Day by day, as a jealous guardian of the people, with the vibrant sound of the bell that gets into our minds by printing new strength and essence reminds us of the time of relentless work, media transformation, maturation and progress. Its history dates back to 1887, being mayor D. Francisco Rico Lucas, when he remembers asking a project for a tower architects of Alicante D. José Guardiola Picó and D. Enrique Sánchez Sedeño. In 1889 a new watch is bought in Madrid, for 11,000 pesetas. (Present), which would consist of machinery, three bells (large classic, and two smaller hemispherical), four areas, weights for rope and a floor for support campanile. It is wound with a crank, pushing weights hanging from two separate wire rope (as is done with a cuckoo). Weights are three: 500, 200 and 100 kilos; The big one is for hours, the median for the quarter, and lower the clock keeps running.

The Torre del Tamarit, also known as Torre de la Albufera or Torre de las Salinas, has a square floor plan and is located between Torre del Pinet and Castillo-Fortaleza de Santa Pola. Being a little away from the coast, its main function was not to monitor the maritime coastline, but to allow communication with the towers of the Elche field and monitor the salt pans. The tower of the Tamarit, owned by Bras del Port SA, is located in an exceptional place, in one of the lagoons of the Natural Park of the Saltworks of Santa Pola, which houses various environments: the salt works near the sea, the water pools sweet permanently flooded and its peripheral areas. The fauna and flora adapt to the conditions of humidity and high salinity. The concentrations of flamingos that add up to thousands of specimens are spectacular. It also highlights the presence of the White Jar, the Pardilla Teal, the Avoceta, the Cigüeñela, the Black-rumped Chorlitejo, the Charrancito or the Common Tern. The Vigía Towers were built in 1552, under the reign of Felipe II. They are strategically located to spot the enemy before it reaches the coast and communicate with each other through smoked by day and by night luminaries. They are: Torre del Tamarit in Las Salinas, Escaletes in the Sierra and Atalayola in the current lighthouse. His custody was entrusted to four attackers: two on foot, who carried out continuous surveillance, and two on horseback, who controlled the route between two towers: communication, request for help, etc. Both the Escaletes Tower and the Atalayola (current Faro) had guards on foot, but not on horseback, so the liaison function was carried out by the two atajadores of the castle.

The archaeological site El Monastil (Property of Cultural Interest), of municipal ownership, is one of the most representative and rich elements of Elda's historical heritage. It is located in the rural part of the same name, in the eastern foothills of the Sierra de la Torreta. Surrounded by the Vinalopó River, it occupies an approximate area of ​​3.5 hectares. The main access is made by the southern slope, connected to the north entrance (Elda-Hospital) from the A-31 highway (Madrid-Alicante). The occupation of this settlement dates from the end of the third millennium BC (Chalcolithic) and the Almohad period (13th century), with a special development between the Iberian culture and the Roman period. Throughout its history, El Monastil has maintained a constant central position in the Vinalopó River corridor, constituting, within the Elda Valley, a landmark on the traditional border between Alto and Medio Vinalopó. It has also been a strategic place to control the main historical communication routes between the coastal regions of Alicante and the interior of the peninsula. Settlement of the Bronze Age and enclave of the orientalizing period, it becomes an important Ibero-Roman oppidum, ranking the territory of the Middle and High Vinalopó during the second half of the first millennium BC. C. Most of the construction remains are located on the highest elongated spur of the site, the upper area of ​​the town, where remains of an Iberian, Roman and late Roman urbanism that shows houses of rectangular trend adapted to the irregularities of the place are preserved. , reused throughout these periods, and articulated around a central street that is divided into two roads to the western part of the settlement. On the southern slope of the town are the remains of a Iberian-Roman defensive system that fortified access to the oppidum, and that was possibly reused in the low-imperial and late-antiquarian periods. The remains of a singular warehouse of cereals are conserved outside the walls, located in the main southern terrace, which, in turn, houses a set of domestic and artisanal structures attached mainly to the Iberian and Roman periods. During this last period, El Monastil is traditionally associated with the Ad Ello mansion of Antonino's Itinerary. The vestiges of three kilns belonging to a pottery dating back to the late Roman period and the beginning of the imperial period stand out, as well as a small metallurgical furnace attached to the same stage. In the terraces closest to the river, south of the CV-8352 road, ceramic remains and vestiges of Iberian funerary monuments have been located. The upper part of the town is abandoned throughout the High Empire. After a broad chronological hiatus, during the low-imperial period the area is concerned, continuing the habitat until the Byzantine-Visigoth period, and beginning its decline and definitive abandonment during the Islamic era emiral. In the late antiquity period, the hypothesis linking El Monastil with the debated episcopal seat of Elo of the conciliar texts of Toledo stands out. Precisely in the western end of the high part of the deposit the vestiges of a Christian church of this stage are conserved. This church, which shows signs of abandonment and possible reuse in the early Islamic era, could be used as al-munastir. This denomination has remained substantially in the current name of the game and the archaeological site. Altogether, the archaeological site shows a relevant set of material constructions and vestiges of the following periods: Chalcolithic, Bronze Age, Orientalizing, Iberian-old, full and final-, Roman-republican, altaimperial, bajoimperial-, Late-Byzantine-Byzantine and Visigothic, Islamic emiral and, to a lesser extent, the Caliphate and Almohad eras.

Constructed during the Almohade era between the end of the 12th century and the beginning of the 13th. After the Christian reconquest of the 13th century the main compound area and the wall were erected. This work to improve the defences was due to the stategic character of the historic frontier of Jijona, which from the Treaty of Almiza in 1244 marked the boundary of the kingdom of Aragon with the kingdom of Castille until 1304 when conquest by James II brought the townships of the south of the Alicante province into the kingdom of Valencia. Until then it was a key element in the defence of the Valencian border. At the foot of the castle, in an easterly direction, the town of Xixona expanded. Throughout the Middle Ages the importance of the castle diminished and so to did repairs to it. The last major work on it was recorded in the 15th century and there were some further minor repairs undertaken in the 16th century. During the war of succession it served as a refuge for the population of Jijona, who supported Philip V. It was attacked by the Archduke Carlos’s troops (Austracistas) and almost completely destroyed. In 1708 Philip V conceded the castle to the people of Jijona by royal decree.

The Palace of the Marquises of Ruvalcaba, or Ruvalcaba Palace, is an Oriolan palace that was formerly owned by the Sagredo Bassieres and Heredia Marquises de Ruvalcaba family. In the 1980s it was acquired by the municipality of Orihuela, the current owner, as a place for large receptions in the city. At present it is closed to visitors. The Palace was built by the 1930s, on the site that was left after the Abacial House of the Church of Santiago collapsed. It belonged to the family of the Marquis of Rubalcava, constituting this his residence. It was acquired by the Hon. Orihuela City Council in 1981, with the aim of conserving and being able to offer the public its interior and to give it a social and cultural use. In 1981 the municipal office of tourism was installed there, occupying it until nowadays. However, this has not been the only use it has had since in 1982 the Association of Moors and Christians Festivities "Santas Justa y Rufina" used part of its ground floor as its headquarters; in 1986 it became the Archaeological Museum and in 1990 it was used as the headquarters of the Municipal Department of Social Services. The Rubalcava Palace was included in its day in the "Provisional Guide of Architecture of Orihuela" due to its evident architectural interest, edited by the Historical Archive Commission of the College of Architects of Alicante. At the moment it appears in the Catalog of the Special Plan of Protection of the Historical Helmet of Orihuela. The building consists of three main floors with small mezzanines. At first the ground floor was used as an office, home of the landlords and garages. The first floor, which is the main area of ​​the palace, is occupied by a series of ostentatious rooms. Also in it was the main kitchen. On the second floor were the bedrooms of the marquesal family and on a mezzanine floor a second kitchen. Apart the palace consists of gardens with an iron gate on masonry walls. These walls contribute to isolate the building from the outside, while providing recreational areas, with fountains and benches of tiles and wrought iron. The building was built imitating the scheme of the baroque Oriolan palaces. The scheme that followed the Ruvalcaba palace of said Oriolan palaces is to have a hallway illuminated by a Neo-Baroque dome with an elliptical plan and access to the main floor by means of a marble staircase with Valencian tile base.

Alicante sculptor work of Arcadi Blasco, built in 1990, and noted for its architectural uniqueness. It consists of two parts , one on the ground, symbolizing a boat, and the other offshore (currently on the sand of the beach), symbolizing a beacon (or mast). Tribute to the men of the sea, represents the union and dependence that our population and its people have historically with the sea , vital for life and economy of El Campello for decades

The rustic Villa Marco Estate dates from the middle of the 19th. Century and was very important in the agricultural area known as the fertile region of Alicante. At the beginning of the 20th. Century, it acquired residential character and a modern style with interesting colonial French art influences which differentiate it from the other estates which remain in the region. Its beautiful Versailles inspired gardens were created at the beginning of the 20th. Century under the auspices of Renato Bardin, honorary consul of France and owner of the estate at that time. Conveniently looked after throughout their history, they have experienced some modifications which have, however, respected their original morphology. The gardened area surrounds the house with pathways cut out of it and which are flanked with classical style cups and jugs The garden can be divided into five areas: the "Arabic garden" (originally used as an orchard) the "historical garden" where the most significant examples can be found, the "access garden" which was the carriage entrance, a small "Mediterranean garden" (with autochthonous plants) and a large pine area which represents the "Mediterranean forest". The gardens house two sculptures by the renowned Alicante artist Vicente Bañuls: "La Noche" and "La Marsellesa".

The obligatory visit of the traveler who arrives at Novelda is to the Sanctuary of Santa María Magdalena. This religious building was built from a project drawn up by the novel engineer Don José Sala Sala who imbued his project with the Catalan modernist style. Its construction, begun in 1918, required three phases, to complete the work in 1946. Two 25 m lateral towers stand out on the main façade. of height culminated by a stony cross, which is also found in the dome and on the upper arches of the façade. The decorative reasons would have antecedents in the medieval styles, baroque and in the own nature; influences that led the author to combine pebbles from the Vinalopó river, polychrome tiles, bricks, reddish colors, masonry, etc., which are reflected throughout the exterior of the building. The interior is composed of a rectangular central nave with two attached side spaces; In the background, in the apse, is the dressing room of St. Mary Magdalene, Patroness of Novelda, and behind the altar we can admire a beautiful painting attributed to Gaston Castelló. The maintenance and restoration works are constant, the last of them carried out during the year 2006 where the pictorial recovery of several of the canvases that decorate the temple was carried out and among which the work of the renowned artist should be highlighted. Alicante artist Gastón Castelló located in the center of the altar.

Between the 13th and 14th centuries, the rural community of Calpe was walled in order to protect it from Moorish attacks. Its coastal location meant that the community suffered from continuous pirate attacks, which is why Carlos V ordered that the walls be repaired in the 16th century. Those who lived nearby had to access the citadel through a single gate known as "El Portalet". The harshest attack took place in 1637. Berber pirates invaded the town without being seen. The guards were sleeping, so they climbed over the walls using ladders. During the attack, they took virtually every resident captive. Another of the most important attacks on the town, which is the origin of its patron saint festivities, occurred on October 22nd, 1744. After this pirate assault a project to fortify the town was started, and a second wall that surrounds the suburb and the old citadel was built. The "Torreó de la Peça" is named after a small fort destroyed in the 20th century that once contained an artillery piece.

It rises on one of the two hills that dominate the town of the same name, northeast of the town, in the Middle Vinalopó (Alicante, Spain). The Castle of Monóvar was built in the Almohad period, between the end of the 12th century and the beginning of the 13th, and was used until the beginning of the 17th century. It had a privileged situation, from which dominated the network of fortifications that marked the Vinalopó River, (the castles and the Elda turret, and Petrel Castle), as well as the communication route of the Pinoso-Jumilla corridor, natural exit towards Murcia and Andalusia. It was a castle with an irregular plan, similar to a triangle. In the center is the Homage Tower, where there was also a cistern. You can also see remains of a smaller tower on the north face, and some canvases of the wall. In the archaeological excavations that have been made on the hill where the castle was erected, archaeological remains from the Bronze Age, fragments of Almohad pottery from the 12th and 13th centuries, a piece of jewelery from the 15th or 16th centuries and fragments of jugs, plates and bowls from the fourteenth century onwards. At present it is in ruins and only retains part of a tower, recently restored.