This itinerary constitutes a definite and safe route for the traditional pilgrimages that reach from the Vega Baja, through Crevillent, to the Cave of San Pascual in the monfortina parish of Orito. The starting point is located on the Ainach road, in the vicinity of the road of Hondón de las Nieves (CV-845), beginning the route between crops and cottages. This stretch remains practically straight, crossing the ravine of the River at the height of the Iron Channel before linking with the Carrasca road. The itinerary merges with the road of La Romana (CV-846), near the place of the Hondo de Las Fuentes. This recreational area is a traditional meeting place at certain times of the year such as "Mona's Day" or "La Jira". The city of Aspe is accessed through Avenida 3 de Agosto. The layout borders the Municipal Sports Pavilion and passes in front of the "Virgen de las Nieves" Nursing Home, located next to "La Cruz de Orihuela", a traditional religious element in the town. The route continues along Castelar Street, a road that receives the Virgen de las Nieves, patron saint of the municipality, every two years, and where the Wagner Theater is located, a modernist building built in 1922 and restored in 1995. The streets of San Pedro and San José leads to the historic center, leaving on the right the Plaza Mayor with the homes of the early s. XX, the Basilica of Our Lady of Socorro (18th century), of the Baroque Valencian style, and the historic building of the Town Hall (1641). The route runs along the Avenida de la Constitución where the "El Cisco" House (19th century) is located, which houses the Municipal Historical Museum, to turn onto Calle Lepanto towards the Tarafa River. The itinerary descends to the Tarafa riverbed through the park located behind the bus station. The path takes advantage of the cycle path that runs along the banks of this watercourse, enabled after an environmental restoration by the Hydrographic Confederation of Júcar. This river has a well-preserved fluvial ecosystem, where the olmedas or malls stand out, as well as historical elements such as the Rafa de Perceval (19th-century irrigation for the use of water for irrigation), the Fuente de Barrenas, which supplied drinking water to Elche through the aqueduct of which the Bridge of the Four and Five Eyes (18th century) are part, or the ruins of flour mills that existed in the area, such as that of Meseguera. Finally, on the Quincoces road the trail ends, to link with the Novelda and Monforte del Cid itineraries towards the San Pascual Cave. Time: 1h 53 min. Type of route: Hiking Difficulty: Low Distance: 7.504 meters

The Hermitage is located in an area called Tápena house. The area has recreational areas, tables, barbecues, fountains, toilets, etc., where pines and olive trees predominate.

Procathedral with blue dome and cloister. Its Latin cross plant with short arms, lateral chapels communicated to each other and an ambulatory in the head whose formalization comes from the radial seriation of the same chapels of the nave. The whole presides over a powerful dome cassetted in negative through which light enters.

The Museum of the Virgin of the Assumption, Patroness of Elche (MUVAPE) tells us through sculptural, pictorial, goldsmith and textile pieces, dated between the sixteenth and twentieth centuries, the history of the Virgin Mary and the history of the image of the Patron of the city. Some elements used by this image stand out during the celebration of the Mystery of Elche, Intangible Heritage of Humanity since 2001. The first years of Maria's life and her relationship with her son Jesus are narrated with some wood carvings and ivory of the centuries XVII and XVIII. Other pieces bring us closer to the Christian tradition, gathered in the Mystery of Elche, according to which Mary lived in Jerusalem her last years. There she died assisted by the apostles, but she was resurrected and ascended to heaven body and soul. The Holy Trinity crowned her as Queen of Creation. Mantles Devotion to the Assumption of Mary was introduced to our lands by Jaime I the Conqueror. The local tradition tells that on December 29, 1370, an ark arrived at one of the beaches of Elche, inside of which was found the image of the Virgin and the consueta of her Mystery. The figure was enthroned in the hermitage of San Sebastián where the Brotherhood was in charge of promoting their cult and in 1648 it was definitively moved to the church of Santa María. Between 1673 and 1784 the current Basilica was built, in whose central dressing room the figure of the Patron is venerated. The devotion of the ilicitanos has given rise over the centuries to numerous donations. Mantles and vestments, crowns and jewels, furniture and real estate form the rich patrimony of the Virgin of Elche, which are exhibited in the museum. A special section is dedicated to José Tormo y Juliá, bishop of Orihuela between 1767 and 1790, whose memory remains among the ilicitanos. In addition to providing the city with drinking water, the chapel of the Communion of Santa María was completed at its expense. On October 3, 1784 he consecrated the temple and on the episcopal palace that he built for his stays in Elche, now stands the parish house of Santa María. The central point of the feigned chapel of the museum is dedicated to the Dormition of the Virgin and shows the impressive bed that in the octave of the Assumption, between August 16 and 22, after the celebration of the Mystery, stands before the altar Mayor of Santa Maria and becomes for eight days in the devotional center of the city.

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.

Built on the ancient Moorish mosque, it was initially built as a parish church, and went on to become used by archpriests (1281), as a school (1413) before eventually becoming the cathedral (1510). Construction began at the end of the XIII century. It can be classified as typically Levantine gothic in style, with its three naves crossing and ambulatory, transformed by Pepe Compte at the beginning of the XVI century. It also boasts chapels between buttresses, the grille and baroque organ, work of Nicolás Sandoval and Martín de Usarralde, with the casket by Jacinto Perales, and the choir seats are attributed to Juan Bautista Borja and Tomás Llorens (1716-1734), where various relics such as busts are safeguarded. On the outside we can see the tower which was built somewhere between the end of the XIII century and the start of the XIV century. There are also three main doorways: the XIV century Door of Chains (la Puerta de las Cadenas), the XV century. The door of Loreto (la Puerta de Loreto) and the Door of the Annunciation (la Portada de la Anunciación), which was finished by Juan Inglés in 1558.

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.

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.

It is located in the street of its same name. Its construction was carried out on the former cemetery of the town. In 1984 the appropriate management to the restoration of the hermitage was undertaken. At that time it was set in the Molí Sol. It was dismantled stone by stone and moved to its current location in the street called San Jorge. Its architectural style is neogothic. It is an only rectangular nave with an apse at the back and two stained glass windows relating to Saint George, Banyeres and the festival in his honour. It is an isolated building constructed with ashlars and a very sloping roof made of slate. The facade is oriented towards the North and is framed by two pilasters with capitals and pinnacles located at the corners.

"The Santa Faz monastery, with a baroque style, is located five kilometers away from the city center, in the district of the same name. Inside it keeps a relic brought from the Vatican in the fifteenth century that, according to popular tradition, was the canvas with which Veronica dried the bloody face of Jesus on the way to Calvary. Every year, on the second Thursday after Resurrection Sunday, thousands of people from Alicante come on pilgrimage to carry out the Pilgrimage of the Santa Faz (Holy Face), this being the second most important pilgrimage in Spain after the Rocío. Inside there is a dressing room behind the main altarpiece, where the relic of the Santa Faz is kept. "