The one in Ariza, spread over the river Guadalimar, of which an important documentation released by V.M. Ruiz Fuentes, was built on the initiative of the Council of Úbeda to improve communication between Andalusia and the Levante and La Mancha through the Condado region. In September 1562, by a royal provision, it is authorized to draft the conditions of work as well as its public auction.

Vandelvira is in charge of drawing up the plans and conditions for the construction of the bridge. Putting the work in auction, it was finally finished on October 4, 1563 by the master stonemason from Ubetense Antón Sánchez. The works were visited by Vandelvira on numerous occasions. In the one carried out in September 1571, the lateral arches were to be closed and the first ring of the central one was practically closed. In August 1575, with Vandelvira already dead, Antón Sánchez acknowledges having received, so far, the sum of 1,875,875 maravedís, while indicating that the work was practically finished.

Finally, in 1582 Pedro de Alcalá Monte, Master Master of the church of Huéscar, appraised the work, already completely finished, leaving the Council of Úbeda in debt with Antón Sánchez in 17,859 ducats. Built in sandstone carved in ashlar, it is a rare example of a Renaissance bridge, of the type known as "on the back of an ass", since its passage is not flat but formed by a very pronounced double ramping, with the apex on the key of the arch central.

It is made up of five semicircular arches with different light, perfectly outlined thanks to a molding that connects them all, the central one being large and with a span of about 32.7 m .; the total length reached almost 100 m. and the maximum height 17 m .. The layout of the bridge was modified in the 19th century by rectifying the slopes, and thus eliminating the steep slope of the original ramps. In the middle of the 20th century, two long slopes covered with masonry were added, made when considering the current route of the road with two curves to enter and exit the bridge, in contrast to the original straight path. The beauty and uniqueness of its proportions, the grandeur of its central arch that, like the others, starts from the platform of the base, its excellent stonework and its authorship, perfectly documented as the work of Andrés de Vandelvira, make this bridge one one of the most important specimens of its kind in the 16th century Spanish art scene, although not exempt from a certain previous aftertaste due to the pointed image of its layout generated by the pronounced ramps, drastically truncated in the reform outlined in the 19th century. As an emblem of the city that led to its construction, its shield is not preserved, if it ever had it, but a beautiful relief in which its patron Saint Michael the Archangel is represented.