El Cau is Mariano Ros's great little artistic project. A unique and wonderful outdoor place in the El Tabaià mountain range. This open-air museum is sculpted on the walls of an old quarry in Ferriol, one of the districts of Elche. From here the stone that was used to rebuild the church of Santa María was taken. Mariano Ros, retired shoemaker and mountain fan, spent years building and sculpting in stone a multitude of figures representing the life of the people of Elche. For eight years, from 2000 to 2008 (when he was forbidden to continue with his work because he was in the public forest), he dedicated himself to creating this emblematic, with the help of his friends Cándido, Vicente and Pere. Among all they made are numerous figures, among which the representations of the most emblematic monuments and icons of Elche stand out. Among all the figures carved in the rock we can find works that represent the Swamp (which was the other place we visited that same morning), the Palm Grove, the Lady of Elche, the Misteri, the Church of Santa María ... And much more. In this curious sculptural group we will also find other original works with which he wanted to pay homage to his family, to the women, to characters loved by the neighbors ... Some sculpted animals and, also some interesting construction, such as the Pyramid, the Tower of Ros or the Cau (a small room carved out of the stone. Hence its name. Cau means burrow). Without a doubt, it is one of those beautiful places to take photos in Elche that we must know. Next to a large stone table we find the refuge. Another room excavated in the rock, a little larger, that houses a table, several chairs and what seems to be some materials for the maintenance of the place. On the table there is a notebook that they have left so that visitors can leave their opinions. In addition to all his artistic work, various species of trees, shrubs and aromatic plants have been planted in El Cau. All native and typical of this arid terrain and the Mediterranean climate. The land on which this open-air museum in Elche is located is dry, arid and with very little water. El Cau is about 15 minutes by car from Elche. The path that takes us to the point where we can park the car is asphalt. So getting here is good and easy. It has no loss. Here we will see a sign carved in stone that indicates the direction we have to follow to get to the Cau. In Google Maps you can find the point where you can leave the car. From here, there will only be about 600 meters to reach El Cau. The path that leads from the place where we left the car to El Cau is quite short and easy to do, although it runs through a fairly stony area, so there is a lot of loose stone and it is also on a slope. Going up can cost us a little if we do it in the hottest hours. Keep in mind that it is a very arid area, so you should always carry a lot of water, do not forget your hat, sunglasses and good shoes. The route is very easy to follow since there are several signs drawn or sculpted in the rock, just walk and enjoy. It is worth climbing to the highest parts. Both from "El balcó d’Elx" and from the "Torre de Ros", the views are truly impressive.

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 Millennium Gate was designed by sculptor Eduardo Lastres. It is part of a series of four contemporary structures of various modern Spanish artists located along the Gran Vía de Alicante to commemorate the new millennium. It is a great figure in the shape of a door, supported by concrete columns and several steel figures that crown the sculpture on top.

Skate park named in homage to Ignacio Echeverría, who died in the London terrorist attacks when he confronted the attackers in defense of a woman. The sculpture is a creation of the artists from Alicante, Roberto Llopis and Tom Rock, which represents a skateboard track with a skateboard on top and an engraving of the image of Ignacio Echeverría.

The Pegolí term is full of material witnesses that make us think that man occupied these valleys from the Middle Paleolithic in an area near the town called Benirrames, and that in our valley with the passage of time all cultures and societies will converge until the present. The sedentarism of the man causes that the caves are substituted for habitats in height as evidenced by the Ambra deposits, the Muntanyeta Verde, the Tossal de Bullentó, etc. The man will go down from the heights to the plan to devote himself - in addition to hunting - to fishing and agriculture, the remains that testify in the depopulated of the Plan to the marsh are from the Bronze Age, from the same culture They have found remains in the Tozal Raso and Penyaroja. From the Iberian period we know very little except that throughout the term material remains appear that confirm us in one way or another the social presence in this era. The arrival of the Romans in our valley was linked to the proximity of Dénia and its port, and some Roman villas were established on the sides of a secondary road that linked Xàtiva and Dénia by the interior, the route of which would go along the road old of Denia by Corners. The romanization left important footprints in Sant Antoni, Benigánim, Tossalet de las Mondes, Bullentó ... and later burials to the departure of Gaià with abundant ceramics and grave goods from the VI-VII centuries and others to the departure of Castelló de la same time. The Muslims occupied the Pego valley around the year 716, they settled in alqueries scattered throughout the term witness of which is the extensive rural toponymic heritage that has remained. They made major agricultural transformations and created new irrigation systems that would later be inherited and improved by Christians. When Jaume I decided to conquer the valley, Pego was a group of Islamic alqueries which depended on the castle of Ambra. Once the valley was conquered, the repopulation began with Christian settlers who came from Catalonia mostly. The monarch granted the rents of the valley to his son in February of 1263 and after the decisive two letters of settlement (1279 and 1286) began to build the walled town of Pego, with three doors and some sixteen towers that closed it. It was the birth of Pego as an urban area and was a new creation built on the old Uxola Alqueria. Since the year 1325 Pego passed from Reialenc to be a place of lordship and governed by noble families such as the Cardona, the Vilanova, the Centelles, Borja and lately the Osuna. In the fifteenth century Christians lived in the town and the suburb of the square (current Main Street), while Muslims or Mudejars did to the alqueries of Favara, Atzeneta and Benumeia. After the expulsion of the Moors in 1609 the valley was almost depopulated and new settlers from the Balearic Islands had to come to populate the nearby valleys in Pego. When the Crown was left without direct descendants in 1700 Pegolins peasants supported the Austrian cause, but very soon, before the advance of power borbó, ended up to be faithful to Felip V, which after the defeat of Almansa abolish the fueros and establish the Bourbon and Castilian centralism in all our lands. From the 18th century, the great intensive agricultural transformations began, especially the marsh, with the first documented introductions of rice cultivation appearing at the end of this century. Already in the nineteenth century the necessary mechanisms to increase production that reached its peak in 1930, along with the cultivation of orange, would be put into operation. If the War of Succession ended destroying much of the medieval towers and walls, the economic and demographic increase of the second half of the nineteenth and early twentieth century would be responsible for destroying the two main gates, the Maiorasgo and the Arrabal or the Plaza , for the widening of the population. Only the Portal de Sala remained and is still standing today, which Antuvi led to the fountain and the medieval garden. The nineteenth century was a hectic and exalted century and Pego did not remain in addition to the important events of the rest of the state. The Carlist struggles, the political struggles between liberals and moderates, the bandolerisme, the insurrectional movements of republicanism, everything, we must highlight the bloody and fratricidal struggle between the Senes and the Ganyans that tried to make clear the famous Mayorazgo Ceniza.

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.

Since its inauguration, the MUA has had its own publications, with an activity that, although it has its greatest volume in the edition of catalogs, includes monographs, reasoned catalogs, essays, didactic publications, facsimiles, guides of the collection or results of diverse activities. The Museum of the University of Alicante (MUA) is a pioneering project within the Spanish university, for its innovative architectural design and its museographic proposal based on the alternation of temporary exhibitions of a scientific, artistic and patrimonial nature. Created in 1999, the MUA is conceived as an effective instrument to provide comprehensive training to the student, through initiatives that contribute to enhance their sensitivity and facilitate a more reflective knowledge of our condition, society and history. The main mission that the MUA faces is to become a space of cultural dynamization, learning, encounter and confrontation, which allows to approach the innovation and experimentation of the university sphere and contemporary art to the whole society. In this sense, the museum becomes a knowledge socializer and vehicle of activation of the cultural life of the community.

This building is in Academicist style. It was designed by architect Jorge Gisbert Berenguer and was built between 1846 and 1863, on the space where the Monastery of Saint Augustine was. In the main stairs and in different rooms we can admire an exhibition of paintings and sculptures made by local artists, amongst which there are remarkable works by Fernando Cabrera Cantó, Ramón Castañer, Adolfo Durá, Plácido Francés, Edmundo Jordá, Antoni Miró, Emilio Sala and other different contemporary authors. Opening hours: from Monday to Thursday from 8:00 to 20:00 h. Friday from 8:00 to 15:00 h. August from 8:00 to 15:00 h. Closed: festivity days.

Located in the headquarters of the Central Board of Festivals, former palace belonging to the Selva-Mergelina family. It is a four-story building that perfectly reflects the typology of nineteenth-century bourgeois construction. Inside, the Nolla ceramic floors stand out, one of the most characteristic and genuine elements of Valencian modernism. The museum is dedicated to house an important collection of objects related to the traditional Moors and Christians Festivities of Villena. It shows costumes and festeras images, posters and programs published over many years or memories of previous parties. In addition, the funds show a representation of all the costumes of the fourteen comparsas that participate in the Moors and Christians Festivities. Important is the section dedicated to the conservation of original scores of festive music, inseparable companion of all the acts that are celebrated during those days.