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.

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.