baroque.

Apart from the attractive walk offered by the tour through its streets, Cazorla has an excellent offer of hotels and traditional cuisine, in which rags and rin-ran or gachasmigas stand out. Very popular and recommended is "tapas" in the Cazorlan bars, especially around the "Plaza del Huevo". For all these reasons, Cazorla or its surroundings can be a good option to spend the night before following the Sierra route inland.

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La Iruela

Just three kilometers from Cazorla is this beautiful town, conquered in 1231 and given to Cazorla twenty-five years later. Rarely is an adaptation of an urban settlement so well integrated into the natural space as in this case. Dominated by the small town by a colossal Almohad castle set in the rocks that cut across the road, today the road, at its feet, encloses within its walls the remains of a Renaissance church, Santo Domingo, a work in which it has been wanted to see the hand of A. de Vandelvira, because features of this architect's style are not lacking, although as a whole it is more in line with the work of Rodrigo de Gibaja, the nephew of Rodrigo Gil de Hontañón, who also directed the church of Quesada.

The views from any point of the fortress are simply splendid. In the main and practically unique street that articulates the entire nucleus, there is the current parish church, renovated, and at the end or almost entrance to the town, the Town Hall that occupies the property of the old Granary or warehouse for grain, of original and strong Vaulted silos on the ground floor, documented work of A. de Vandelvira, around 1570.

Starting from La Iruela, we enter the heart of the Sierras de Cazorla, Segura and Las Villas Park where we find an Interpretation Center on these beautiful natural landscapes in the Torre del Vinagre. The visit is recommended especially in autumn, when the "bellowing" or call of the deer in heat occurs and the chanterelles sprout under the pine groves with the first rains, a highly appreciated delicacy among mushroom lovers. The aforementioned Tower marks the limit between the Sierras de Cazorla and Segura Descending towards the Pantano del Tranco, the largest reservoir in the province, and on a border on it, the town of Hornos de Segura, next stop.

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Hornos de Segura

Villa of extraordinary picturesqueness supported on a rocky edge strengthened by an enclosure from the Almohad period, which still preserves its characteristic layered door, inside we will see the church of Santa María, where the name of Andrés de Vandelvira is registered for the first time accompanying his father-in-law, Francisco de Luna, and Juan de Mojica, in Jaen territory to visit some works that were carried out in the 1520s. Its interior still offers ribbed vaults, but the front does respond to an early classicist style.

Segura de la Sierra

10 kilometers from Hornos and perched at a height not easily accessible is the one that was head of the Commandery of the Military Order of Santiago in the Sierra de Segura, a very small enclave today of purely tourist interest for its natural beauty and also monumental, since of that capitality that it had in the Middle Ages and in the Modern Era, important vestiges have remained. Let us not forget that all this mountainous demarcation formed the Maritime Province, from whose forests the Spanish navy was nourished for the construction of its ships, in the same way that the famous "pinos de Segura" are the raw material with which the largest has been built. part of the altarpieces and carvings of art imagery in Andalusia.

The town is dominated by a powerful medieval castle of Islamic origin, then heavily fortified after the conquest and whose defenses descend to surround the nucleus, of which the medieval access gates still remain. In the vicinity of one of these doors you can see the Arab Baths, rebuilt in the 1970s by Luis Berges. Nearby is also the Church of Santa Maria del Collado, whose plan had to reverse its orientation at a time after its initial construction. The temple was very transformed by this and other reforms, its exterior cover shows the echo of Vandelvira well, although it was carried out by the master's followers. However, the young Vandelvira came, as in Hornos, in the ordinary visit in the company of the previous teachers when the new church was being built, which responds to the current plant. The temple houses a series of baroque carved images from the 18th century of Murcian descent and a polychrome alabaster Gothic virgin, the Virgen de la Peña, brought from a famous monastery of the same name located nearby.

Next to the parish church, there is another temple of greater architectural packaging, the Church of the Colegio de los Jesuitas, first designed by Brother Juan García, of the Company, and later and definitive by Juan Bautista Prioli, projected and finished in the last room from the 16th century, and today adapted to a cultural center. The entire contiguous block was occupied by the College until connecting with the houses of Cristóbal Rodríguez de Moya, the wealthy person responsible for the coming of the Jesuits to this secluded place.

In the same axis of this set is the Fuente de Carlos V, a watering hole type fountain, reformed, but which still preserves remains of its late Gothic decoration from the beginning of the 16th century, when it was built, and the imperial coat of arms of Carlos V.

In the brief, but rich walk through the town, you can see the supposed house of Jorge Manrique, where it is said that he was born, since his father was then commander of the Order in Segura, and next to the entrance to Segura, the building of Town Hall, which sports a very Vandelviresque late Renaissance façade, with anagrams of the Society of Jesus, possibly transferred from the College.

Segura is another excellent “stop and inn” place where you can spend the night and enjoy mountain food (rags, ajoatao) and the magnificent Segureño lambs.

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At the foot of Segura de la Sierra extends what was a neighborhood of Segura, today converted into a prominent administrative nucleus in the area. The young Vandelvira also arrived there, visiting the parish temple that was rising in the 1520s.

The current church of Our Lady of the Assumption, however, responds to a new church built a decade later and in a flatter location, following the type seen in Hornos, and also in a late Gothic language. Remarkable is its cover, from a late Renaissance, from the nearby Monastery of La Virgen de la Peña, which has now disappeared.

Optionally, the traveler can from this point enter the Sierra to visit other mountain towns such as Benatae, Torres de Albanchez, Siles and Villarrodrigo, which lack monumental Renaissance pieces, except isolated elements, but a medieval military and religious architecture worthy of being known or Very interesting villas and manor houses of historicist eclecticism, as is the case with Siles, apart from the exploration of the natural landscape of the Sierra.

If you follow the route outlined, from Orcera you will reach the N-322 road to return towards Úbeda, 10 kilometers away, after passing through La Puerta de Segura, a strategic nucleus, as its name indicates, at the entrance to the valley that leads to the mentioned localities. Earlier on the road, a series of isolated towers can be seen shortly after leaving Orcera, which explain well the defense and control of the territory in medieval times. In the Puerta de Segura you can see the church of San Mateo, a sober neoclassical temple, from 1817, and an interesting Theater, recently restored, dated 1928.

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Beas de Segura

On the road to Úbeda, along the N-322 there is a detour to the left and following the regional A-314, two kilometers away is Beas de Segura, limit of the territory of the Sierra de Segura, historically domain of the Order of Santiago and in the religious dependent on the diocese of Cartagena-Murcia. But above all, Beas is linked to the name of Santa Teresa de Jesús, since it is here where she founded her first convent in Andalusia, in 1575, with the enthusiastic support of Catalina María Sandoval y Godínez.

The convent of San José, the dedication under which the foundation was placed, is completely rebuilt in the mid-20th century, although preserving the original typology and location.

The picturesqueness of the town advises a walk through it. Ascend to the Albaicín neighborhood, with interesting popular architecture of whitewashed houses and an abundance of flowerpots on its facades, and go down to Calle Feria where we find a very remarkable set of historicist bourgeois housing.

Famous for their cultural interest are the Fiestas del Toro de San Marcos, held at the end of April, which consist of enclosing a large number of cattle (more than fifty) that are carried through the streets "ensogados", that is, with ropes that surround the head and handled by the neighbors and that even accompany in the procession of the saint's day.

In the municipal area, at the height of Arroyo del Ojanco, is the Roman town of Baños.

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Villanueva del Arzobispo

Abandoned Beas, we once again entered the territory of the old Cazorla Advancement, which in its extreme north would see four important nuclei grow in the late Middle Ages: Iznatoraf, Villacarrillo, Villanueva del Arzobispo and Sorihuela del Guadalimar, known as “the Four Villas”. On our journey, the first one we come across is Villanueva del Arzobispo, at the foot of the hill where Iznatoraf sits, a town on which it depended in principle until its constitution in Villa, in 1396.

In Villanueva we will highlight the parochial church of San Andrés, of great proportions, which although built throughout the seventeenth century, observes a classicist style derived from the fertile renaissance of the previous century.

The Convent of Santa Ana, of Dominican nuns, was founded by the famous writer and preacher, Fray Domingo de Valtanás, who was a native of Villanueva, in 1540. Without great architectural fanfare, it presents the version of the geminate door or double door, relatively frequent in female convents, and inside some curious wall paintings in the refectory, from the end of the 16th century.

On the outskirts of the town and next to the current N-322 road, is the Sanctuary of La Fuensanta, where the virgin of the same name of ancient tradition is venerated, as it appears in Las Cantigas, by Alfonso X, and its origin -according to the legend- part of the miracle that the virgin worked when she returned the sight and the hands of a queen dwelling in the spring that exists there. The heavy tower that makes up its head indicates the medieval origin of the construction, but internally it was transformed at the end of the 17th century.


It is the oldest of the Four Villas. Perched on top of a hill, it dominates the territory and in its place name alludes to an Arab origin (“Castillo del Polvo” or Monte, better). Its narrow streets and the solid fortification that it presents, speak of the military importance that it must have had. Conquered by Fernando III, the king gave it to the archdiocese of Toledo.
In its tight hamlet, the parish church of La Asunción stands out for its volume, a work from the end of the 16th century that denotes the influence of Vandelvira in the structure of the living room plan covered with vaulted vaults, undoubtedly a trace of the followers of the Master, perhaps Alonso Barba. Inside there are some beautiful drawers in the sacristy carved with magnificent Renaissance reliefs, as well as important goldsmiths and liturgical dresses. It is worth walking through its streets, passing through the various access doors to the intramural nucleus: Puerta del Campo, del Arrabal ..., the latter with a classicist relief of the Virgin.
The views over the surroundings are memorable. Important are the Festivities of San Isidro and Corpus.


Aldea dependiente en principio de Iznatoraf, hasta su conversión en villa a mediados del siglo XV por mediación del arzobispo de Toledo Alfonso Carrillo, de donde viene su topónimo. La riqueza de su campo cerealista posibilitará un rápido crecimiento mantenido durante la centuria siguiente. Fruto de ello serán obras de la categoría de su iglesia parroquial, que lleva a establecerse a Andrés de Vandelvira, quien monta aquí su primer hogar a la vez que adquiere una serie de bienes raíces, que lo unirán de por vida a Villacarrillo.

La Iglesia parroquial de la Asunción, se levanta sobre el antiguo castillo medieval, parte del cual se integra en las dependencias altas del templo, convertidas hoy en museo.

Por sus dimensiones y calidad arquitectónica es una de las iglesias más significativas del Renacimiento en la diócesis de Jaén. Monumento Nacional desde 1931. Aún con resabios góticos, visibles en los pilares y naves laterales, muestra lo que será la idea de templo cristiano que tiene Vandelvira, dominado por las bóvedas de tipo vaída.

Muy importante será toda la decoración pictórica de las bóvedas, obra de Pedro de Raxis, fundamentalmente, datadas en el último cuarto del siglo XVI. El retablo mayor, barroco, de Juan Gómez Lobo, de procedencia toledana, en 1670; la Capilla del Cristo de la Vera Cruz, con su camarín de yeserías barrocas del siglo XVIII y la Sacristía, de finales del siglo XVI, en la que debe intervenir Alonso Barba. En el museo es de reseñar la colección de orfebrería barroca.

Cercana a la iglesia y en la calle Vandelvira se halla un caserón, en el número siete, que se tiene por la casa del maestro en Villacarrillo.

Por debajo de la anterior calle se extiende la de la Feria, la principal arteria, en la que se sitúan los mejores ejemplos de vivienda doméstica, particularmente brillante en las casas-palacios de estilo historicista de fines del siglo XIX y principios del XX (Casa de los Rubiales; Palacio del Cardenal Benavides; Juzgados; actual Casa de la Juventud) y más abajo la de los Regil, del siglo XVII, que debió pertenecer a esta familia de canteros que trabajaron asimismo en la iglesia.

Fuera de este eje, la Casa de la Inquisición, en la calle Repullete, obedece a la construcción tradicional de mampostería, pero conservando los huecos, rejería, escaleras etc… originarias de los siglos XVI y XVII. Cerca de ella, en la calle Ramón y Cajal, el Hospital de Santa Isabel, fundación del obispo Moscoso Sandoval en 1645, realizado por el arquitecto Juan de Aranda Salazar. La iglesia conserva un notable conjunto de cuadros encastrados barrocos de escuela granadina.

Fiesta de gran relevancia es la del Corpus Christi, que por bula del Papa León XIII, fue la primera en hacer su procesión por la tarde.

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Strongly walled city, which conveys to a certain extent the military importance it had in the Middle Ages both from a strategic point of view, as well as from its own social structure, also experienced an economic boom through its commercial and artisanal activity which it joined in the sixteenth century an important political-representative and cultural relief as it was the cradle of great statesmen, such as Francisco de los Cobos and Juan Vázquez de Molina, Secretaries respectively of Carlos V and Felipe II, and of other distinguished members of this family, which with specific construction companies (palaces, churches or hospitals) gave Úbeda a unique Renaissance mark.

The declaration of a monumental complex has its nucleus in the Plaza del Salvador, presided over by the funerary temple of El Salvador, the pantheon of Francisco de los Cobos and María de Mendoza, his wife, designed by Diego de Siloé, following classic models of rotunda inspired by the Pantheon of Rome connected to a nave, something already experienced in the cathedral of Granada. Andrés de Vandelvira, who was master executor, contributed from his harvest the layout of the sacristy, with the original portal open at an angle, and the two side panels.

Two palaces aligned on the north side of the square make up the space next to another, on the opposite side, recently rescued by archeology, that of the Orozco. The first two belonged, the one closest to the Chapel of El Salvador, to the clergyman, Hernando Ortega, known as Dean Ortega, for holding that position in the Cathedral of Malaga, Cobos's henchman, now a National Tourism Parador . The other, the so-called "Palacio de las Cadenas", was commissioned by Juan Vázquez de Molina (current City Hall). Both buildings are the work of Andrés de Vandelvira and represent two versions of the classic theme of the Roman house, but with original interpretations by the author.

In front of the Vázquez de Molina palace, the medieval Collegiate Church of Santa María de los Reales Alcázares, the highest-ranking church in the city, built between the 13th and 17th centuries, although most of its structural factory of three naves and cloister, it can be dated to the end of the 15th century, in a Gothic-Mudejar style. Only the exterior facades respond to the early seventeenth century, then reformed in the nineteenth century. Its chapels are noteworthy in its interior for its Renaissance movable art, in particular the series of bars by Maestro Bartolomé.

On the southern side of the square the nucleus of the old Alcazar rises slightly, today very uninhabited, but where you can see very interesting houses of popular tradition with curious elements of Hebraic sign on their facades, as if corresponding to what was the old Jewish quarter.

Behind the Chapel of El Salvador, the Hospital de Honrados Viejos, is part of the healthcare improvements that Cobos conceived for the city, in this case on a hospital foundation that has already existed since the end of the 14th century, also with plans for expansion and reform of Vandelvira, and that connects almost with the unfinished Palace of Francisco de los Cobos, in the street that bears his name, started with traces of the royal architect, Luis de Vega.

Continuing the tour to the north of the Plaza del Salvador, another important square centers the heart of the Gothic Úbeda: Plaza de San Pablo or del Mercado, articulated around the parish church of San Pablo, a 14th and 15th century Gothic temple with a façade, that of "the carpenters", older, from the thirteenth century, at the foot, and the primitive Town Hall, which shows a beautiful Renaissance loggia.

In the surroundings of this square is the Carmelite convent of San Miguel, with the Oratory of San Juan de la Cruz, where the saint died in 1591, although it is a work of the 18th century, rebuilt where his cell was. Now it houses a Museum with objects and memories of the saint. Not far from this convent, on Montiel street, is the Carmelo female convent with the title of La Concepción, founded at the end of the 16th century and built throughout the 17th century. It also has a museum with important sumptuary works. The Archaeological Museum is also nearby, installed in a Mudejar house from the 15th century, and some palatial houses from the 16th and 17th centuries, among a maze of medieval streets.

Towards the western sector of the intramural nucleus and behind the Plaza de San Pablo, Calle Real is the main artery that connects the Plaza de El Salvador with the Puerta de Toledo. In it is located the Palacio de Vela de Cobos, the work of Andrés de Vandelvira, already from his last years, internally renovated, but with an elegant and original facade. Meters further up the Palace of the Count of Guadiana, of turriform type, dated at the beginning of the XVII, sums up well the Vandelvirian influences.

Behind it, the parish church of San Pedro, of medieval origin with late Renaissance façades, and the Convent of Santa Clara, a Franciscan foundation from the 13th century, where Queen Isabel la Católica stayed one day, and next to it, another palace , trace of Vandelvira, that of the Marqués de la Rambla.

Interesting pieces of this sector, in its southern part, are the Casa de las Torres, an early Renaissance work, ordered to be built by the knight Don Andrés Dávalos, and near it the churches of San Lorenzo and Santo Domingo.

Outside the walled enclosure, in what were the outskirts of the city, the parochial churches of San Nicolás and San Isidoro stand out, both of Gothic origin but with important Renaissance elements directly or indirectly related to Vandelvira. The first of them owes to Vandelvira the design of its main portal, an original baptism chapel, a work of his maturity, and perhaps one of his first interventions in Úbeda: the Deán Ortega chapel, and with a clear Vandelvirian influence its Sacristy. In San Isidoro, an extensive reform begun shortly after Vandelvira's death by his collaborator, Alonso Barba, closely following the scheme of the Jaén cathedral, but interrupted at the height of the transept, continued in a sober way with a single nave In XVII century.

Equally noteworthy is the church and convent of La Trinidad, strategically located opposite the Puerta de Toledo and the very interesting Torre del Reloj, whose graceful upper body is designed by Vandelvira (1561). The convent is a medieval foundation, which has a spacious and elegant Renaissance cloister and a Baroque church from the 18th century.

But the undisputed part of the suburbs is the Hospital de Santiago, founded by the bishop of Jaén, Diego de los Cobos, in 1560, and the most breathtaking work of A. de Vandelvira in full maturity, where his architecture becomes more abstract , detached from superfluous ornamentation. To highlight within it, the staircase, the central patio and the chapel-pantheon.

Úbeda has a rich artisan tradition, mainly ceramics and plaiting materials. Also given its long commercial tradition, the visitor will find a good offer of all these objects in numerous shops on his walks around the city. However, a visit to the potters' neighborhood, the old parish or collation of San Millán, is highly recommended, structured by Valencia Street, which we arrive at by leaving through the historic Puerta del Local. There you can visit the pottery of Titos or the Hermanos Alameda, of recognized prestige.

As in Baeza, Úbeda offers a magnificent series of hotel establishments, located in old palaces.

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