The best traffic-free bike rides around Bollullos Par Del Condado

Origin: Built during the Almohad period (12th-13th centuries), as part of Niebla's defensive system. Legend of the name: During the siege by Alfonso X the Wise (1262), the last Muslim king of Niebla, Aben-Mafot, sent a fattened ox out through this gate to create the illusion of abundant provisions and discourage the Christian troops. The stratagem failed, and the city was conquered.

The Puerta del Buey (Ox Gate) is one of the most emblematic entrances to the walled town of Niebla (Huelva), with great historical and architectural value. It is located on Avenida Puerta del Buey, next to the Tinto River, and forms part of the Almohad wall that surrounds the town.

The church was built on the site of Niebla's main mosque (11th century), which itself stood on the site of an ancient Roman temple. After the Reconquista (13th century), it was transformed into a Christian church in the Gothic-Mudéjar style. It preserves Roman, Visigothic, Islamic, and Christian elements, such as: A Muslim mihrab and minaret tower. An ornamental panel and Visigothic episcopal chair. Roman columns. A Mudéjar apse and a Gothic presbytery with star vaults.

The Plaza de Santa María de la Granada in Niebla (Huelva) is home to the Church of Santa María de la Granada, one of the town's most emblematic monuments. The church was built on the site of Niebla's main mosque (11th century), which itself stood on the site of an ancient Roman temple. After the Reconquista (13th century), it was transformed into a Christian church in the Gothic-Mudéjar style.

Place from which to start many gravel and mountain biking routes

The Parish Church of Santa María de la Purificación, due to its volumetric force and its location in an elevated part of the town, becomes the most representative architectural landmark. Despite being initially located away from the urban center, it is a remarkable example of a Sevillian church, in which the Mudejar and Baroque styles converge, following a very characteristic approach to 18th-century construction practice in the area. Built according to Mudejar principles in its original construction, which appears to date from the 15th century, it would later be practically rebuilt after the damage caused by the 1755 earthquake, conforming to the Baroque guidelines prevailing in the second half of the 17th century. A reconstruction in which Pedro de Silva, Antonio Matías de Figueroa, and José Álvarez participated. Among them, Antonio Matías de Figueroa stands out for the significance of his intervention in the complex. His work on the Manzanilla church can therefore be considered one of the last examples of this family's distinctive style—the so-called triumphal baroque—and one of the first signs of the change of direction demanded by the changing times, in their preference for the primacy of Rococo lines over Baroque masses. The appearance of neoclassical elements (the Gospel nave portal), derived from the presence of José Alvarez (1782–1783) as director of the works, also speaks to the formal evolution of the style toward the last quarter of the century. Finally, the tower (1760-1779) stands out, attributed to Lucas Cintora and Francisco Díaz Pinto, and one of the most beautiful examples in the province. It perfectly fits one of the two characteristic typologies of 18th-century Andalusia, originating from the Giralda in Seville. It forms part of a unique group of towers in Huelva, along with that of the Temple of San Pedro in Huelva and that of the Church of San Juan Bautista (La Palma del Condado), all of which follow a very similar model. This building represents another example of the intense religious construction activity that characterized 18th-century Huelva architecture, motivated by a fortunate combination of economic, demographic, and natural circumstances (earthquakes), and which has come to be known as its Golden Age.

The Plaza de Andalucía is located in the center of the town. Surrounding it are the Town Hall (Manzanilla City Hall), the Market, and stately homes representative of the town. Villalba, Hermanos Álvarez Quintero, Santo Cristo, Alférez Galiano Camacho, and Benafique streets converge in the square. It forms the nerve center of Manzanilla. It is a square plaza surrounded by plants and benches. Its two fronts are flanked by the Market and the Town Hall. Of note is a central pavilion called Morabito, made of brick and ceramic, which is an old font.

The Hermitage of the Sweet Name of Jesus, if its full title is used, was built beginning in the 16th century, although it has undergone numerous renovations. Its original name is the Hermitage of the Most Holy Christ of Jesus and Mary, although its ownership later changed to its current name with the creation of the Brotherhood of the Sweet Name of Jesus, whose highly venerated image became the patron saint of the temple. Among the various interventions, the restoration work carried out in the 18th century and the strengthening work due to the deterioration caused by the Lisbon earthquake of 1755 should be noted. The damage caused by the fire and looting of 1936 left it severely damaged, necessitating renovation at the end of the previous century. It has a single nave with a contemporary roof because the previous barrel-vaulted ceiling collapsed, leaving only a three-pitched exterior roof made of Arabic tiles. Lighting is provided through two side windows. The main chapel, with a square floor plan, is covered by a hemispherical vault on pendentives. The entrance door and the choir window open onto the exterior of the facade. It is decorated with brick and ceramics. Designed as an altarpiece, it has two levels and an attic. The facade reflects some 20th-century constructions that undermine the earlier Baroque architecture. You can admire the chapel on Santo Cristo Street (Manzanilla). https://huelvapedia.wikanda.es/wiki/Ermita_del_Ni%C3%B1o_Jes%C3%BAs_(Manzanilla)