The Santa Catalina parish church was built to serve not only as a church but also as a fortress where the local people could take refuge from attacks by Berber pirates. Nowadays you will notice that there are two separate parts: an older part dating back to the 16th century and a number of extensions, some of which date back to the 18th century, and some of which are modern. The older part of the church has a single nave that faces east. There are four sections with chapels between the buttresses. Architectural features of this construction feature a barrel vault with tierceron vaulting and a five-sided polygonal apse with a star-shaped vault bearing the parish coat of arms. Recent research has uncovered that Joan Cambra, an important architect who worked on significant buildings such as the churches in Pego and San Miguel de los Reyes in Valencia was almost certainly involved in the design of this church. The first extension, in the 18th century, attempted to create a Latin cross by prolonging the Gothic layout. The main altar was also moved to face west rather than east, and a neoclassical door called the 'Porta Nova' was added. All the fortress-like characteristics of the building were removed. All that is left these days is a small stretch of wall at the back of the church. This first modification was followed by the construction of the capilla de la Comunión (Communion Chapel), which has been devoted to St Vicente Ferrer. It contains a relic of this saint and a dressed statue from the 18th century. New sacristy rooms were built between the 19th and 20th centuries. A new bell tower was built in around 1895. This bell tower is a good example of the traditional hexagonal towers built in medieval times. The perimeter of the base measures 24 metres and it is 31 metres high. The church contains a valuable Romantic-style organ created by a Valencia company called Successors de Randeynes a caballo between the 19th and 20th centuries. The church was restored in 1979.

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.

Dedicated to theVirgen del Carmen, patron saint of sailors, laying has great devotion in El Campello, was built in 1960 thanks to donations own sailors. In honor of his virgin, aroundJuly 16, the celebrated Fiestas del Carmen (or Carrer la Mar). On the altar of the Chapel we can see an altarpiece worked in tile where it represents the Virgin as the " Stella Maris " (Star of the Sea), the faithful protector of sailors who relied on the stars to guide and mark its course in the vast ocean. You cant not miss the events in honor of the Virgen del Carmen during your holidays!

It was built, as indicated on its main facade, in the year 1803 on an old hermitage. The construction of the chapel is justified by the visit made in the fifteenth century San Vicente Ferrer to the village of Raspeig. The style of the church is neoclassical and in its facade you can see two columns with the smooth shaft. The floor of the church has a Latin cross structure with side chapels. In the center of the church stands a large dome topped by a weather vane. The main tower of the church was destroyed by its dilapidated state in the second half of the twentieth century and currently the one that exists is a replica of the previous one. It is a beautiful building that contrasts with the narrowness of the adjacent streets.

Located on one side of the Plaza de España is the main monument of the town, the Church of Santiago Apóstol, witness of the passing of past generations, and waiting to be discovered by present and future generations. The Church dates back to the 18th century and its construction covered the period of 1636. It was commanded to be done by Don Gaspar de Rocafull and Boyl. It is of Levantine baroque style and is built on a Latin cross plan. It has an area of 1252 m2 and is oriented to the west. The Cover is baroque, but in the ornamental it has influences of the French Rococo. It was completed around 1755. In it we find a niche that houses the round-shaped sculpture of Santiago Apóstol, dressed as a Pilgrim.

The church is built on top of one of the mosques from the Islamic city. The saints it is named after are the patron saints of the city as the celebration of their martyrdom coincides with the 'Reconquering' or the winning back of the city which took place, it is said, on July 17 1243. This is a gothic temple with just one nave, with chapels between butresses, dating from the XIV and XV centuries. The presbytery is Renaissance in style, as is the side door depicting the Annunciation. Parallel to the nave is the 'Gradas' Baroque door, by Antonio Villanueva and Cristóbal Sánchez, with borrominesque trimmings. The bell tower is definitely worth a mention; it is gothic in style and of great beauty, it is thought that the building of the bell tower must have finished somewhere in the middle of the XV century. In the corners we can see the drainpipe gargoyles and sculptures of fantasy animals. Of particular interest is the clock which the local council ordered to be installed in 1439.

Built on top of one of the mosques of the Islamic city, the oldest known documentation regarding its construction dates back to between 1402 and 1417. This church has just one nave, with chapels between buttresses. The older gothic work was altered considerably by refurbishments and parts being added between the XVI and XVIII centuries. The renaissance presbytery in the shape of an arch of triumph and the chapel dedicated to the 'Holy Family' (1765-1766)by a group of sculptors led by the sculptor Francisco Salzillo are of particular interest. The main doorway, of Isabelline, gothic style shows the coat of arms of the Catholic Kings in its tympanum, whose doorway was built between 1726 and 1735.

The palace was built on the old Corpus Christi hospital plot, one of the medieval hospitals in the city. In 1558 the city underwent changes with the arrival of Bishop Esteban Almeyda el solar, and the hospital was moved to the parish of Santiago. Its construction probably began at the beginning of the XVI century, soon after the bishopric in Orihuela. It underwent notable alterations in the XVIII century under the orders of the bishops José Flores Osorio and Pedro Albornoz Tapia. It lost its original functionality halfway through the XX century and it was restored at the beginning of the XXI century, and at present it is the head office of the Diocesan Museum of Sacro Art. It is the biggest palace in the city, with a rectangular shaped floor built around three courtyards. There is a hierarchy system of floors visible in the main façade, which can be seen in the size of the gaps and the materials used. The main doorway is of particular interest, with the shield of the bishop Obispo José Flores Osorio. At the back of the building, which looks onto the river, there is a gallery with half pointed arches. The indoor cloister with heraldic decoration is worth a mention, as is the main stairway with its red Alicantine marble and the dome over an octagonal drum whose glazed royal blue tiles can be seen from the outside.

Built on a Jesuit school, this building was built by religious orders from the Royal Visitation in Madrid, under the patronage of Mr Carlos María Isidro de Borbón and his wife Ms María de Asís de Braganza y Borbón. Neoclassic in style, it was built between 1826 and 1832. The facade is built using red and black marble and the flags of Spain and Portugal can be seen, as well as the Saints Frances of Sales, Carlos Borromeo, Joan de Chantal and Frances of Asís. Inside the church, which boasts a latin cross floor, there is an interesting collection of religious themed pictures by the court painter, the Valencian Vicente López.

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.