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.

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.

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.

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 the most emblematic building of the population. Baroque style (1776). Inside it keeps the image of the Ecce-Homo of the s. XVI and patron of the town. Formerly it was a hospital that also housed travelers and pilgrims.

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.

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.

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.

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.