The Basilica of Santa María is the oldest religious building in Alicante. From the remains of the largest Islamic mosque in the city, this church was built in the 14th century. It was built with a single nave, without a transept and has side chapels between the buttresses. After a fire suffered during the fifteenth century, the Basilica of Santa Maria had to be rebuilt, hence its facade is baroque and is crowned by two asymmetrical towers built in the fourteenth and eighteenth centuries respectively. The cover with an image of the Virgin, made by the sculptor Juan Bautista Borja stands out. Inside the building, attention should also be drawn to several elements that stand out: the eighteenth-century Rococo altar and the chapels of Baptism, the Immaculate Conception and the Communion. In the Chapter Room there is a huge baptismal font from the 16th century and a Valencian Baroque organ from 1653.

The municipal cemetery of Alicante Our Lady of the Remedy, whose construction began in 1918 according to project of the municipal architect Francisco Fajardo Guardiola, came into operation in 1925, although an epidemic of influenza occurred in the same year 1918 forced to establish a mass grave despite the facilities had not been inaugurated yet. In 1931 the management was definitively transferred to the new premises of the Cemetery Square, after the closing of the old San Blas Cemetery. Inside you can find, among other elements and assets of interest for its architecture, both funerary and historical: the crypt-pantheon, built once the Civil War ended, the wake hall or the historical artistic cemetery. There are many illustrious citizens from Alicante buried in the municipal cemetery, such as the poet Miguel Hernández, Jose María Py, who was the founder of the Bonfires of Alicante, the architect José Guardiola Picó or the painter Gastón Castelló. From the administration office, located next to the main entrance of the cemetery, the attention to the necessary public is offered, both at the orientative level to be able to move by the different zones of the enclosure, and as of procedure and administrative management in funeral matter.

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.

The most outstanding Building of Jávea's historical city centre is undoubtedly the Iglesia-Fortaleza de San Bartolomé (St. Bartholomew Church-Fortress), from the 14th to the 16th Centuries, with expansions in the 18th and 19th Centuries. The main work is framed within the Isabelline Gothic style. Its importance and history motivated its declaration as a National Artistic Monument in 1931. Its history began in the 1304 with the Building of the current Presbytery. However, due to the population growth and the attacks from Barbary Corsairs since the 15th Century, it was advisable to enlarge the fortress. Hence in 1513, the works began under the supervision of the Navarro master builder, Domingo Urteaga. It is a large Gothic nave headed by an apse, with three chapels on each side framed by the buttresses. Subsequently, diverse structures (Old and New Sacristy and the “Capilla de la Comunión” (Communion Chapel)) were added to the sides of the apse. In the North union between the apse and the nave, there is a bell tower completed in the 17th Century which was also used as a watch tower. It has a groined vault ceiling. Above the chapels, a gallery or triforium extends, with small Ogee arches that open into the interior nave and large windows facing the exterior due to its defensive purpose. The main construction element is the local “tosca” sandstone, where few decorative elements remain in its interior. There are also few decorative architectural elements in the exterior; we highlight the heraldic coat of arms above the access gates, the floral decorations of the voussoirs and the balls of the entrance doors. The complex is finished with battlements and equipped with arrow slits, spans for mortars and two parapet balconies over the gates and others have disappeared which formerly comprised a rail in the building’s upper section. It perfectly fulfilled its two objectives: To cover the religious needs of the town and defend the population against the attacks by the Barbary Corsairs. The substratum of the current cement pavement conceals an unknown set of funeral crypts and vessels, probably from the 16th Century. The church can be visited from 10:30 am. to 12:30 pm. from monday to friday. In the afternoons, saturdays, sundays and bank holidays will be open 30 minutes before the mass.

Parish Church, dedicated to the worship of Santa Teresa and the Virgin of the Helpless , was built in 1849, replacing the first to be built in El Campello in the late eighteenth century, at the expense of the owner and master of the place , D. Ignacio Perez de Sarrio . It is small in size, despite having undergone several expansions, and retained its "local color". The biggest holidays, today Fiestas "Moros y Cristianos"From 11 to 15 October, which originally were held in May dedicated to the Virgin of the Helpless, they had to move to October because the male population well into the twentieth century, was absent at that time and he did not return in months. Therefore, the parties are engaged today to both the Virgin of the Helpless and Santa Teresa The square in which is the parish church is a meeting place for the most festive and religious events of El Campello.

The Parish Church of St. Peter the Apostle was founded in 1739 on the site of an ancient chapel. Gradually, the building was expanded and in 1888 acquired its present appearance. Before finishing that century, in 1899, it was built the chapel of the Communion, located between the bell tower and the chapel of the Immaculate Conception. In the twentieth century, in 1908, the bell tower is restored and after the Civil War a comprehensive restoration of the temple took place, acquiring much of the altars and images existing today. In the late 80s he carried out a new comprehensive rehabilitation of the building, and since 2003 proceeded to rehabilitate the interior and exterior walls. Although the building has a Latin cross, it presents a special development in the left wing, where the privileged altar and the chapel of the Virgen del Remedio, Patroness of the Villa is located.

It was built in 1989, it carved into the rock of a small hill, in the place where from 1926 to 1974 there was a drinking water reservoir. Until then, the chapel was located in a built in the 70's room, now converted into the Social Center of Barrio de Santa Catalina. The current chapel houses the image of the patron saint of the district, Santa Catalina and the Risen Christ, who participated in the last of the processions of Holy Week pinosera.

El antiguo Convento de la Merced supone una superposición de estilos y edificaciones del que se conservan la torre de la esquina y restos del atrio. Dispone de tres plantas y un bello claustro de estilo neoclásico, en dos niveles. La portada de Santa Lucía, orientada al sur, es renacentista. Un poco de historia Construido donde existían unos baños árabes, el Convento de las Clarisas guarda en sus muros una larga historia. Ésta se remonta al año 1270, cuando el Infante Don Manuel (Mayordomo Mayor y hermano del rey Alfonso “El Sabio”) donó los Baños Árabes al Maestre de la Orden de la Merced, Fray Pedro de Amer. Esta orden forma parte de las Órdenes Religiosas Redentoras, que nacieron para defender la fe mediante la caridad en la etapa final de Las Cruzadas. Sin embargo, en 1835 fueron suprimidos todos los conventos con menos de 12 religiosos profesos, por lo que muchos religiosos de la orden se exiliaron y el convento pasó a manos de la administración. En los años posteriores el convento fue utilizado como administración de correos y rentas, colegio de Humanidades y oficinas. Años más tarde, en 1854, las monjas clarisas se instalan en el Convento de Santa Lucia, no sin antes debatir con el consistorio para que les concediese en propiedad el antiguo convento mercedario. A cambio las religiosas donarían el convento de la calle corredora. En 2007 pasó de nuevo a propiedad municipal, para llevar a cabo la restauración del mismo, y las monjas clarisas se trasladaron al nuevo convento construido junto a la ladera del río. Curiosidades El convento pasó por varias transformaciones y restauraciones ya que algunas partes como la fachada, la antigua torre y la biblioteca fueron dañadas por terremotos. Por otra parte, el convento fue saqueado y algunas obras de arte quemadas en 1936. Centro Cultural Las Clarisas Recientemente, el antiguo convento ha abierto sus puertas tanto para visitas turísticas como para eventos culturales en lo que se ha denominado Centro Cultural Las Clarisas. Se ha acondicionado el claustro, la iglesia y otros espacios para ofrecer una amplia programación a lo largo de todo el año: conferencias, exposiciones, teatro y conciertos de música clásica.