El Portalet Palace was built in the middle of the 18th century. It receives its name to be located on the corner between the street of Labradores and known as Portalet de Capuchinas, now Calle de Santo Tomás, and whose name is due to the existence of a door, located at the end of the street, which allowed to cross the wall, that passed by the Rambla, to arrive at the Convent of the Capuchinas. Today the palace is the result of a multitude of reforms that its residents carried out over three centuries and is shown to us as a living testimony of the history of the city of Alicante. In the 19th century part of the building was managed by the Maisonnave-O'Connor family. At the end of the 19th century it was the headquarters of the Philharmonic Society, of the Federal Republican Party, and here was the writing of its newspaper La Federación. At the beginning of the twentieth century the building accommodated the Provincial Mercantile Montepio of Alicante, whose presence is due to the exquisite decoration of the interiors of the Noble Hall where this association organized a multitude of parties, charities, and conferences. Under the direction of this organization, during the first half of the 20th century the most important reforms were carried out in this house with the transformation of the interior spaces and the addition of the top floor. The current renovation has allowed the building to be recovered in all its splendor and three of its rooms have been museumized, one on the ground floor that houses an Interpretation Center of the building itself, another on a mezzanine floor with the Spanish Guitar Collection Romanillos-Harris, and, finally, in the other mezzanine, the exhibition "Monumental Alicante of Vila Nova a la Vila Vella" that runs through our Casco Antiguo, through seven historical buildings. The noble floor itself has a huge interest. Regardless of the self-interest of the building's visit, the noble room and the third floor hall, as well as the roof, can host cyclical activities and extraordinary activities of relevance in the field of culture, outreach and social relations .

The Diocesan Museum of Sacred Art is a permanent institution of the Diocese of Orihuela - Alicante, non-profit and open to the public, which aims at the acquisition, conservation, restoration, study, exhibition and dissemination of collections or collections of goods of historical or artistic value, mainly religious and coming from the SI Cathedral of Orihuela and other churches and ecclesiastical institutions of the diocese. The Diocesan Museum of Sacred Art, lacks its own legal personality, being the owner of it the Bishopric of Orihuela - Alicante, is governed by its statutes and the canonical and civil provisions that are applicable. The Diocesan Museum of Sacred Art of Orihuela is located in front of the Cathedral of Orihuela in the heart of its historical center. It is a museum center that focuses on the integral management of cultural heritage, innovation and the use of the tools provided by information and communication technologies. The Diocesan Museum of Sacred Art of Orihuela has as main objectives: The study, protection, conservation, restoration, dissemination, and promotion of the Religious Cultural Heritage of Orihuela, its region and the territory of the diocese of Orihuela - Alicante, whether for its artistic, historical, archaeological, ethnographic, bibliographic or documentary interest. In particular, the exhibition with museographic techniques of the funds that he guards. The strengthening of this heritage as an important element in the economic development of the city of Orihuela and its municipal area. Those that favor the catechetical - pastoral service of the exhibits.

The Research Marine center (CIMAR) is an active center, where activities are carried out to know a way so close and yet so unknown as the marine environment, its biodiversity and its environment; to teach how to use its resources responsibly and help to protect this fragile ecosystem, contributing to their rational use and management. The center, which is the result of an agreement between the City of Santa Pola and Alicante University, began working in 2005, adapting the structure of a former police barracks built in the 20s (headquarters of the Torre d'Enmig), with a privileged location at the foot of the coral reef fossil of Santa Pola and a few meters from the coast. Facilities: The CIMAR has facilities fit out for the investigation, as laboratories; for the teaching, with the classroom of practices; and for the development of cultural activities, with the conferences classroom and the exhibitions room. Besides, the centre is endowed with the necessary infrastructure for the sea work and to receive long stays in the center. Also has a sismic station inside the Spanish Network of Seismic Control.

Located on the fishing pier. The Submarine "S-61 Dolphin". A boat for peace, culture and union among peoples, expression of the depth of our seafaring roots. The Dolphin is the submarine of the Daphne class, ceded by the Spanish Navy to the City Council of Torrevieja, thus becoming the "first floating museum" of these characteristics in our country. Our seafaring tradition and our relationship with the Spanish Armada made that on December 1, 1974, Torrevieja delivered the battle flag to the submarine S-61 Dolphin. At the time of his retirement, the Ministry of Defense agreed to deliver to the city of Torrevieja the last flag of the S-61 in an intimate ceremony at the Arsenal de Cartagena. And later the definitive cession of the submarine took place. From the hand of the Museum of the Sea and Salt, since May 8, 2004, the Submarine Dolphin becomes the first ship of the Spanish Navy that becomes a floating museum, offering to all who visit it the possibility of knowing the inside a submarine and imagine what were the living conditions of its crew. The Delfin submarine has arrived at its last port and is already part of the image of Torrevieja, having received more than 1,300,000 visits since it became a floating museum. Schedule: From January 7 to June 19: from 10:00 h. at 2:00 p.m. From June 29 to August 28: from 5:30 p.m. at 22:30 h. From August 31 to December 18: from 10:00 h. at 2:00 p.m.

The Didactic Museum of the Oil is located in the old Almassera dels Assegadors, a building that has been rehabilitated to turn it into the first museum space of San Vicente del Raspeig. The objective is to make known to the visitors the process of traditional olive oil elaboration in a didactic and entertaining way through a guided tour of the facilities.   The project has led to the recovery of the original building, an installation promoted by Isidro Lillo, together with his sons Joaquín and Baltasar, at the beginning of the 19th century and who later maintained their heirs until the mid-70s, when the activity was abandoned. In the architectural performance, the preservation and visualization of the original building of the Almazara has prevailed and the plant of the old house that formed this complex and the well that served it has been maintained. Didactic and expository The interior of the Museum is divided into two parts, one didactic and the other expository. The first has a large panel that collects the different phases of the oil production process, from collection to packaging through olive cleaning and washing, grinding, shaking, pressing and decanting, and conservation. This panel is completed with an audiovisual space in which different videos have been prepared for adult and youth audiences, in Spanish and Valencian, which allows us to better understand this process.   In the exhibition part you can see the elements that make up this mill, all identified by posters in Spanish and Valencian in which they explain the function they performed. Among others, the first press of animal draft, the quintals of pressing of the capachos and the olive paste, the mechanical press with the introduction of the motor, the hopper to load the olive, the boiler for the hot water or the containers of Decanting where oil was separated from water.   The museum also has different spaces, such as the stable where the mules rested and were fed, the wood fireplace where the water was primitively heated and the lunches of the workers and customers or the warehouse were prepared, in which one can contemplate a still life with elements used in the collection, production and conservation of oil. In addition, curious tools have been preserved, such as pumpkins that served to separate the oil from water, units of measurement or oil to lubricate the machinery.   The Didactic Museum of the Oil has all the necessary attractions to become a place of obligatory visit for both schoolchildren and citizens and visitors interested in knowing the process of traditional oil production.

The "Casa Gran" of El Castell de Guadalest or "Casa Orduña" was built after the great earthquake of 1644 that devastated the region and devastated the dependencies of the castle. It was built by the Basque family of the Orduña family. They came to the Kingdom of Valencia with Infante Fortuna de Navarra; later they went to the service of the Cardona, admirals of Aragon. D. Sancho de Cardona received in 1543 the title of Marquis of Guadalest. When the Orduña enjoyed all the confidence of the marquises, they were sent to Guadalest and acted for almost three hundred years as alcaides of the fortress and governors of the marquisate. The house was burned and looted during the War of Succession (1708). In 1756 D. Pedro Antonio Buenaventura de Orduña y García entered the Military Order of Santiago, thus obtaining access to the nobility. The family procured to its members, not only economic relations or social influence, but also the best and most solid cultural formation that was possible to acquire in the second half of the 20th century. XVIII and throughout the s. XIX Among its members we find, fundamentally, lawyers and military. The current dependencies of the house correspond to the moment of maximum splendor and influence of the Orduña family exercised through D. Joaquín Mª de Orduña. The decoration adapts to the aesthetic tastes of the bourgeoisie that lived through the political changes of the second half of the century. XIX This building was a large house in a small town and therefore, immersed in a rural and inbreeding environment geographically far removed from the influences of important cities. The house occupies an irregular plot. On the east, it leans against and overcomes the rocks, on the west it is the neighbor of the parish church, occupying spaces above the chapels of the epistle. The building is supported by masonry load-bearing walls. Wood, plaster and ceramic bricks are part of its construction. It has four levels and a cellar all accessible by different stairs. ENTRANCE ROOM. The entrance door, framed by a sober semicircular stone arch, is surprised by the simplicity of the pointed arches of the room. It is decorated with religious oil paintings: The Immaculate Conception, The Most Holy Trinity, San Pascual Bailón, Santa Bárbara, La Virgen de la Rosa and Nuestra Señora del Carmen. ROOM OF THE ARCHES. Going up a small staircase, we enter a room where part of the awarded works are exhibited in the annual painting contest "Villa de Guadalest". ANTESALA AND SALA DE LA VIRGEN. In these rooms we can contemplate a small canvas; The family tradition testifies to having received a "Letter of Brotherhood" from San Buenaventura. Through this privilege the family was linked to the spiritual life of the Franciscans. The most interesting object in this room is a canvas painted on both sides. In its front part it shows an "Ecce Homo" (of unknown author) with the cane in his hands interlaced and a red cloak slipping on his shoulders. It is a proportionate figure and without concessions to the drama of blood. It has the peculiarity of being painted on both sides. The back (visible in a mirror), represents "The wounds on the back of the Savior", a rare theme in religious art. It is supposed to be a mouth curtain turned into a standard. In the next room, an urn keeps the recumbent processional image of Our Lady of the Assumption. It is a modern size, a copy of the one destroyed in 1936. It was owned by the family; it was lent to the town of Guadalest for the August celebrations and was always guarded in the house. The table placed on the front of the room, deals with the theme of "Transit or Dormition of the Virgin": the end of the earthly life of Mary as it is narrated in the Apocrypha. This piece of the s. XVI is undoubtedly the best piece of the house. It could be the altarpiece of the primitive church of Guadalest. It is attributed to the "Master of Alcira" and fits chronologically between 1527 and 1550. The monstrance kept in a showcase (18th century) is conceived as a radiant sun and its shaft is a figure with a Eucharistic symbol on its right hand and a cross on the left. We also find an oil painting of "The Immaculate Conception". THE KITCHEN and THE PANTRY. They maintain the original layout and many of the traditional utensils. In the inner courtyard a cistern is conserved. From the primitive north wall of the fortress you can enjoy a splendid panoramic view over the Guadalest reservoir and the Xortà and La Serrella mountain ranges. DINING ROOM. It contains an excellent collection of ceramics. It is worth mentioning the two Valencian pieces of metallic reflections (16th century), two jugs (late 19th century) and in the showcase, pieces of French, German and Valencian ceramics (18th-19th centuries). The visit continues going up to the noble floor. ROOM OF THE MAPS. The first room to visit on this floor is a small room. In it you can admire three mural maps printed in Paris in 1706. NOBLE HALLS On this floor the traditional arrangement of rooms and bedrooms is maintained. They show us how private life was conceived in past centuries. The furniture, canvases, photographs and furnishings in general are those of these rooms. In the first room we find a splendid collection of large format photographs of members of the Orduña family in the s. XIX; an old table, an urn with the remains of a crucifix for which the family felt a great devotion and a small bargueño inlaid with ivory and old drawings of Catalan origin (XVII century). In the second room we are surprised by another bargueño inlaid with ivory and tortoiseshell, elements of marquetry and a small, but interesting oil adorning the door. The decoration of this room is completed by a gunsmith, a set of carved wooden chairs and a collection of family photographs. In the last of these three rooms we find, a complete set of chairs, armchairs and sofa of Elizabethan period (c.1850), a showcase with small objects of decoration, two engravings of the s. XIX and two canvases with the themes of "The Adoration of the Angels" and "The Flight into Egypt" (18th century). Before going to the library, we observe a staircase with a blessing pile on the right. It tells us that, from there, you can access the Tribune Room located above the presbytery of the parish church. The Orduña could occupy this space by virtue of an ancient privilege granted by the archbishops of Valencia. LIBRARY. Undoubtedly the most attractive set of the house. It has a total of 1265 volumes. The Old Fund catalog (1500-1800) consists of 589 records. The books present diverse formats and forms of binding. It is a family library with three basic moments in its formation: First moment: last third of s. XVIII, being the lawyer D. Francisco de Paula Orduña, the person who more books (according to the exlibris) contributed to it. He introduced traditional legal issues and others that reflect the Spanish and European political effervescence, between the convening of the States General in France (August 8, 1788), and the Riego uprising (January 1, 1820). In a second moment they entered diverse books of religious, philosophical character and classic Latin, coming from the disentailment of the convent of Capuchinos de Callosa d'En Sarriá. In the third moment (1850-1890) legal literature, regulations, legal provisions, etc. are registered. When leaving the library we find a room adorned with bakers with the arms of the Orduña family, family trees, vintage work and embroidery and a wardrobe with traditional lighting tools: candlesticks, candlesticks, oil lamps, etc. An oil painting whose theme is the Battle of Almansa (1707) reminds us of the participation in favor of the Bourbon cause of Don Juan de Orduña y Andrés. Finished the visit to the noble floor we went up to the third floor. SHOWROOM. "The" Casa Orduña "offers the visitor a room for temporary exhibitions of painting and sculpture, periodically renewed. Through the old stairs of the house you descend to the ground floor from where you can access the castle of San José.

Avant-garde building, located at the southern entrance to the town, which was opened in 2002. Its exterior architectural design highlighted by the play of volumes that make up the building, covered with zinc and glass walls. It stands inside an oval hall, which hosts numerous exhibitions, the auditorium and projections, as well as offices and other smaller rooms where courses and workshops are held. Since 2010 also it houses the tourist information office in the municipality adhered to the Tourist Info Network.

The Turrón Museum is a private institution dedicated to recuperating the technological heritage related to the production of turrón (a type of nougat) and marzipans, and more generally, the technology related to the economic development of Jijona throughout its history. The museum is spread over three floors on each of which tools and utensils are displayed and the processes are explained according to the following criteria: Top floor: prime materials (sugar, honey, almonds and eggs) Middle floor: Processes (Jijona and Alicante turrón, marzipans) Lower floor: Commercialisation of the product (points of sale, publicity, packaging, company history, local history)

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.