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.

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 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.

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.

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.

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 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.

Lovely neoclassical-style building. This rectangular building has three naves and four bays. There are some excellent paintings on the ceiling and on the main altar pictures St Vicente (16th century) painted on wood. This is thought to be the work of Gaspar de Requena, a Renaissance painter who was a fellow student of Juan de Juanes. There is also an image of the Nazarene (18th century). It has a typical dome covered with blue, green and white tiles. Built in honour of St Vicente Ferrer.

This chapel has a simple, elegant, Renaissance style entrance (17th century). The remainder of the building is in the Baroque style and is divided into two bays. The interior decoration with geometric and plant motifs is dated 1861. There is a belfry over the door and the first tranche of the roof consists of a dome with green tiles. In times gone by, a guild carried the statue through the streets in procession and, every year they held a festival with the donations received. These days, the Colla el Falçó – Asociación de “dolçainers i tabaleters” in Teulada organises a festival every September in honour of the Divina Pastora.

Set in the heart of Moraira town centre, this rectangular building consists of three naves separated by pillars and is in four sections. This first of these, next to a portico with four arches (reminiscent of the typical riu-rau buildings) is an extension which was added in 1981. Three of the arches have now been glazed in.The square belltower is to the left. The main altar in this church has a mosaic showing religious scenes with a fishing theme.