The ancestral home of the Rovira family (17th & 18th Centuries). The family crest is to be found on the façade on the top floor. The crown was removed from this crest during the Second Republic. The Rovira family originally procedes from Catalonia and came to the Kingdom of Valencia towards the end of the 12th century. There are records of this family in Xixona going back to 1421. Throughout modern times family members have been leaders in local civic life. However, some of the more exalted members of the family moved to the neighbouring town of Alicante. With the passing of time some of those in the family who resided in Xixona adapted to the changing times and became active in the growing cottage industry, turrón (nougat) making. At the end of the 19th century several companies had been created and were destined to play a major role in the economy of the town at the beginning of the twentieth century.

This baker’s attests to the importance of bread as a staple in the time when it was constructed. It is of Arab origin and medieval characteristics documented as far back as the beginning of the 16th century. It is said to be one of the oldest in all of the Valencian Community and is a true architectural gem. Nowadays it is still fully functioning. It is well-known for its typical Jijona buns such as tonyetes (almond, flour and cinnamon), doblades which are only made for All Saints’ Day, cupcakes (madalenas) and tortadas (almond tortes) as well as a long list of other puddings and sweet dishes. The local bakers and confectioners make buns, sweets and other delicacies for all the visitors who would like to try the traditional Jijona confectionary.

It is installed in a stately building built in 1857. It has the uniqueness of having some curious arcades in the ground with a corridor that serves the small square "dels Portxins".

This church in honor of St. Lawrence Martyr Romanesque style dating from the sixteenth century, one of the oldest in Alicante. It is one of the oldest and best-kept town architectural elements. It is located in the center of the urban core , and the side of the building, the Plaza de José Pico, which houses the Town Hall building is configured. The church was built before 1596, in two or three distinct phases, and involved several architects. It is rectangular, with aisles between the buttresses. Inside two domes appear; the lower, circular plant develops on scallops and drum, reaching one arm of the transept, in the chapel of the Communion. On the cruise is the largest dome, also settled on scallops and drum. In 1816 it suffered a fire and was restored the central dome. Finally, the right aisle and chapel of the communion, was neoclassical. At the top, there was an organ that was installed by Fermín Usarralde. The main facade , built a factory not decayed stones, is solved by a desornamentado plane on which stand two elements . On the one hand the cover , executed blocks where the access opening is framed between two pillars that support an entablamento. This one templaria composition develops two pillars giving rise to a new entablamento, this time holding a triangular front. Another unique feature is the tower , a square, topped with a hip roof and has holes that make a slightly arc shape horseshoe.

It is a tower built at the beginning of the 16th century, located at one of the entries to the town. This tower has undergone many variations in its structure, especially from the middle of the 19th century, when it was integrated as a part of a two-storey house. It is unknown which family it belongs to, but we know that the building is characterized as a country building of low nobility rank, possibly typical of a knight and associated to agricultural properties and to the means of communication between Bocairent and Banyeres. It is a square building with an approximate height of 18 m. It was built with externally uncoated masonry walls. The corners, cornices and lintels of holes and arches are made of ashlar masonry.

A Renaissance watchtower, which was part of the coastal defensive system developed during the 16th and 17th centuries to defend the coast from the attacks of Barbaresque pirates. Although there are documents proving the existence of three towers in the natural park’s limits, the Gerro tower, a Renaissance fort (16th c.) is the only still remaining. It is one of the coast’s most outstanding towers. It has a circular shape, shaped like a truncated cone divided in 2 parts featuring a King Charles V coat-of-arms, supported by three cantilevers. The tower owes its name to its strange shape as a “pitcher or gerro” (a valencian language word for jar or pitcher). SITUATION How to get there: from the last regular bus tine in les Rotes Road (next to Restaurant Mena) we follow the road towards the east some 50 metres up to Via Làctia Street. Going up this street there is a fence that forbids vehicles from passing to the access way to the path leading to.

The EXCELLENT TOWN HALL OF BENEJÚZAR was inaugurated on October 20, 1988, structured on two floors, ground floor and basement, where the "Municipal Archive" is located, with documents dating from 1630, that is, from the old site of the municipality. In it the municipal offices are located, presiding in the Plenary Hall the original coat of arms of the old palace of the Rosell, founders of Benejúzar. As for the exterior, we can highlight the existing mural on the façade, which represents the earthquake that hit Benejúzar in 1829 and that shaped its current location and structure. We owe this fascinating work to D. Francisco Pérez Rubio, a well-known local painter.

Fortification of medieval origin, built after the Christian conquest. Later it suffered various vicissitudes that deteriorated it. As it lost its strategic function, it served as a quarry for the extension of the hermitage of Sant Pere, which is located to its left. From the complex formed by the Castle and the hermitage you can see a beautiful panoramic view of the so-called Camp d'Alacant. The view reaches the sea, connecting with the Vinalopó Valley, while inland we will see the Maigmó and Ventós mountain ranges in the background.

The Orcelitano Casino was founded in 1864. Two years after its foundation, the Círculo Orcelitano, a social institution created in 1848, became part of its structure. The building of the Casino, from the 19th century, began its construction on March 2, 1887, and it would not be until October 29, 1891 when the definitive move was completed, from the old Casino building located in the Calle de los Hostels, to the new building. The casino, as a cultural and recreational entity, celebrated the high society festivals and, among them, highlighted one that involved both Floral Games and the presentation or presentation in society of young women from an economically and socially wealthy family: the Orange Blossom Festival, during Easter, at the proposal of Manuel Martínez Ros, President of the Casino, in 1964.

The cave paintings, from more than 5000 years ago, belong to the Neolithic period. It is located in the municipality of Altea, on the southern face of the Sierra de Bernía. The paintings are barely noticeable but you have to keep them for being a unique record in the area. That is why they are behind a protected fence. According to the information panels, what you see is a series of seven horizontal and parallel zig zag. Their meaning is unknown to us although it is believed that these figures could evoke the water and waves it causes when it is in motion. In the upper part there are three human figures of bitriangular body that raise their arms towards the head or towards the sky These anthropomorphs are associated with women, since in Neolithic art the female figures are always represented wearing skirts. Above them are arranged symmetrically, two sun-shaped motifs and, on the sides, sets of zigzags and dots. In the lower face two human figures are observed with the body constituted by a wide bar, the circular head and the arms resting on the waist. Its shape, lacking feminine attributes, could indicate that it is men. Next to them you can see several sets of geometric patterns such as bars and dots and, at the top, four sun-shaped figures. The existence of astral type motifs “suns” and the figurative representation of water (zigzags and points), lead us to think that this narration could be related to the observation of astronomical and meteorological phenomena