The works of the Parish Church of San Pedro Apóstol began on March 9, 1780 and its construction culminated in 1788. However, the temple was destroyed, along with other buildings in the town, because of the earthquake that struck Rojales in 1829. In this way, its façade manifests today an eclectic style as a result of the passage of time and the change of ecclesiastical architectural styles. It should be noted in its interior the great dome, the work of Fray Antón VIllanueva, and its careful religious imagery.

At the highest point of the urban core the church overlooks majestically the village. The House of worship was built between 1710 and 1774 and some renovations have been undertaken until the mid XX century. The parish church is dedicated to Santa Maria Magdalena. The austerity outside discovers inside a rich ornamentation dominated by the white and gold. The construction of the temple began upon an old chapel. Initially the Church consisted of three chapels on both sides and in the centre the high altar which is devoted to the Patron Saint, San Roque and San Cristóbal. One of the most significant enlargements and renovations was carried out in 1911, when the dome was tiled in blue and white. At that time they built the chapel of the communion, the grandstands of the presbytery, the cloister gallery and pavement. At the same time, ornament the building with the conchated crypt, cornices and pilaster of the entire temple. The Bell Tower was built in 1921 and in 1953 was to prepare in the façade to set the clock in 1961. Along general lines the interior of the Church is a simple Baroque style with neoclassical features. There are, however, outside some forms which are reminiscent of the neo-Gothic as the arc of the Bell Tower through which we see the campaign. The exterior is much simpler, in material of Tosca stone on the facade, and an entry with a lintel, neoclassical, very balanced and simple. Outside you can see a niche to Santa Maria Magdalena.

It is located in the Sierra de Oltà, in the recreation area called "Area recreativa de la Ermita Vella", which can be reached by a trail that starts at the "Monte Oltá" PR-CV 340 camping area. The building was constructed in 2002, features a gabled roof with curved tile, and is primarily made of stone.

This hermitage was founded at the end of the 14Th century. The selection of the patron, Saint Christopher, is linked with its location as a control point of the north and east entrances of Cocentaina. The building has a rectangular plan that measures 11,70 x 2,80 metres, consisting a oratory nave, vestry and dwelling designated to the hermit that is nowadays a restaurant. On the main altar there is an altarpiece dedicated to the Saint painted in 1815, by Soler y Diego, a scribe from Cocentaina. The painting was restored in 1995. A legend tells that in the mid of the 15Th century a hermit called Pedro Juan Escuder lived there. He was a mythical figure in Cocentaina because of his prophecies. The architectural complex and its surrounds are now an important visiting area for the recreation of Cocentaina and its surrounding towns, together with tourists.

The hermitage of Santa Bárbara de Monóvar (Province of Alicante, Spain), located on Santa Bárbara Street of that town, is a religious building built in the 18th century in the Baroque style. Built on one of the two hills that dominate the city, it can be seen from a distance, and it draws, along with the castle and the Clock Tower, the characteristic silhouette of Monóvar. It was built on a large stone base at the end of the 18th century, after demolishing the previous one, which was erected between 1692 and 1694 by Tomás Estacio. The style of the chapel follows Valencian Baroque models, but derives from clearly Baroque Italian positions, with a soft neoclassical mixture. It is the only one of the diocese that uses the curve, and there is only another hermitage of these characteristics in the whole Valencian Community, the chapel of the Communion of Santa María de Elche. Its authors may be José Gonzálvez de Coniedo or Lorenzo Chápuli. It is an isolated building with a rectangular floor divided into three different spaces. To the south there is an arched porch with three arches on stone columns, in the intermediate zone the elliptical chapel and to the north the sacristy or house of the santera. A half-orange dome rests on the cornice; dome that in the exterior (outside) is observed in double curvature, finished in glazed tile in blue color The interior highlights the floor of large stone slabs, and the decoration based on garlands, borders, weeping in relief and the use of Corinthian capitals.

It is a temple with a Latin cross plan. The main nave is covered by a barrel vault followed by a hemispherical dome, with lunettes where the windows are located, while the two lateral naves, formed by the perforation of the buttresses, house the chapels where various images are venerated. The cruise, with a dome on sculpted scallops, is formed by the discontinuity of the side chapels. On the Gospel side, we access the Chapel of the Virgen del Remedio. Large, has its own entrance, by the 'jardinet' (little garden), which has two columns on its exterior holding a cornice and, on those, two others that serve as an adornment to a niche occupied by the image of the Virgin of the Remedy, sculpted in 1765. Inside, an interesting altarpiece made of gilded and polychrome wood, recently restored, a work made in 1774 by the sculptor Francisco Mira, houses the dressing room with the image of the patron saint of Monóvar presiding over the chapel. its dome on pendentives sculpted with reliefs on the life of the Virgin. Through this chapel there is access to a third dedicated to San Miguel Arcángel, of neoclassical type, built in 1813, smaller, with a rectangular floor and a barrel vault, which is in a state of ruins. On the transept, on the side of the Epistle, there is attached a baroque organ, box José Martín, originally built in 1771 by the conqueror Julián de la Orden and rebuilt in the nineteenth century by Alberto Randeynes (1893). It was restored in its entirety throughout 2007. This church, although simple, is very solid, since it is all made of stone, except for the vaults. It has two towers, one of them unfinished, so only one is visible.

The current church and convent of the Franciscans of Cocentaina is situated on the site of an ancient hermitage of the 14Th century dedicated to the martyr St. Sebastian. In 1516 the friars remodelled the ancient building to found the convent. The building which has survived to our era has its origin in the last of 16Th century, when the building of the church was carried out in renaissance design by the brothers Andrés and Jaime Terol, under the sponsor of the counts of Cocentaina. In 1604 the work was finished, including the count’s gallery and pantheon. From that time onwards other diverse works were carried out such as the extension of the chapel of the Third Order or the ‘Santísimo Cristo’, which was finished in 1726, and was attributed to the master Tomás Peris. The perfect integration of the baroque and renaissance styles can be appreciated from the diverse rooms which are conserved inside. In your visit you can contemplate the baroque ornamentation of the presbytery, the recently restored gallery of the counts of Cocentaina, with their herald in a renaissance setting, wall paintings of the tabernacle the 18Th century, and the vault compartments of the cloister, in which is represented the life of Saint Francis of Asissi, work of father Antonio Villanueva. A possibly unique testimony of the ancient hermitage exposed in the chapel the gothic Cross carved in stone of the 15Th century, with a replica in the convent square.

Build up between the XIV AND XVI is one of the most importants gothic – renaissance examples from the Valencian community. It has a big legacy from the Catalan gothic, getting higher a monumental character. The interior part is formed by three naves and a corridor in it stands out twelve impressive columns, with an helix form that forms one of the lacking examples in spain inside churches. in the final part of the XV century the medina family promote the construction of the temple, which last all the XVI century, getting the renaissance style for elements like the access door to the sacristy and the chapterhouse. It ´s also important the baptismal font, created by Jacobo Florentino in limestone rock and in the feet of the altar , the rest of the bars wrought in 1563. Was declared historic-artistic national monument in 1931 and is a good of cultural interest.

The sanctuary of Our Lady of Virtues, also called Monastery of the Virtues is located in the district of Las Virtudes, in the municipality of Villena (Alicante, Spain). It is located in a natural area next to an old lagoon, currently dried, and about 5 km from the city, near the Fuente del Chopo. The whole is accessed from the east side where the Renaissance portal is located. This is divided into two bodies; the lower one with a semicircular arch between columns composed on a basement. A frieze decorated with figurative and anthropomorphic elements gives way to the upper body, which has in the central part a avenerada hornacina where the image of the virgin of the Virtues is found. It is made of stone decorated with bas-reliefs of garlands and medallions with figures, characteristic of the Renaissance style. The access leads to the rectangular two-story patio. The lower part is ordered by carpanel arches made in brick. The upper floor has French windows. The galleries of the cloister are covered with revolts and exposed wooden beams. The church consists of a main nave and two smaller lateral ones. It is divided into three sections, with a dressing room to the right of the altar and a high choir at the feet. The access is made by the cloister to the second section on the side of the Epistle (the one on the right). The pointed arches separate the sections covered with ribbed vaults that rest on corbels resting on quadrangular pillars. Next to the altar is the dressing room of the Virgin, of baroque style, made in the seventeenth century and square plan; It is decorated with stuccos and paintings that cover the entire space. The paintings are from the 18th century. Outside there are the buttresses of the church, the belfry of small dimensions and the small dome of the dressing room. At the entrance of the Hermitage the history and miracles worked by La Virgen de las Virtudes are collected in tiles. In the esplanade of access is located the fountain with the sculpture of La Rana, dating from 1916.