Dominating the marina, is this tower that was built between 1554 and 1557, to prevent the population from attacks by Berber pirates who continuously harassed our land, looting and causing great destruction and fear throughout the population. The Viceroy of Valencia, Don Bernardino de Cárdenas, Duke of Maqueda, ordered the construction of a whole system of watchtowers. He gave them four men in each: two on foot and two on horseback. Thus, at the moment when a pirate ship was seen, the men on horseback rode quickly to warn nearby authorities of the immediate danger, while the men who remained in the tower were in charge, by means of smoke signals by the day and bonfires at night, to alert the other towers of the invading sighting. This tower is built in the shape of a truncated cone, its diameter is six meters in the base and five in its highest part, the entrance door is located in its middle part, so to access it, a staircase was necessary "Cat" or rope. Its interior is solid from the base to the height of the door and from it, access to the terrace by an interior staircase. It was declared an Asset of Cultural Interest and restored in the year 1991.

The Basilica of Our Lady of Socorro is a religious building that belongs to the artistic style called Levante Valencian Baroque. Its large size is due to the will of the Dukes of Maqueda-Arcos to build a temple. The construction was carried out in different phases, beginning construction around the 1650s. In a first stage the ship was built to where the chapels conclude. This period would finish around 1674, being in charge of the works the architects Francesc Verde and Pere Quintana, who were the same master architects who worked in Santa María de Elche. Later a new push is given, building the communion chapel between 1722 and 1729, which is attached to the head of the church transversally. The place occupied by the communion chapel was the site of the old church, which in turn had been the Muslim mosque. Finally, between 1729 and 1737 the works of the temple are concluded, rising the Dome and the Bell Tower by the master stonemason Lorenzo Chápuli. The shape of the temple is longitudinal and cruciform, an expression of classical architecture of the second half of the 16th century. It consists of a single nave, to give a feeling of spaciousness, without obstacles to be able to visualize the altar well. On the sides we find small chapels between buttresses that communicate with each other so as not to interrupt the religious office. The access to these is made from the central nave by means of arches of half point of high thread. The pillars that separate the chapels are marked by red crosses inscribed in a circle, a symbol that was made during the last consecration of the temple and that reproduces the twelve apostles as spiritual columns of the church. The longitudinal plan has a clear relationship with the main altar that rises on three steps. In it we find the main altarpiece, which is made of wood in a semicircular shape that adapts to the altar. It was built in the second half of the 18th century and corresponds to the Rococo style. In the center of the altarpiece there is a niche that houses the image of Ntra. Sra. Del Socorro, a sculpture from the middle of the 20th century. The side streets contain niches with the carvings of San Pedro and San Pablo. In the attic we can observe a relief of the Glory, where the Eternal Father is emerging from a cloud surrounded by angels-child and the dove is represented as a symbol of the Holy Spirit. The roof is covered with a barrel vault with lunettes, which are those small half-moon vaults that are used to give light to the main vault. In the pendentives (curvilinear triangles that form the ring of the dome and rest on the arches), there are the representations of the four evangelists with their distinctive sign: Matthew with the Angel, Marcos with the Lion, Lucas with the Ox, Juan with the Eagle. It has three access covers. The main cover dedicated to the owner of the parish, Nuestra Señora del Socorro, whose authorship is attributed, according to the most modern studies, to the sculptor Juan Antonio Salvatierra, follower of Nicolás de Bussi The lateral cover of the side of the Gospel is dedicated to Saint Teresa of Jesus and the door next to the Epistle to Saint John the Baptist. We highlight: Angels, who are found in the 3 facades, are intermediaries between our world and that of the divinity. Fruits, symbolize abundance and respond to the desire for immortality. Flowers are the most abundant symbolic element of the temple, it symbolizes the transience of things. Leaves, very abundant in the façade, symbolize the whole of a collectivity, united in the same action and in the same thought. The sun and the moon are opposite signs that represent the conflicts of forces and the negative and the positive. The columns, masks, masks and cherubs, symbolize that they will protect everyone who does not enter with a predisposition to open up to the deity. The tower symbolizes the need to always be watching. The devil symbolizes that by remaining blindly subject to instinct, the fall of the spirit will occur. The crown symbolizes the reward of the proof of life and therefore a promise of immortal life. The parish was recognized with the distinction of Minor Basilica by Pope Benedict XVI by bull issued on July 15, 2006, adding to the basilicas of Santa Maria de Alicante and Santa María de Elche, thus recognizing the importance and influence of the temple in the religious celebrations, especially the Patron Saint Festivities in honor of Ntra. Sra. de las Nieves.

It receives this name from the Old Railway Station inaugurated at the end of S. XIX and that maintained the railway route between Torrevieja and Albatera, at the moment in disuse and reused like green route. This station was formed by several buildings, some of which have been used for different uses: Habanera Museum, Interpretation Center of the Salt Industry and Natural History Museum. Inside the park is the Monument to the Salinero and the Canal del Acequión, made in 1482 in order to communicate the sea and the Torrevieja Lagoon. It emphasizes within its channel a bridge of masonry of the S.XV

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Throughout history these lands suffered numerous attacks by pirates who landed on the coast and made raids and plundered the inland areas. The coastal watchtowers were built with the purpose of warning of the approach of pirates' ships, by communicating each other by means of fires and other signals. An example of this type of watchtowers is the sober 16th century defensive Tower of Horadada, which is located between El Puerto and El Conde Beaches. It owes its name to the holes which are inside the tower itself and which served to communicate the different rooms of it. The declaration of our tower as BIC (Cultural Heritage Property) by the Second Additional Provision to Law 16/1985 was an important point to be remember. Because of that, we think that it is a real honour to have it on our coast.

The museum was opened in 1994 thanks to private donations and deposits. Here are showed the discoveries found in the local archaelogical sites. This museum's collection is currently divided into five sections: environment, fossils, archaeology, ethnology and numismatic. Its exhibitions allow us to obtian a global image of the development of this area through the time, as well as its resources. The Office of Mr. Gratiniano Baches is also part of the museum's permament exhibition. He was the first person to begin archaelogical studies in Pilar de la Horadada at the beginning of the 20th century.

The Castillo de la Mola is located on a small hill at 360 m. of altitude in relation to the sea. It is 3 km away. from the town of Novelda, in northwest direction. Fort of Islamic origin, it was built at the end of the 12th century. Its plant is polygonal with eight quadrangular cubes in salient, of which at the moment only there are four, two of them masked, with a square tower in its interior, at present desmochada, all this of tapial factory, on base of masonry. This exempt tower has 9 m. of side by 11 of height, although at the moment it lacks a floor; It has a lower room illuminated by an embrasure. You enter the tower through a half-point door and located in height. After the Christian conquest of the Castle by the hosts of the Infante Don Alfonso de Castilla, land and strength passed to the Castellana Crown. With the signing of the Pact of Elche in 1305, the Castle and its dependencies pass to the Aragonese Crown, forming part of these lands of the Kingdom of Valencia. It is then when the fortress is donated to Doña Blanca d'Anjou, wife of Jaime II, who orders the reconstruction of its deteriorated walls, taking place during the fourteenth century, a series of reforms in the fortified enclosure, and building on its northwest flank a magnificent triangular tower. The tower of 15 m. on the side by 17 m. of height has no known parallels to the present; It is made of masonry, with reinforcement of chairs in the corners. It is accessed through a semi-circular door facing northwest and located in height, masonry factory. It has two floors and its interior lighting is made through several loopholes. In the middle of the 14th century, the Aragonese King Pedro the Ceremonious, gives the possession of the Castle to Beltrán du Glesquin, noble Breton come to the Iberian Peninsula with the White Companies, as payment for his help in the War of the Pedros, a year later . In 1367 it is sold to Hugo de Calviley, who in 1371 sells it to Mateo de Gornay, Lord of Novelda. Years later he goes back to the crown, being donated by Pedro IV to his wife Doña Sibila de Forcia. In 1391, Don Pedro Maza de Lizana, Lord of Mogente and Chinosa, bought La Mola from Doña Violante de Bar, and in 1448 the Barony of Novelda was established. From that moment the Mola was part of this important manor house, until the abolition of the manors in the first decades of the nineteenth century. Since 1931 it has been declared an Asset of Cultural Interest. Open to the public every day of the year. Free entrance. From Monday to Sunday from 10am to 2pm and from 4pm to 7pm. (Winter) From Monday to Sunday from 10am to 2pm and from 5pm to 8pm. (Summer)

El Clot de Galvany is a Municipal Natural Area located in the rural areas of El Altet and Los Balsares within the municipality of Elche, Alicante. Given its great environmental value has been declared in addition to Municipal Natural Area, Biological Station, Site of Community Interest (LIC) and Special Protection Area for Birds (ZEPA) on a large part of its surface. In its 366.31 hectares, it is possible to differentiate several ecosystems in which there is great diversity, both of flora and fauna, of high biological value due to its scarcity and degree of threat. You can also find fossil outcrops and geological formations of great interest. In addition there are elements of the archaeological and ethnographic heritage. It is an endorheic basin surrounded by a set of small elevations and closed to the sea by a coastal dune cord. In this physical environment, diverse ecosystems and ecotones converge, that is, spaces of transition between ecosystems, which generate a great biological diversity. Despite semi-arid and climatic conditions (thermo-Mediterranean), there is a very small space in which there is great geological deviry, an important variety of soils, a great biodiversity and a rich paleontological, geological and anthropic heritage.

It was built In the 19th century, later known as Escalera de la Reina, so that Queen Elizabeth II could access the city by that stairway. It is located in the marina, opposite the Carbonell building and in front stands the Statue of Icarus, a modern interpretation of the myth of Icarus.

Hernandiano in the corner is the house where poet Miguel Hernández lived with his family. Us discover its beautiful facade, painted the traditional way with gray base, recercado doors and windows in dark ocher and light ocher wall. Inside the visitor can relive moments of the poet's life through its rooms: the room of Michael, the kitchen, the patio shed for goats and the garden, which is the famous Higuera so often I am inspired by his first verses.