Dominando el municipio podemos encontrar el castillo de la Coracera (visitable), construido en el siglo XV y en muy buen estado de conservación. En su interior existe un centro de interpretación que nos desvela la historia de la fortaleza.
La zona cuenta con un bello entorno natural de bosque, muy apropiado para la práctica de actividades al aire libre y con dos zonas de baño en le embalse de San Juan. Cuenta con oferta de turismo activo.
San Martín nos ofrece también una oferta enoturístca con bodegas visitables. Sus viñedos están incluidos en la D.O. Vinos de Madrid y cuenta con una larga tradición de la cultura del vino que se remonta a finales de la Edad Media.

The combination of stone and wood in this space make it a place that identifies it with its Castilian origins. In the park there is a children’s play area. The green space is near the hermitage of the Brotherhood Ntro. Brother Jesus Cautivo del Amor.

The Roman road of Galapagar is only a small section of the Vía 24 of Antonino Itinerary, a passage through the Sierra de Madrid, coming from Merida -Emerita Augusta- and bound for Zaragoza -Caesaraugusta-. Via eight meters wide, built with large granite slabs and curbs, the Vía 24 crossed the Galapagar border, from Puente del Herreño to Puente del Toril, from here, continue its itinerary crossing the present urban area of ​​the town .
The use of the road is verified throughout history and at different times. In 1765, the Bridge of the Toril was built by the engineer Marcos de Vierna, with a style that imitates the civil engineering works of Roman times, so that he could pass through the new road linking Madrid with El Escorial and Castilla la Vieja . Also in the eighteenth century the cobbled ramp was built, to the left of the bridge, which facilitated the passage from the old road that came from the center of Galapagar to the new Camino Real de Castilla. During the nineteenth century the old Roman road changed its use and became a cattle route, with the name Cordel de Suertes Nuevas.

Of its architectonic set, it is possible to emphasize the sculptural group Tribute to the Democracy of Luis A. Sanguino and the great auditorium. In its surroundings, also we find, the Torso Ibérico, work of Alberto Corazón; The Lady of Francisco Leyro, and, finally, in the Plaza de la Letras, which accesses the Municipal Library, the sculpture entitled Flame, by José Luis Sánchez.

The center, which is next to the walled enclosure, helps us to understand the origins of the present city of complutense and the main preserved medieval spaces and monuments: the walls and the Archbishop’s Palace, the cathedral or the main street. The exhibition includes an interesting collection of pieces from the period, reproductions of constitutional texts, 16th century sculptures, models and, in particular, virtual reconstructions.

Inaugurated in 1616, it was built on plans of the architect Juan Gómez de Mora at the initiative of the first Duke of Lerma, Francisco de Sandoval y Rojas, lord of Valdemoro and valid of Felipe III. It was erected as a female cloistered monastery of the daughters of the nobility who decided to profess religious vows.

The building, located to the south of Valdemoro, near the Fountain of the Villa, is distributed around a central square cloister, like most monastic buildings of the time. The northern façade, in Toledo style, houses an image of Santa Clara flanked by two stone nobiliary shields: the Casa de la Cerda, heirs of Alfonso X, and the coat of arms of the dukedom of Lerma.

The church, the most interesting element of the whole, consists of a Latin cross plan with a single nave, barrel vault, dome above the transept and high choir at the feet with a cloister. The main altarpiece is decorated with two 17th century paintings, La Encarnación and El Calvario.

This garden is the work of the French master landscaper Esteban Boutelou, who also worked in the gardens of the Royal Site of the Farm of San Ildefonso. The architect Juan de Villanueva was in charge of the gate, the Chinese pavilion and the temple. Inside you can see fountains carved in Carrara marble, such as those of Narcissus, Apollo, Neptune mounted on his carriage drawn by sea horses or the Swan.

It is part of the historic gardens of the Royal Palace of Aranjuez. Considered the most beautiful of their time, they are magnificent in any season. Each one of the gardens of the palace is representative of a style, according to the time and the taste of the monarch that ordered its creation.

The locals in San Martín de Valdeiglesias began building their bullring in 1854, completely financing it by themselves: nearly 20,000 pesetas at the time. It was built over the former Convento de la Concepción convent once home to Franciscan nuns. Due to the ecclesiastical expropriation carried out by Juan Álvarez Mendizábal in the mid-19th century, this convent almost entirely disappeared when the land was sold. Still remaining today is the main door which is used as the “triumphant exit” for bullfighting. Made of granite, it forms a large arch framed within an alfiz. It was inaugurated in 1856 although the inaugural line-up is considered to have fought in 1859. The sign has been reproduced in ceramic and now hangs on the main facade. The ring has been at the centre of many relevant events throughout its history such as during the festivals of Virgen de la Nueva in 1860, when bullfighter Martina García, one of the first women in bullfighting, participated. It’s a third-class bullring with a deeply-rooted bullfighting tradition. The all-time greats of bullfighting have come here from José Antonio Suárez, Palomo Linares, Rivera Ordoñez to José Tomás, among others. Plus, it’s been used as the background to several films. Worth noting is the fact that the “Sociedad Taurómaca de San Martín de Valdeiglesias” was constituted in 1854 to carry out the construction. The ring suffered such deterioration in the beginning of the 1950s that the Town Hall decided to buy it. It did so on 5 November 1956. Wood was used to build it following the norms of the time with a capacity for 2600 seats and a ring with a diameter of 45 metres and a 2 metre-wide alley. It’s undergone several renovations over the years. Capacity was expanded to the current 3676 in 1990.

Located in the middle of nature, the Madrid Deep Space Communications Complex tracking station tracks the vehicles that NASA sends to space.

In its visitor center we can enjoy while learning with videos, photographs, exhibitions, children’s activities … and with unique objects such as a moonstone and a suit by the astronaut Miguel López-Alegría. In these installations we can visualize missions as important as the exploration of Mars with ‘Curiosity’ and ‘Opportunity’.

This space communications center created by NASA and INTA (National Institute of Aerospace Technology) is equipped with six huge antennas. Surely the smallest will enjoy with the close-up view of the antenna of 70 meters in diameter and 8,500 tons with which every day beat the record of human telecommunications by coming into contact with the probe Voyager I, located almost at 15 light-hours from Earth.

The work of the bridge began in 1891 and has three straight stretches of 50 meters each, which support in two intermediate stacks and two stirrups, these being prolonged in accompanying walls finished in wings to access the river banks, executed on the basis of ashlars of stone. Each section is saved with a truss beam, formed in its skeleton by strings and vertical bars at the ends. The inner latticework forms a mesh of crosses of San Andrés without vertical uprights. The bridge, very light and sensitive to overloads, has seen its reinforced structure to adapt it to traffic and has had different reconstructions due to various floods (1935 and 1947).

It offers beautiful views of the Lozoya Valley.

During the War of Independence was used like headquarters by the French, conserving of this time a fissures in the jambas of its door that made possible the passage of the guns to its interior. The hermitage remains closed all year, opening its doors only in the feast of its saint, the 24 of June. Contains a small reredos of wood with gilded. In the center there is a niche where the image of San Juan Bautista is located.

Puente Mocha is on the road to Villaescusa, in the Sierra de Guadarrama, in a protected natural setting and preceded by a beautiful pine forest and a picnic area. Everything points to the fact that it was built in the fifteenth century over an earlier Roman period as an infrastructure to facilitate repopulation after the Reconquest. Although it is true that other studies associate it with the construction of the Monastery of San Lorenzo de El Escorial in the 16th century, being used to facilitate the transfer of wood and granite from the area. It measures 55 meters and the sight of its three eyes, two spillways and a last door thinly deserve the colophon of an excursion more than pleasant by this zone of the Sierra Oeste.

Half a century of sculptures compose this collection, an initiative of the sculptor José Noja, which since 1993 has been exhibited in these locations, very close to each other. It covers various styles and techniques, from figurative art, cubism through conceptualism, abstract art, etc.

The majority of the works are of Spanish sculptors, although also they are of the rest of Europe and America. The authors represented are: Agar Blasco, Aizcorbe, Alberto Guzman, Amadeo Gabino, Aurelio Teno, Beatriz Kohn, Berrutti, Camín, Carlos Evangelista, Carlos García Muela, Carlos Prada, Carmen Castillo, Carmen Perujo, Cristóbal, Elena Laverón, Encarnación Hernández, Enrique Ramos Guerra, Ernesto Knörr, Feliciano Hernández, Fernando Suárez, Ferreiro Badía, Francisco Barón, Gaudi Esté, Gil Arévalo, Isidro Blasco, Javier Santxotena, Javier Sauras, Jesús Molina, Joan Llacer, Jorge Seguí, Jorge Varas, José Lamiel, José Luis Pequeno, José Manuel Alberdi, Jose Manuel Alberdi, Jose Noja, Lilianne Frechilla, Luis Caruncho, María Teresa Torras, Máximo Trueba, Miguel Moreno, Nassio, Wolf Noud, Pablo Serrano, Rafael Barrios, Rafael Muyor, Ramiro Arango , Ricardo Beleña, Sebastian, Teresa Eguibar, Torres Guardia, Úrculo, Venancio Blanco, Vicente Ortí, Xabier Laka and Xuxo Vázquez.

The construction of the best preserved castle of the Region of Madrid began in 1475 and five centuries later in 1982, it would house the ceremony of constitution of the Regional Parliament of Madrid who would prepare the Statute of Autonomy.
Built in 1475 on the remains of a Romanesque-Mudejar chapel, in the Isabelline style, it is considered the most beautiful example of 15th century Spanish military architecture. It has a quadrangular layout and is built of granite. It is surrounded by a barbican wall with arrow-holes that protected six galleries topped by four towers, of which three were circular and the fourth, octagonal. This tower keep was also called the Torre del Homenaje.
Its interior is not accessible, but you can admire the views from the walls or enjoy its tranquil garden, which recreates the gardens of its heyday.
The interior also houses a library, meeting halls and an exhibition hall, in addition to a centre for interpretation, and an audiovisual room with an interactive projection of the history of the castle. The fortress houses an interesting collection of 17th century Flemish tapestries based on sketches by Rubens, suits of armour and period furniture. It also includes other treasures such as Roman tombstones, the remains of a parish church and a 13th century cemetery.
To conclude the visit, we recommend exploring the Renaissance garden mentioned earlier, which includes an enchanted wood, an alchemical garden, grain plots and vineyards, orchards, and a maze or labyrinth.

The city was promoted by the Crown around the palace to procure all the necessary services, for the Royal Family and for its court. Thus, in 1747, the king entrusted the architect Giacomo Bonavía with the layout of the new city, which would include a hospital, churches, a market … a whole artistic and historical complex that we can still enjoy today.

Its current limits are determined by the bullring, the road to Andalusia, Infantas Street and the Foso. Of reticular structure, all its houses present similar characteristics, with two heights and big windows, and its streets are spacious and with trees.

A walk through the old town of Aranjuez allows us to enter into a singular sample of baroque urbanism. Large houses, buildings with patios, domes, palaces, convents, balconies, large squares, spacious streets that are testimony of four centuries of history and several different kings.

The House of Trades and Knights and the House of the Infants, that border the square of San Antonio; the church of San Antonio, which houses a very interesting collection of baroque paintings; the garden of Isabel II, very close to the Royal Palace; the Royal Theater; the Plaza de la Constitución; the Mercado de Abastos (Neomudéjar style); palaces like Medinaceli, Osuna or Godoy; the Hospital of San Carlos; the convent of San Pascual … The list of touristic milestones is extensive.

Every year, thousands of visitors come to know the history of Aranjuez, its culture, its gastronomy, its legacy and its incomparable landscapes.

Estación de Metro de Colonia Jardín
10, ML-2, ML-3

Los lienzos del castillo aún se alzan en el cerro Horcajo, confluencia de los ríos Aulencia y Guadarrama. Desde estas ruinas se disfruta de hermosas vistas de una inmensa dehesa de encinas y del Centro Europeo de Astronomía Espacial (ESAC).

De pequeñas dimensiones y planta rectangular, tiene un doble recinto de murallas, seis torres cilíndricas en las aristas de los muros y un torreón o torre del homenaje de unos veinte metros de alto. Los muros tienen un grosor de 1,50 metros y cerca de seis metros de altura. También alberga recintos subterráneos.

La primera noticia que se tiene de la fortaleza data de 1450. En el siglo XV el castillo pasó a manos de Alfonso Álvarez de Toledo, noble de la Corte del rey Juan II de Castilla, y, posteriormente, a diferentes manos privadas.

Durante la Guerra Civil sirvió como fortín en las batallas de la Carretera de la Coruña y de Brunete.

El conjunto de piezas que expone el museo se compone de obras realizadas en vidrio, un material joven dentro del panorama del arte contemporáneo español. El Studio Glass Movement surgió en los EE.UU. en la década de los 60 del siglo XX y se extendió con rapidez por otros continentes. En poco tiempo esta disciplina ha alcanzado altísimos niveles de calidad artística y gran complejidad técnica.
La Colección del Museo de Arte en Vidrio de Alcorcón (MAVA) está integrada por más de 180 obras entre objetos artísticos, esculturas e instalaciones, realizadas en todo o en parte con vidrio. Las técnicas son muy variadas: vidrio colado en molde, vidrio plano, vidrio soplado, etc.
El MAVA de Alcorcón es una de las principales atracciones turísticas de la ciudad, tanto por su contenido como por el lugar donde se ubica: Los Castillos del Marqués de Valderas, construidos a principios de siglo. De estilo neogótico sajón, el conjunto de esta fortaleza constaba de tres construcciones, que fueron usadas durante la Guerra Civil española como lugar de observación por la tropas franquistas para divisar el frente de la zona republicana. El principal castillo, que hoy acoge el Museo del Vidrio, era el destinado a vivienda familiar. El segundo, que alberga un espacio cultural, era el oratorio particular del marqués. El tercero, ya desaparecido, era el de la servidumbre. Durante mucho tiempo estuvieron casi abandonados y llegaron a alcanzar un notable deterioro hasta que la familia del marqués los donó al Ayuntamiento, que los reconstruyó para su uso cultural.

These are the villages of Navalvillar and Navalahija, located a short distance from each other and separated by the Tejada stream. They were two nuclei with a dispersed habitat and an economic system based on cattle ranching, mining and iron metallurgy. The village of Navalvillar was dedicated to the exploitation of sheep and metallurgy and dates from the 7th and 8th centuries AD, although possibly this space was reused during the thirteenth century. Excavations have exposed three areas of housing, stables and warehouses as well as numerous archaeological remains, including a silver Umayyad coin, considered the oldest of the Islamic period in the Peninsula.
Excavations in Navalahija are more recent. Between 2008 and 2013 the Directorate General of Historic Heritage of the Community of Madrid intervened in three buildings, one of them with an area of ​​140 square meters. The most representative of the whole is a structure with different rooms to work the iron, something that provides valuable information on this economic activity.
Both enclaves are located in the vicinity of the Visigoth necropolis of Remedios and complement the archaeological and historical information of the territorial organization of this area of ​​Madrid in the transition from Late Antiquity to the Middle Ages. Much of the recovered archaeological materials remain exposed in the House Museum of the Vila of Colmenar Viejo.

The Old Castle lies on one end of a hill, on the banks of the River Manzanares and has magnificent views of the urban centre and La Pedriza, the most important granite structure in the Sierra de Guadarrama. Built as a fortress during the Reconquest and with links to the De la Cerda family through Leonor Núñez de Guzmán, in 1383 it was transferred to the Mendoza family by King Juan I of Castile. They erected the manor estate of Manzanares. Its use and splendour diminished in 1475 when this powerful family decided to build a new castle.
The difference between the old and the new castle built in a similar style, lies in the latter’s dimensions and the use that was made of it. Where the first was meant for defence, the new castle was also a palatial residence.
The remains are open to all, although its current state is in striking contrast to the magnificent restoration that was carried out on the neighbouring castle of the Mendoza family. Exploring the bases of the ancient castle walls evokes an idea of its splendour and defensive use. Also of a quadrangular layout, we can distinguish the bases of the old towers at the corners, three cylindrical structures, with the largest one serving as the keep. Its walls, some of which are still four metres high, were built in the Mudejar style with granite masonry and linked with brickwork. The shields of the families that, through matrimonial ties, owned this castle can still be seen: Mendoza, Velasco and Toledo.
It has been declared an Asset of Historical Interest within the Region of Madrid.

The remains of this medieval fortress, which dates back to the 9th century, include a restored defensive tower and the bases of some turrets. They are located on the Cerro de Veracruz, 630 meters above the left bank of the river Henares, between the hills of Ecce Homo and Malvecino, near the hermitage of Our Lady of Val.

Everything seems to indicate that this fort came to have a defensive system with at least eight towers. Its strategic position allowed it to dominate the passage of the important communication route between Toledo and Zaragoza. After the Christian conquest in 1118, the fortress passed into the hands of the archbishops of Toledo. And its definitive abandonment must have been produced during the sixteenth century.

The temple, belongs to the medieval style called Mudejar, made by Muslim masons at the service of Christians. The formal parallels indicate a date of the first quarter of the thirteenth century, perhaps after the Battle of the Navas of Tolosa (1212). This apse served for centuries, integrated with the rest of the building, to house the Main Chapel with the altar and the main altarpiece. It held a quarter of a sphere vault. This apse is of a unique type in the Community of Madrid, since it participates in characteristics of two Mudejar schools, one predominant in the northern half and the other in the south of the province.

The tower has several phases. The lower part could be a Muslim minaret (X or XI centuries), built for the pre-existing mosque. The body of bells, with eight caliph arches with a letter or box and horseshoe arches and pointed, could correspond to the principles of the thirteenth century, in which the apse of the temple was built. The upper part built to house the clock is much later and could correspond to the seventeenth or eighteenth centuries.

Address: Plaza de Ernesto Peces, 1, 28931 Móstoles, Madrid

www.mostoles.es

The last stage began in 1829, when the hermitage became a chapel of the parish cemetery. Since then he has undergone a slow but inexorable process of wearing down his original personality for the benefit of this new function.

An important rehabilitation carried out in the year 2005-2006 has returned to the hermitage its old splendor. Its interior space has been liberated from the nineteenth-century partitions that prevented its single nave from being contemplated; and the primitive dedication of the temple, San Juan Bautista, has been recovered.

You can visit inside the hermitage route. More information: 918101141/42

Dominated by the castle of Mendoza, the old town of Manzanares el Real welcomes the visitor with the fountain of Las Ermitas, dating from the first Renaissance. Built in gray granite, in it stands a pediment where the composite shield rests for the wedding of the second Duke of the Infantado in 1460.

Our second stop is the church of Nuestra Señora de las Nieves. in the heart of the town; one of the best samples of late Gothic that are preserved in Madrid. Since its construction was extended in time, three architectural styles of the time are visible: Romanesque, Gothic and Renaissance. The central nave, Romanesque, flanks the sacristy and a side chapel with Gothic influences. A three-storey Renaissance tower crowns the building. The portico of the south façade, restrained by sober Tuscan columns, is also Renaissance. In its interior the most remarkable is a baptismal font of the century and the sculpture of the Virgen de la Correa, both of the sixteenth century.

If we go to the People’s Square, we will find the Ethnological Museum or House of Culture which, among its many treasures, exposes finds of the deposits of the area as axes of stone, flint, clay bowls, a calco of cave paintings, stone mills, remains of Visigothic tombs, medieval ceramics and manuscripts.

We can not end our visit without approaching the 15th century hermitage of the Peña Sacra, built on a granite mound to which the Druids already attributed supernatural powers. Next to this, a monolith reminds us of the passage of the Camino de Santiago de Madrid through the town.

We said goodbye to Manzanares el Real crossing the Old Bridge, built in granite in 1576, forced passage of the Cañada Real Segoviana.

The Galapagar Town Hall has had several uses throughout its history, such as primary school, jail or even in the mid-nineteenth century and because of the fire caused in the parish church, its plenary hall was enabled as such, which was extended for a decade, until the reconstruction works were completed. In the reform of the twentieth century was taken into account the historical character of Galapagar, a town linked to Philip II and the construction of the monastery of San Lorenzo de El Escorial. The dungeon of great historical and artistic interest, has housed since 2010 the archaeological hall.

From time immemorial, the inhabitants of the valley of the Tajuña have taken advantage of the course of the river to grind the wheat and the ceb

The mill is located ten minutes from the Plaza Mayor, in a pleasant walk along the pedestrianized Calle del Carmen towards the Vega del Tajuña and the exit towards Valdelaguna. Just across the river Tajuña, appears, in a beautiful place, the Mill of the Huerta de Angulo.

The mill operated until 1966, grinding cereal and generating electric energy for the town, although it did not stop completely in its activity until 1984, when it happened to be museum thanks to the municipal initiative, that recovered the old machinery of the building.

It began to rise in 1757 at the request of King Ferdinand VI, although it was completed by its successor in 1761. The body of the bridge is built with limestone from Colmenar de Oreja and is about 340 meters long by eleven wide. It is formed by 25 vaults of cannon separated by piles of 4 meters of width. It emphasizes a lion carrying a shield and a tablet or gravestone in whose inscription it refers to the reigning monarch, the author and the date of completion.

This bridge was one of the first raised in the era of the Enlightenment in Spain within the politics of the Bourbons to improve communications of the kingdom. This policy implied the creation of a radial road network linking Madrid with the Royal Sites and the main provincial capitals.

The House of the Compaña was built in the time of Felipe II between 1590 and 1597, under plans of Francisco de Mora to house, in a single building, all the storage, services and animals of the community Jerónima, religious order in charge of the care and maintenance of the monastery of El Escorial. It forms part, next to the First and Second Houses of Trades, the corridors of the Sun, the Botica and the passage that communicated with the House of the Company, the germ of the present municipality of San Lorenzo de El Escorial. All were built to alleviate the scarcity of space in the monastery to house all the necessary services and services demanded by the Court.

The building, built in granite, is accessed by the main façade, facing south, through a large gate in the Tuscan style that served as access to carriages and livestock. The main building has a square floor plan, at two heights that open on an inner courtyard where the arches of the first floor harmonize with the large windows of the second. The building completes the typical Herrerian slate roofs.

On the ground floor were the mill, the ovens, the refectory of the monks with their kitchen and various rooms for accommodation of guests and religious. On the top floor were the handicraft workshops and the infirmary.

After a long period of abandonment, the premises of the House of the Compaña were delivered to the order of St. Augustine, the new community that guarded the monastery. In 1892, the Royal College of Higher Studies of the Escorial was established there under the protection of the Queen Regent.

Currently the House of the Compaña serves as a major school and center attached to the Complutense University.

Built in 1769 is the first important work of the architect Juan de Villanueva. It has a rectangular floor plan and a three-level building, with a basement, low and main entrance, as well as the attics that stand out on the slate roofs, so characteristic of the Escurial architecture.

The house was inhabited by three of the thirteen children Carlos III had with Amalia of Saxony: the Infantes Don Gabriel, Don Antonio Pascual and Don Francisco Javier. The successive death of these, without descendants, propitious that in 1817, at the death of Don Gabriel, half of the building passed to the Crown; called since then, House of the Queen, as it is also popularly known. In 1925 Alfonso XIII ordered that the Administration of the Crown, what today is National Heritage, acquired the other half remaining to, after a brief reform, put it in rent destined to temporary and permanent residence, use currently in force

Conceived in a similar way to the Barranco, for simultaneous uses, it consists of a long stonecutter gallery through which water flows to pour two very abundant pipes (one destined for consumption by the public and the other for the livestock of the working cattle that came) in A box uncovered and surrounded by a wall, in the background, and of arches in the front and the two sides, from which it passes to a long trough and from this, successively, to two large laundries and then to a raft, called Pozo Arancón, Which also pours, when it has water, a small spring. It was of great utility because of the great consumption that the neighborhood made. Waters heavily loaded with salts. The whole was restored in 1992.

Its external structure resembles, without ceasing to resemble a temple for worship, a kiln of pottery or jars that once inhabited all the surroundings of Colmenar, by its square shape on all sides and the dome in the shape of a half sphere.

It is a rectangular and compact building, of a single rectangular nave with a half-point arch, erected in masonry with stone blocks in the corners. The roof deck is flat and rests on wooden brackets and the cruiser is crowned by a dome lowered on pechinas.

The interior, which is accessed through a small portico recently built, is presided over by a wooden altarpiece dedicated to the Virgen de la Pera. Unfortunately, both the original size and a baptismal font that was already recorded in 1820, are now missing.

The celebrations in honor of the Virgin of the Pear are celebrated the 1 of May. On the eve the image of the Virgin leaves in procession until the parochial church of San Juan Bautista. There, at midnight, just after May begins, the traditional Mayos are chanted to the Virgin, some songs in which the veneration and the petition are alternated with the Mother of God. The next day, after its procession, the image of the Virgin returns to her hermitage. Throughout the month of May the hermitage is open to worship

Casa rural con más de 200 años de antigüedad, rehabilitada y adecuada a la vida actual. Consta de 9 habitaciones.

The museum shows artistic backgrounds of the temple and various pieces collected from ecclesiastical institutions of the town. It shows objects and clothing from the 16th to the 20th centuries related to the liturgy, the sacraments and celebrations. It also highlights the collection of choir books from the XVI-XVII centuries.

Declared Good of Cultural Interest in 1930, numerous personalities of the last century were visited, among others, Antonio Maura, who died in its stairs in 1925; Indalecio Prieto or General Miaja, who directed from there the Battle of Brunete; or Franco, who, after inheriting it in 1940, made it a refuge and, later, instead of recreation and farm.

Located on a small plateau at 1,011 meters above sea level, it crowns the top of Canto del Pico, granite formation of the Sierra del Hoyo, whose rough slopes dominate trees such as oak and cork oak. The whole is an exceptional viewpoint given that it can be seen from around 30 municipalities in Madrid.

The building, of great eclecticism, housed numerous architectonic and decorative elements representative of the Spanish art of the centuries XII to XVII, some of which was auctioned in 1928 in New York by the aristocrat. In its day it housed the Gothic columns and capitals of the Castle of Curiel, doors brought from the Convent of the Salesas Reales of Madrid, different ornamental motifs of the Collegiates of Logroño and the Seo of Urgel and the Gothic cloister of the Cistercian monastery of Santa María de la Valldigna, returned in 2007 to its place of origin.

In its gardens, located far from the house, is said to be the oldest juniper of the Community of Madrid. Designed by the same count, they are of romantic inspiration.

It is located in the municipality of Colmenar de Oreja in Madrid.

Activities

• Development of research projects: phytosanitary strategies, training and pruning systems, soil management techniques, irrigation techniques, antihelia systems, orientations and plantation frameworks, cultivation techniques and wine and oenological evaluation of vine varieties.

• Experimentation and demonstration of the most advanced techniques in the cultivation of the vineyard and the elaboration of the wine.

• Training and dissemination activities (grape tasting, wine tastings, open days, courses …).

Visiting Villarejo de Salvanés is a real encounter with History. The temple of the patron saint of Villarejo de Salvanés is related to one of the most outstanding episodes in the history of Europe: The Battle of Lepanto, fought to prevent the advance of the Ottoman Empire through the Mediterranean in the year 1571.
Luis de Requesens, Major Commander of Castile, and lieutenant of John of Austria in Lepanto, promised that if the Christian forces were to achieve victory, he would build a temple in gratitude to the Virgin. And he made good on his promise.

The exhibition space has three rooms, two of them for Ethnology and one for Archeology; as well as two exhibition spaces, dedicated, respectively, to the cinema and to the old photograph.

The two rooms dedicated to Ethnology show the distribution of an old dwelling with its different rooms (portal, kitchen, alcove, the courtyard with the chicken coop, the stable, the woodshed and the well) and objects made of ceramics, basketry, etc. Lace, costume, paper and culinary elements complete the whole. It is also possible to get acquainted with the different economic activities once carried out: agriculture, livestock, soft drinks, continuous paper mills, etc.

The third room shows a collection of archaeological objects coming from deposits near the municipality (the Aljibes, the Dehesa, Peña el Gato, the Camorza or the surroundings of the river Manzanares), among which are axes of stone, flint, earthen bowls , a decal of cave paintings, stone mills, remains of Visigothic tombs, medieval and modern ceramics and certain manuscripts.

The museum was opened thanks to the initiative of the City Council and the Cultural Association El Real de Manzanares, whose members donated different objects inherited from their ancestors.

The two pipes gave so little water, that it was scarcely enough to drink the cavalry that they used to drink there. His deposit instead is spacious. The water of the left pipe, more abundant and of worse quality, is rolled by gallery of mampuestos, and the water of the right pipe, scarce and of better quality, comes by stone basin covered with tile of stone, that runs to half slope of the Hold it straight. The date of its construction is not known and by the year 1950 the wall of the bottom was completely retracted.

The main example of the artistic heritage of Algete is the church of Our Lady of the Assumption, erected with stone and brick in the centuries XVI and XVII. In its exterior stands the tower of five sections. It houses a valuable 17th century altarpiece.

Braojos es una localidad de la Sierra Norte madrileña que ha sabido conservar hasta nuestros días todo el sabor de la ruralidad, con un casco urbano bien conservado. Merece la pena visitar su iglesia parroquial con algunos destacados retablos firmados por Gregorio Hernández o Pedro de Berruguete.
El entorno natural de la localidad ofrece numerosas posibilidades a los amantes del senderismo y el cicloturismo. Entre estas podemos destacar la subida al puerto de Peña Quemada y la ruta de la dehesa boyal entre otras.

The Convent of the Incarnation of the Divine Word, also called the “convent of the nuns” is an interesting architectural complex covering an area of nearly 7000 square metres. It belongs to Augustinian cloistered nuns and was designed by the architect Fray Lorenzo de San Nicolás in the 17th century. It consists of three main buildings, in addition to the gardens used by the cloistered nuns. Next to the convent church lies the convent itself and a palace-house that once belonged to the counts of Colmenar de Oreja, lords of the town and the convent’s founders.

Small brocal, located in the center of the town, in Plazuela de Domingo del Moral, whose water was extracted from buckets to feed the cattle.

Today it houses the headquarters of the Diocese of Alcalá.

The Palace has been home to important events, such as the death of King Juan I of Castile, or the birth of Catherine of Aragon. It is also the place where Isabel the Catholic received Columbus on January 20, 1486.

Rodrigo Ximénez de Rada ordered to wall Alcalá and to construct a small fortress like temporary residence. The successive archbishops enlarged and embellished it until becoming one of the best Spanish palaces of its time.

The palace is attached to the walls, and an unfortunate fire made only one of the façades, the Renaissance. The architect Alonso de Covarrubias made this splendid façade in which the windows and the shield of the Cardinal-Infante Luis Antonio de Borbón stand out on the upper floor. It is also worth admiring the magnificent 19th-century grille that closes the patio.

It is a museum that arose with the purpose of recovering, protecting and showing the way of life of the people of Tielmes. During the rehabilitation works of the old schools appeared in the facade murals representing a group of soldiers of the Civil Guard, with a horse and a cannon. There are several theories about the meaning of these paintings, which could be scenes from the war in Africa, depicting O’Donnell’s triumphal entry into Madrid on May 11, 1860, or even a military instruction lesson to the younger

Of scarce flow, its crystalline waters are the most salubrious of the city, that in old time were used for medicinal purposes, being used as purgative. For many years its waters were used by the nearby Municipal Slaughterhouse.

The collection of falúas or fluvial pleasure boats is composed of forty objects, six of which are boats and the rest mastites, models and other elements related to the nautical hobbies of the kings. The museum recalls the courtyas in the rivers and ponds of the Real Sites of Buen Retiro in Madrid, La Granja de San Ildefonso and, above all, Aranjuez.

The oldest and most spectacular boat to be exhibited is the golden gondola commissioned in Naples by Charles II in 1683, for use in the pond of Buen Retiro in Madrid. Chronologically, it follows the Carlos IV façade, built in Cartagena at the beginning of the 19th century. From the reign of Fernando VII dates the falca with dolphins interlaced in the bow and the royal coat of arms laureate in the stern, as well as the pavilion adorned with butterflies and garlands. To the reign of Isabel II corresponds the canoe in mahogany wood with reinforcements of golden bronze, constructed in Ferrol in 1859. Also of Isabel II is the boat of cabotage work of Jose Tuduri de la Torre, dedicated by “Mahon to its queen”. Finally, it exposes the falúa of Alfonso XII, gift of the city of Ferrol in 1879, that was used by the monarch in his stays summer in San Sebastián.

In addition we can enjoy the paintings referring to the Spanish squadron of the nineteenth century, as well as a set of bronze cannons from the reign of Fernando VI and various utensils for navigation of falúas.

In the mid-19th century, a group of residents of San Martín de Valdeiglesias took the initiative of building a casino; in other words, a social venue for gatherings, debates, theatrical performances and concerts, among other activities. This was the “Sociedad Café-Teatro” of San Martín de Valdeiglesias. In the 1960s, the casino stopped operating and, at the initiative of the Town Hall and with the support of the Region of Madrid, it was recovered in the year 2000 and rebuilt to house a theatre room for up to 200 people, two exhibition rooms and a cafeteria.

Belonging to National Heritage, it is one of the residences of the Royal Family. Of small dimensions, with a luxurious interior, was commissioned by Carlos III to Juan de Villanueva so that it served like recreation pavilion and country house of the then Prince of Asturias – later Carlos IV.

Raised between 1771 and 1775 in a single block of two floors with a facade that vaguely recalls the Prado Museum, Villanueva’s masterpiece, it was later enlarged between 1781 and 1784. Its interior is representative of the palatial art of the time with rich eighteenth- which dominate the rich silks, marbles, stuccos and ceilings of the best artists of the time such as Mariano Salvador Maella or Francisco Bayeu. In the upper floor, the vaults (located at a much lower height than those of the lower floor) are finished with stuccos with reliefs. During the reign of Alfonso XIII the frescoes and furniture were restored.

The Prince house is surrounded by two gardens, front and back, with a clean and elegant layout, connected by two porticoes of Tuscan columns. The palatial taste of the time is present in its fountains, ponds, waterfalls, walks and box hedges.

To this is added the existence of an extensive park around it, open to the public, where along with native species such as oak and oak we find five trees cataloged by the Community of Madrid as unique: two spruces of the Caucasus, one pinsapo and two giant sequoias.

A huge wooded park closed to traffic by a huge stone wall, with pedestrian paths, complete the whole.

ADDRESS: Avenida de los Reyes Católicos

Until the mid-twentieth century, the inhabitants of this small nucleus had no place to express their faith, and they had to go on long walks to the churches of San Silvestre (now disappeared) or of San Pedro, in Garganta de los Montes. As a curiosity, during the Civil War this church became the kitchen of the Republican troops.

Built in the early 17th century, its rehabilitation in 2008 has brought to light interesting frescoes. The hermitage was linked to the Brotherhood of the Veracruz, that in 1652 acquired a lying Christ attributed to Sánchez Barba; Today it is conserved in this hermitage.

This route was part of the defensive system of the Middle Brand, whose purpose was to confront the Christian advances during the Reconquest, serving as a link to the citadels and watchtowers erected by Muslims.

This small bridge, which consists of a single arch of a half point, stands on a groove of the river Perales and cements its granite construction of the place on natural rock. The only element preserved in ashlar masonry is the one-point, single-threaded barrel vault on which the masonry tympanum rests.

The people from Alcalá refer to this cathedral by its short name, The Magistral, and is dedicated to Saints Justo and Pastor who in 305 were martyred in the place. The current cathedral was commissioned by Cardinal Cisneros to the Egas brothers and although it was built in late gothic style, the main cover combines Mudejar and Renaissance elements. The tower, slightly inclined, was projected by Rodrigo Gil de Hontañón and was constructed in three phases.

In 1519, Pope Leo X awarded him the title of Magistral, a title that only bears another church: that of St. Peter of Leuven in Belgium. The title of cathedral is relatively recent, since it was granted to him in 1991.

The Herrerian cloister houses the interpretation center, as well as a collection of tombstones. It also conserves a reconstruction, from original pieces, of the door of Covarrubias of the Archbishop’s Palace.

The museum is located in those that were anteroom and chapter room. Among his pieces stands out the valuable collection of goldsmiths, such as the chalice of Cisneros, or the flamenco triptych of the Adoration of the Magi.

You can also visit the tower, which offers a spectacular view of the historic center of Alcalá.

This temple combines the Renaissance and Baroque styles. With a single nave, with Tuscan columns, round arches, barrel vaults and a tower of three bodies, it gives name to the most emblematic square of the municipality, in which is the oldest public fountain in Tielmes, built in 1872.

The Museum of Stone is located in the street named Camino del Cristo, next to the Plaza Mayor and the Gardens of Zacatín, over an old limestone quarry where stone was excavated to build the church of Santa María la Mayor. The museum has an interesting collection of machinery and tools used to extract and carve stone. It also exhibits items related to other important professions in this area such as pottery, esparto grass weaving, agriculture and cattle herding, with exact replicas of a hut and a kiln for firing clay. Limestone has been quarried in Colmenar de Oreja since the 2nd century to be used in the construction of monuments and buildings such as the Royal Palaces of Madrid or Aranjuez, Banco de España or the Prado Museum. The Museum of Stone is open to visitors on Sunday and bank holidays.

This plaza is one of the most beautiful in Spain, thanks to its irregular floor, which shows its popular origin, but it does not detract from its harmony. Its present structure corresponds to 1683, when it was closed in all its flanks. Homogeneous three-storey buildings stand out, with arcades, galleries and wooden balconies painted green.

In its origin it was the meeting place where cattle fairs were held. The council bought some houses in 1499 to undertake its meetings, establishing the Town Hall in the same place in which it is today. In 1502 Juana la Loca and Felipe el Hermoso visited Chinchón and its Plaza Mayor. In 1683 it was closed by opening enough holes to give way to processions and chariots.

The University Chapel of the Christ of the Doctrines dates from the sixteenth century, specifically in 1581, when Juan López de Úbeda, a priest and licentiate from Toledo who taught theology at the University of Alcalá, promoted his teaching with a seminar for children in the Christian doctrine in some old buildings called Corral de Mataperros, which coincides with the current garden of the hermitage. Such is so that the Christ that Don Juan used in his classes in a short time was known as the Christ of the Doctrines in a popular way.

It was taken by custom that the students of the University entrusted their luck in the examinations to the Christ of the Doctrines, reason why the name of the hermitage received the surname of University.

It is a typical baroque building in Madrid, with a very intimate chapel in which the Christ of the Doctrines resides, the work of the Jesuit Domingo Beltrán.

We can find within it the size of Our Lady of Hope, which is the image cotitulado of the brotherhood since 1945 and that accompanies the Christ in his departure in procession every Thursday Saints.

It has in its interior a collection of religious art of high quality of the XVI and XVII centuries. In 1942, the monument was declared a Cultural Interest.

Right in the heart of San Martín de Valdeiglesias stands the majestic castle, Castillo de La Coracera, which was built in 1434 by Álvaro de Luna. It was the home of Isabel I of Castille upon being proclaimed the heiress of Castille following the Treaty of the Bulls of Guisando. Along with the one in Manzanares el Real, it’s the most important castle in the entire Autonomous Region of Madrid. Almost entirely open to visitors because of its incredible state of conservation, it evokes the tragic fate of Álvaro de Luna who was the most powerful man in medieval Spain. Don Álvaro de Luna was in great favours with King Juan II, the father of Enrique IV and his sister Isabel, the future Queen of Castile. Accused of witchery and conspiracy, he was decapitated in Valladolid in 1453.

The Coracera castle is a typical feudal castle as it reproduces the basic fortified palace style residence that was common back in the early 15th century. There are three cubes. It’s known for its crenellated battlement, parapets, blazons and sharp arrow-holes. The Torre del Homenaje was the place where this gentleman stayed and where legal documents were signed such as the loyalty or servitude pact. The inner belt of the building was comprised of the main grounds where life mainly occurred in the courtyard. Nearby there are service buildings such as kitchens, rooms for the garrison and knights and some of the storehouses. The inner wall was taller and thicker than the outer one and had a gallery that connected the towers.
La Coracera once had up to four defensive walls. The outermost belt was comprised of a shorter wall which surrounded the grounds protected by a moat. It only had one entrance which featured a drawbridge. The latter would be destroyed in the event of a siege to prevent enemies from getting inside.
From the crenels and, particularly the Torre del Homenaje tower, visitors can take in an extraordinary view of the Sierra de Gredos and the vineyards planted by the Benedictine monks in the Middle Ages. Not surprisingly, San Martín de Valdeiglesias is known for its wines.
The castle is handicap-accessible.

El Escorial está ubicado en uno de los parajes más bellos de la Comunidad de Madrid. En este municipio serrano se encuentra la Casita del Príncipe, declarada Bien de Interés Cultural desde el año 1931 y gestionada por Patrimonio Nacional. Como parte del conjunto formado por el Monasterio y Sitio de El Escorial, está incluido por la UNESCO en la Lista Patrimonio Mundial. La Casita del Príncipe está rodeada de jardines con fuentes, estanques, cascadas, paseos y setos de boj; así como por un extenso parque poblado por especies autóctonas, como el roble y la encina; alóctonas, como la sequoya y el pinsapo; y árboles típicos de jardines. La fauna y la vegetación son ricas y variadas; cuenta con la excelente combinación de los ecosistemas húmedos, donde habitan muchas aves y anfibios; con el bosque mediterráneo de encinas y robles.

El Ayuntamiento de El Escorial tiene a disposición de los usuarios el kit de herramientas de reparación de bicicletas de la Asociación Ciclamadrid. Está disponible en el Polideportivo Navaarmado de El Escorial.

Belonging to the Arteaga family, it is still unknown who ordered it to be built. In 1853, by default of a debt was acquired by Canal de Isabel II in public auction to install in its dependencies the founding headquarters of the Channel of Lozoya or Isabel II. That is why it happened to be called House of the Direction until, in the year 1992, it stopped having this use. Their stays hosted countless illustrious figures such as Queen Elizabeth II, General Espartero, Bravo Murillo or the kings Alfonso XII and Alfonso XIII. Today, the building is municipal.

In the interior of the area occupied by El Espartal there are many paths that the visitor can visit; highlighting four cattle ranches: the Molino, the Cárcava, Valdefuente; and, of Soto, intercommunicated all with those of the valley of the stream of the Cañada.

The Espartal, next to the Regional Park and the valley of the Cañada stream, is an ecological area whose surface draws a triangle. It is limited to the north by the road that leads to San Martin de la Vega, to the west by the way of the Cañada, that in the south direction arrives until Titulcia and, to the east, with the locality of Ciempozuelos.

The Espartal has been declared of Cultural Interest since in its interior it is the deposit of the famous bell-shaped glass of Ciempozuelos, discovered in 1894 in Cerro Castillejo that is guarded at present in the MAN (National Archaeological Museum). In its area we also find a late Roman villa and a necropolis with grave tombs and innumerable objects such as arrowheads, knives, flakes, flints of flint, etc.

It has endemic plants and habitats classified as priorities; standing out for having the most extensive basófilo retamar and best preserved of the Community of Madrid. In addition to having two animals in danger of extinction such as the kestrel and the common bustard, there nest a great diversity of birds. The fauna list is completed with the presence of three species of amphibians, seven of reptiles and eleven of mammals.

Juan de Goyeneche devised this industrial complex, where workers were also housed, to solve two of the most serious problems of Spain at the time: the demographic recession and the very serious deindustrialization. Investing his personal effort and fortune, with the support of the monarch, would commission the project to José de Churriguera.

This one designed an urban set characterized by the use of the straight line and the angle of 90º, of track in checkerboard, that foreseen the installation of an industrial complex of population, with sufficient capacity of growth like to activate the region economically and demographically with to generate a production of luxury objects that could compete with the foreign market, reduce imports and clean up a fairly battered economy.

The urban development of Nuevo Baztán is the conjunction of two criteria that are mixed in a novel and original way: on the one hand, the area Palacio-Iglesia-Plaza, designed to reveal the power and social prestige of Goyeneche and that responds to ideological approaches of the Baroque as are theatricality and effectiveness; and, on the other hand, urbanism in a grid composed of industrial buildings, workshops, warehouses, posts that respond to a functional purpose in accordance with the rational and orderly schemes of the Enlightenment.

Taking as a starting point for our tour of Nuevo Baztán, the Goyeneche Palace can be seen the grid design, the functionality of the complex designed by Churriguera and the hierarchy with which it provided the buildings designing them from more to less as we away from the urban center, surrounded by labor lands.

Construction on the church of Nuestra Señora de la Asunción in Chinchón began in 1534, but it was not completed until 1626.
In its interior, we can distinguish different architectural styles: Gothic, Plateresque, Renaissance and Baroque.
The church suffered significant damage to its roof and ornamentation during the Peninsular War. Francisco de Goya painted The Assumption of the Virgin, placed in the centre of the high altar in 1812, at the petition of his brother Camilo, the chaplain of this church.

An annex to the Parador de Turismo hotel in Chinchón is the church of Nuestra Señora del Rosario which once belonged to the Convent of San Agustín.
It is a Baroque church with one nave and side chapels which doubled as cells for prisoners during the Spanish Civil War.
It possesses some interesting Baroque frescoes in the transept, painted in bright colours, with borders, leaves, columns and other embellishments. In 1846 it was dedicated to the veneration of the Virgin of the Rosary. The church possesses a beautiful Baroque altarpiece which was burnt in a fire in 1929, although the Virgin’s image suffered no damage. Her feast day is celebrated every year on the third weekend of September.

Eloy Gonzalo was adopted by a civil guard and his wife and arrived at Chapinería in 1873. After four years and already orphan of father, returned with its mother to San Bartolomé de Pinares (Ávila). At the age of eight his mother died, and decided to return alone and on foot to Chapinería. Imprisoned by problems of love, he was able to leave prison by volunteering for the Cuban war in 1896, where he distinguished himself for his heroism.

The building was the residence of Juan de Goyeneche, Navarrese born in the valley of Baztán that developed his race in the court of Carlos II. Goyeneche built Nuevo Baztán as an industrial complex that included this palace-church-quadrangular square, a set of dwellings and factories of glass, fabrics, etc.

The palace is of rectangular plant and presents / displays two plants, organized in architectures separated in the facades by a flat cornice. It is flanked, in its northwest corner, by a quadrangular turret. Away from the typically baroque ostentosidad is rather a peasant villa where are visible the cushions ‘a la rustica’, typical of the Italian villas of the Renaissance.

The main door is presided over by a carabinier, whose cover highlights the head of a roaring lion that holds the checkered shield of the Baztan Valley. This gate is crowned by the coat of arms of the Goyeneche.

The vestibule of the Palace gives way to a beautiful inner courtyard with a well, being lined with galleries with semicircular arches.

On the top floor are located the noble rooms of a palatial building. The palace communicates with the church through a passage located on the upper floor that leads to the rostrum located on the side of the Gospel (left), from where the presbytery and its main altarpiece are widely displayed. They are also worth visiting the wineries that are located under the Palace that now house the Interpretation Center.

It was restored between 1974 and 1985 by the architect Fernando Chueca Goitia and opened to the public in 2012 thanks to the Community of Madrid.

The building stands out in its rural surroundings by the design, since it is built in concrete, with large windows and woodwork of iron beams. It exhibits funds obtained through donations, purchases and objects belonging to the Barreiros family that gloss the achievements of the work of one of the most relevant figures of the industrial development of Spain in the automotive sector in the fifties and sixties.

Starting from a small workshop in Orense, Eduardo Barreiros (1919-1992) was able to build a large industrial complex. The diesel engine became for the Spanish synonymous of this businessman. In 1963 he became associated with Chrysler and over the years the company became Chrysler Spain.

Visitors can access and touch the different objects of the exhibition, such as cars, trucks and tractors, which makes it possible to understand the mechanical work and at the same time manual, the production of engines at that time. In addition, the facilities and objects are adapted to the visually impaired.

The museum also has an important documentary background.

It houses a baptismal font, dated in 1492, and the trustworthy copy of the primitive main altarpiece, from the sixteenth century.

Built between 1562 and 1595, in berroqueña stone, it had a length of 36.9 km, height between 1 and 1.5 meters and width of about 50 centimeters. Its main purpose was to serve as a limit and demarcation of the properties acquired by Philip II to endow the monastery with its own resources (La Herrería, La Fresneda, La Granjilla, El Campillo and Monesterio). It also served as an element of defense against intruders; of protection of the pastures destined to the oxen used in the construction of the monastery; as dehesa and real forest of hunting; and as a sanitary belt for a smallpox infection.

Later Charles IV would raise the height of the wall, raising the jumps, so that the hunt could enter but not leave and solve, in this way, the problems that, since Philip II’s time, had been causing the animals of the hunting ground real in the crops and livestock of the local peasants.

It is accessible from Zarzalejo following the so-called circular small route of 8 km. and medium difficulty. On the way to the Quemadillo, we ascend to the Entre Cabezas pass, where we find a fountain that serves as refreshment for the senderista. After leaving this, a few meters higher, we will have reached our destination. From there, ascending towards the summit of the Machota Grande (1,464 meters), you reach the rock of the Fraile, a peculiar mass of berroqueñas stones that remember the figure of a praying monk.

The descent gives us spectacular views of the Sierra de Guadarrama, San Lorenzo de El Escorial, Mount Abantos, etc.

Between 1470 and 1480, during the fight for the throne between the supporters of Juana the Beltraneja and those of Isabel the Catholic, many nobles constructed castles or reinforced those already existing; among them, that of Arroyomolinos, who belonged to Gonzalo Chacón, butler of Isabel la Catolica (this was granted by the lordships of Arroyomolinos and Casarrubios del Monte in recognition of their faithful services).

Built with brickwork in Gothic-Mudejar style and rectangular plant with rounded edges, it has five floors and is topped by a terrace. Inside there are compartments and rooms that were used as warehouse and residence.

For a long time, the keep was the only visible part of what was originally a castle. Archaeological excavations carried out in recent years have revealed that the tower was defended by an artillery barrier and a large moat. The complex also had two auxiliary buildings located on both sides of the tower, one of stables and another of kitchens.

At present it is part of the Network of Castles of the Community of Madrid.

The Palacio de la Sagra was built at the end of the 18th century as a hunting lodge for the Marquis of Villanueva de la Sagra. It has a square floor plan with a rectangular side patio, a wooden gallery on columns and a Renaissance style doorway. In his long life he has seen almost everything: From the hands of the Marquis of Villanueva de la Sagra he went after the Patronage of the Child Jesus of Remedy, who used it as preventorio of children of leprous parents. During the Civil War it was used as an arsenal of weapons. At the end of the 90’s it was acquired and restored by the Chapinería Town Hall, which installed in it several municipal offices, among them the library and the ethnographic museum, as well as a tourist revitalization center.

Known as Castillo de Puñonrostro, it was declared a Property of Cultural Interest in 1949. It is a defensive construction, with a rectangular floor plan that consists of two bodies: the tower of homage and the courtyard of arms, walled and with nine smaller towers. It has an area of ​​1,518 square meters. The castle was built in the late Middle Ages as a result of the conflicts of the nobility for political and economic control of the lands of the area. The works of the fortress had to begin between 1430 and 1465, apparently commissioned by the bishop of Palencia Gutiérrez Gómez de Toledo, uncle of the first Duke of Alba. Later it happened to hands of Alvar Gómez, and later to Pedro Arias Dávila, señor of Puñonrostro. Hence its name. In century XVI was prison of notables of the Court and in century XVIII inside was installed a factory of soaps and a spinning of wool. During the War of Independence it suffered numerous damages to French hands. In 1830 as a result of the confiscation ceased to belong to the Davila. Later the use of the castle has been, as a warehouse of agricultural machinery and for livestock.

It is the defensive construction of this better preserved type of the Community of Madrid, and was declared a national monument. In the last years it has enjoyed an important revitalization thanks to successive works of improvement and conditioning.

The construction of the wall usually dates back to the Muslim period, probably around the 11th century, with the intention of protecting the town from the Christian incursions from the north of the Peninsula, which were carried out through the port of Somosierra. During the following centuries, once in Christian hands, the enclosure was rebuilt and reinforced significantly, although in general the primitive route was always respected. At present, a small part of the old section can be visited in a controlled way, while other more recent sections are freely accessible.

The part of the wall that borders the river has a smaller height and thickness than that located in the area that lacks this protection, where it was necessary to erect several towers, such as the Clock Tower, and other military constructions, such as the castle or Alcázar , to ensure their defense. Some sections of remains of the antemuralla are conserved and added to the wall towards the river built with the intention of favoring the access to its channel in case of necessity.

The visit of the wall of Buitrago del Lozoya, a construction that keeps and defends the main secrets of the town, is inexcusable for any visitor, who can contemplate from there the incomparable mountain environment in which the population is framed.

Of medieval epoch it emphasizes the Tower, that today is cultural center. Located on the hill of the first settlement of the town, it was the Church of San Miguel until the end of the 19th century. In origin, of Romanesque style, it presents some Roman and Arab architectural elements, which makes suppose that it occupies the site of a Roman building reconverted, later, in mosque. From the medieval period it preserves the Mudejar apse, the wall and the tower from whose bell tower you can enjoy magnificent views.

Of Bourbon period they are the Source of the Caños, of neoclassic style and invoice of granite, ordered to construct in 1785 by Carlos III; the Bridge of the Rosary, located in the Old Way of the Escorial, called thus by an old hermitage that existed in its environs; and the old Pósito or Panera Real, whose origins date back to Fernando VI, now the Church of San Miguel.

After the Civil War, the General Direction of Devastated Regions planned the reconstruction of much of Guadarrama. Of that intervention are the Plaza Mayor, in the form of a semicircular open cobbled square, and the Quarter of Ravaged Regions. The Plaza Mayor, inspired by Brunete, is made of granite. In it they emphasize the City council, whose style remembers to the Monastery of the Escorial; the Olma, one of the singular trees of Madrid; and the bronze statue of El Abuelo. In the Quarter of Ravaged Regions, which occupies five blocks, rise several unique buildings, former residences of day laborers and cattlemen of the municipality.

Other places of interest of the old town are the Potro de Herrar, from the 20th century, and the municipal park, built in 1949 where La Nava was, a large depression of three or four meters deep.

It is a great temple of dimensions superior to those of other churches and parishes of the surroundings, with four side chapels, sacristy and baptismal font. Custody in a side chapel the image of the Holy Christ of the Humilladero, patron of the town. It is classified as a Property of Cultural Interest.

It is located in a suggestive wooded area and marks the point of inflection and course of the Alberche River. From the bridge you can see, to the northwest, the ravine deepened by the river, now used by the Picadas dam. Construction began in 1761 “with stone pilasters and wooden floor”, as stated in the license granted by the Royal Council of Castile, and was an important advance for communications, since to date only two smaller bridges allowed the passage of goods from one side to another of the Alberche, with the consequent right of kick. Restored a few years ago by the Community of Madrid, it preserves the wooden floor and the stone slabs as well as its imposing arches, no less than 24, built in brick, and the parapet, with sturdy pilasters of stone masonry.

Exposed in the Youth Resource Center, inaugurated in 2011, the building houses the collection of modern art of the fast outdoor painting contest organized annually by the City of Griñón.

This file located in Alcalá de Henares is only surpassed by the Federal Archives of Washington and the Cité des Archives de Fontenebleau (in terms of volume of documents). Its consultation is obliged to obtain any antecedent on the architecture, the urbanism, the public works, the education, the culture, the tourism, the economy, the hacienda, the justice, etc. of the contemporary stage, since it receives periodically the documents in which the activity of the different organisms of the General Administration of the State takes shape when they are no longer necessary for the daily management of the offices.

The building, which has a storage capacity of two hundred kilometers of shelving, began to rise in the final months of 1969, and the first revenue of funds was made at the end of 1972, although the works did not finish definitively until the spring of 1973 .

The archive usually organizes temporary exhibitions and admits guided tours of previously arranged groups.

It is part of the historic gardens of the Royal Palace of Aranjuez. Considered the most beautiful of its time, they have served as inspiration to artists such as the composer Joaquin Rodrigo or the painter Santiago Rusiñol. Gorgeous in any season, today they continue to captivate visitors. Each one of the gardens of the palace is representative of a style, according to the time and the taste of the monarch that ordered its creation.

The museum offers since 1985 the possibility to contemplate a series of works that Pablo Picasso gave to Eugenio Arias, his barber since 1948 and his close friend to the end. Born in 1909 in the village of Buitrago del Lozoya, Eugenio Arias lived in exile in France after the Spanish Civil War. In Vallauris, on the French French coast, Arias set up a hairdresser, which Picasso attended frequently, so that a friendship was forged between the two that largely received his tribute to this museum.

The bullfighting motif, so beloved by Picasso, is probably the most repeated in the collection. Also worthy of note are the works related to Arias’ barber and barber profession, such as two pottery painted pottery or the box where he kept his professional instruments, which Picasso decorated with care. The museum also has a library centered on art and the figure of Picasso.

Complutum was one of the main Roman cities in the interior of Spain. The city is located in the fertile plain of Rio Henares by means of two successive foundations: the first, towards the change of Era. The second, towards 50 / 60d.C. In this great city of about 50 hectares, the Forum occupied approximately its center. It was the main public space of the city, surrounded by buildings with administrative, judicial, commercial and religious functions.

The monumental façade, the civil basilica, the northern thermal baths, the south portico, the market, the southern thermal baths, the Curia and the Criptopórtico, as well as the road infrastructures of Decumano III and Cardo IV and the network of drains of the city.

One of the most significant elements is the Wall of the Miracle, a Roman wall of large dimensions, belonging to the monumental complex, and has been the object of worship to the Saints Justo and Pastor, patrons of Alcalá de Henares, along the centuries, which has allowed its conservation to date.

Around the area already visited, new works are being developed that will allow the visit to several urban houses: the House of Mars, the House of the Atrium and above all the spectacular House of Griffins, with its magnificent collection of Roman mural painting , on which a cover has just been placed that will allow the visit to the complicated process of excavation and restoration.

The Community of Madrid and the City of Alcalá have recovered these important archaeological remains through the Regional Plan of Visible Yards.

The most significant of the temple is the southern portal, currently blinded, of sixteenth-century Plateresque style with Toledo influences. Constructed of masonry, it has sillares of reinforcement in the corners and in the buttresses of the apse. The interior consists of two naves separated by semicircular arches. The central nave is covered by wooden armor with straps. In its east façade there is a belfry with three half-point spans for the bells, topped by a triangular pediment.

Mute Witness of History, it still retains today its primitive physiognomy of medieval fortress. It was reconstructed twice: in 1589, after the destruction suffered during the rebellion of the comuneros of 1521, following plans of Juan de Herrera (author of the Real Monastery of San Lorenzo de El Escorial); and, by Ventura Rodríguez in 1738, who would add a fountain that is conserved to the entrance of the castle in which still the fresh water runs. Illustrious guests of the castle were also the famous Countess of Chinchón, immortalized by Goya, and her husband, Manuel Godoy, minister of Carlos IV.

Constructed in sillarejo, masonry and granite of the quarries of El Escorial, it presents / displays square plant articulated around a great central patio with arqueros of stone of point and four towers in the corners, oriented towards the four cardinal points.

Its character of strength is evident in the bulky perimetral walls of up to three meters of thickness although in fact always had residential palatial use. It is evident its residential character in the reception ladder of the cloister type, the presence of large windows and roofs topped with spiers and lanterns, and by the absence of barbacanas or hollows from where to shoot ammunition.

At present it houses the historical archive of the Ministry of Defense offering, every year, an interesting musical cultural program during the summer period.

It has three naves separated by Tuscan columns and semicircular arches covered by Mudejar coffered ceilings. A chapel next to the gospel, that of the Rosary, is a good example of Baroque art, and another on the side of the epistle, adjacent to the Cruiser, has one of the best vaulted vaults of plaster of the Community. The main altar is covered by ribbed vaults of thirds and has a pentagonal apse with buttresses on the outside.

With his flight from the big city, Ricardo Leon joined the large group of well-to-do bourgeois, nobles, intellectuals, military and renowned politicians who, at the end of the 19th century and the beginning of the 20th century, erected their residences in the Guadarrama mountains, looking for a place for rest and inspiration, in contact with nature. This prolific writer also did it in a majestic palace house adorned by 10,000 square meters of garden of conifers and other woodland which baptized with the name of Quinta de Santa Teresa, personage by which it felt true passion. It is a robust dwelling, which like the rest of superb buildings of nobles that were constructed by the zone, inherited the spirit of the old nobiliary fifths that proliferated in the outskirts of Madrid in the centuries XVIII and XIX. It has an unmistakably escurialense air, as the writer himself underlined when referring to the estate as his ‘Little Escorial’.

Although shortly after his death, in 1943, Ricardo Leon almost fell into oblivion, in life he enjoyed a tremendous editorial success, a rare thing for a writer of the time. Perhaps because of that success, Quinta de Santa Teresa became an important meeting point for intellectuals, being visited among others by Jacinto Benavente, Azorín, or Camilo José Cela. The interior of the house is compartmentalized separating the living area from the museum area. In this last one, distributed in the library, room of showcases and chapel, are furniture, bronzes, books, letters, pictures and belongings that belonged to Ricardo Leon and that say much of his life and of the own history.

It was built in the eighteenth century on an earlier temple and presents three naves without a cruise in plan but in height, with a tower of four bodies. It is not the only religious construction of the municipality, where also the hermitage of San Roque and the hermitage of the Soledad are conserved.

The Santa Ana chapel in Chinchón was recently restored. It dates back to the 17th century. It has been used for religious and secular purposes.

The agricultural past of Villarejo de Salvanés, the result of its location between the fertile plains of the Tagus and Tajuña rivers, is displayed in the ethnographic museum of the Casa de la Tercia, a 15th century building built by the Military Order of Santiago. The Casa de la Tercia was built during the period in which Juan de Zúñiga y Avellaneda was Major Commander (1534-1545). Visitors are welcomed by the Hapsburg royal coat of arms and, further down, the two coats of arms of the Zúñiga-Avellaneda family. The Casa de la Tercia is a wonderful example of austere, sombre and large-sized Castilian civil architecture where functionality is more important than the decor.
Once a winery, now an ethnography museum. The collection comprising it is directly associated with the objects with which the residents of Villarejo de Salvanés have been doing their farming work from the 15th century to our times.

Su medio natural se caracteriza por una ubicación en zona de meseta, con suaves ondulaciones sobre la que crecen encinas, vegetación de ribera en los márgenes del río Jarama y de arroyos, matorrales y ejemplares de olivo y almendro. La principal presencia animal está formada por aves, anfibios y reptiles aunque también hay mamíferos. Atravesando sus estepas cerealistas, características de la Alcarria madrileña, no será difícil ver una bandada de avutardas o algún aguilucho cenizo.