Next, the following archaeological monuments and settlements are highlighted:

• Tara

In the same neighborhood of Tara, there is the housing complex formed by artificial caves excavated in the rock. In this deposit have been found figurillas antropomorfasIn the same neighborhood of Tara, there is the housing complex formed by artificial caves excavated in the rock. In this deposit have been found

• Cendro

Town of artificial caves and houses built with stones without any component of mortar, located in the upper plain called Caserones, habiéndose reutilizado parte del complejo en épocas históricas.

• Cuatro Puertas

An artificial cave made of volcanic tuff, located in Montaña Bermeja, three kilometers from the city, it is one of the largest archaeological sites in the archipelago. It owes its name to the four entrances as doors that lead to the great room. In the upper part of the promontory we find the so-called "almogarén", a place of worship for the deities of nature, this set is completed with numerous caves, among which we highlight the one of los Papeles y la de las Columnas.

• Tufia

Located near the coast in the fishing district of Tufia, a deposit of remarkable proportion. The caves and the complex of rough stone houses with some paved roads, indicate a typological advance that takes us to the very doors of the first urban conceptions.

• Llano de las Brujas y Restinga

Situado cerca de la costa en la playa Bocarbarranco. Este es uno de los enclaves básicos. En la actualidad para comprender las etapas sucesivas de la secuencia cultural de nuestra Isla. Asentamiento que comprende tres estructuras habitacionales construidas con rodados de basalto y sillares labrados.

El yacimiento del Baladero It is located at the very foot of the historic-artistic complex of San Francisco, and in addition to its notable troglodyte manifestations, it has a significant number of "bowls" and "canalillos" for libations, so it is assumed that we are facing one of the most important magical-religious places of aboriginal culture.

Cendro y Tara It is located about a thousand meters from the center of the city of Telde.

Three kilometers from the city along the old road from Telde to Ingenio, in Montaña Bermeja, is one of the largest archaeological sites in the “Cuatro Puertas” Archipelago. We will reach it after ascending the northern slope of the mountain, at the top of which we will find a room that is accessed after four large cavities excavated in the volcanic tuff, and on this enclosure a magnificent "altar of libations" in which ancient solar rites. Completing this set, in its southern part, numerous caves, among which we highlight the one of Los Papeles y la de Las Columnas. From this promontory you can see one of the most attractive panoramic views of the region.

Located on the right bank, heading south-north of the GC-1 motorway, we find several deposits of unquestionable importance. Among them, the Tufia it is the one of most remarkable proportions; here, the caves and the complex of rough stone houses, together with some cobbled roads, indicate a typological advance that takes us to the very gates of protohistoric urbanism, and a change of mentality in its inhabitants, pushed by demographic pressure and the climate change (argument recently defended by some authors).

El yacimiento del Llano de las Brujas it is of very difficult affiliation; It has recently been excavated and restored, and all indications are that it has been successively reused; this question that explains by itself, the very close deposit of La Restinga, at the mouth of the Real de Telde ravine.

To access it, we go up the main street of the town of Cuatro Puertas (Public transport lines of Global nº 35 and 36 – www.globalsu.es) to its end and walk along the dirt track that goes up to the door of the archaeological complex. . Once inside, we turn right to climb some stone steps and access the Four Doors complex, a large cavity preceded by a huge artificial platform. If we get a little closer to the top of the mountain we can see the Almogarén, a circular structure carved into the rock, usually considered a place dedicated to worship.

We go back to return to the main path and access the south side of the mountain, following the enabled walkway, and enter the Cueva de los Papeles, where there are representations of pubic triangles and vulvas engraved on the interior walls and cups on the floor. We advance a little more and arrive at the troglodyte complex of Los Pilares. They are a set of artificial caves excavated within large natural overlaps.

Then we go out to the entrance gate of the enclosure and turn right to advance, without a path, parallel to the protection fence. To finish the route, we return to the same place, retracing the path and returning to the dirt track.

The Bermeja Mountain: With this other denomination, this Mountain of Four Doors is also known, whose height is around 317 m. It is a dominating watchtower with broad horizons, which justifies the choice of the aborigines. The vermilion color of the volcanic stone (reddish) together with the composition of this tuff, granular and inconsistent material, allowed the ancient Canarians to excavate in their rudimentary way (peaks made with stones) all the caves and structures that survive after more than 500 years.

The Sanctuary of Four Doors: Such is the importance of this place that in 1972 it was declared a "historical-artistic monument", achieving maximum protection, which among its arguments wielded that "the site is made up of the wide rectangular cave of " Cuatro Puertas”, which has a kind of small square in front of it, which formed the “tagoror”, place of meetings and assemblies of the Canarian indigenous people, the “almogarén”, sanctuary or sacrificial altar that is one of the walls of the rock, presents an original alphabetic engraving based on crescent moons, of hitherto unknown interpretations”.

This historic-artistic enclave continues to preserve its traditional architecture, where we can also enjoy the view of the Conventual Church of San Francisco located in the square with the same name, and whose interior houses numerous pieces of baroque-style art and engineering of various styles, highlighting a beautiful Christ of the Agony, a work of Sevillian origin, brought to this city at the dawn of the 17th century, and a small carving that represents Saint Francis of Assisi.

Throughout the entire neighborhood you can see a series of large wooden crosses on some facades of the old houses, and which the Catholic world calls Via Crucis, these crosses represent the stations of the Via Crucis that the Franciscans who They lived together in the Barrio de San Francisco.

We can also enjoy secluded, intimate, small and coquettish squares such as that of the Fountain, the convent, the Romeros and the Bonito Tree.

The alameda and the square were separated in the past, but today they make up a single scenic space surrounded by stately buildings dating from the 19th and early 20th centuries. One of them corresponds to the Town Hall and another is the Casino La Unión. The others belonged to wealthy families in their day and most of them today house municipal offices.

The Church or minor basilica of San Juan Bautista, declared an Asset of Cultural Interest and National Historic-Artistic Monument on June 21, 1991, is one of the oldest in the Canary Islands. For this reason, it is one of the best examples of the influence of Andalusian and Portuguese Mudejar art on the Islands. Its origin can be found at the end of the 15th century, in a small hermitage of stone and mud built next to the fort of San Juan.

Work on the new temple began around 1519 and continued during the 17th and 18th centuries. It is a building with three naves with a rectangular presbytery, flanked by chapels, heads of the lateral naves.

Its main portal stands out on the outside. The two towers of the 20th century. In its interior it conserves a varied sample of interesting works of art, among which the altarpiece of the main altar and the triptych stand out, both Flemish and of Gothic invoice; as well as the Christ of the main altar, a sculpture made with millo (corn) paste by the Tarascan Indians of Michoacán, in Mexico, and which arrived in Telde in 1550.

Plaza de San Juan

Among the group of buildings located to the right of the square, as you leave the temple, is that of the Town Hall. It is distinguished by the flags on its balcony. It has an exhibition hall on its ground floor and the City's information and tourism center, where works by local artists are usually displayed, with a neoclassical interior patio, a typical element in traditional Canarian houses. Next to the Town Halls, the Casino building lends itself to a snack before continuing on the route. From the Casino we can go to Rincón de Plácido Fleitas, an old garden transformed into a monument to one of the local artists. And from El Rincón I advise you to head towards Calle Duende, to enter the Santa Rosalía garden, where its traditional use coexists with that of a children's playground.

Calles de San Juan

Leaving the Santa Rosalía garden, we enter directly onto the pedestrian street Licenciado Calderín, where several centuries of architecture coexist in modern buildings from the last half of the 20th century and houses that date back even to the 17th century. If you walk to the end of the street, you will find the Public Library, in the Quintana-Zumbado house, from the end of the 17th century.

To the left of Licenciado Calderín street, through Placetilla, to take Conde de la Vega Grande street, so called because it is home to the well-known Casa Condal, former Casa de los Ruiz de Vergara, a building dating from the 16th century and that belonged to the family of the Condado de la Vega Grande de Guadalupe. Today it is the headquarters of the Municipal School of Crafts and Folklore and soon an ethnographic museum. Sober on the outside, with a main door that tells us about the importance of the building. It shows a Manueline-type arch with the family's coat of arms placed on it.

Continue your walk to the end of the street and head to the right, until you reach the main street, Juan Carlos I. You will see the Church of San Pedro Mártir de Verona.

Iglesia San Pedro Martir de Verona

The church of San Pedro Mártir de Verona was declared a Site of Cultural Interest in 1981. This site has a history behind it that dates back to the end of the 15th century. Inés Chemida, an aboriginal woman who cared for poor patients, founded the San Pedro Mártir hospital in this place in 1490. Later the church would be built, which was completed in 1551. Withdrawn from worship in the mid-19th century, it remained in a state of ruin for almost a century and its restoration was completed in 2001. Today it is one of the exhibition halls of the Town Hall It is a building with a single nave and two lateral chapels opened by means of pointed arches. The one on the right was built in the 16th century and is of Gothic style. The one on the left is later, from the second half of the 17th century, and is covered by an octagonal coffered ceiling, similar to the original.

Outside, from the square that surrounds the building, you can see part of the neighborhoods of San Francisco and Cendro, as well as the old access to the city through the bridge of the seven eyes, built on the Barranco Real de Telde in 1868 by the engineer Juan de León y Castillo.

I recommend that you return to Calle Juan Carlos I. When you reach Plaza de San Juan, you will find Calle Inés Chemida on your right. From it we can see a part of the San Francisco neighborhood, known as the Bailadero.

Casa Museo de León y Castillo

At numbers 43 and 45 we find the León y Castillo House Museum, where the politician Fernando and his brother Juan were born, architect of a multitude of infrastructures on the Island, including the Port. The Museum today includes two houses, the original one of the León y Castillo family and another in which the poet Montiano Placeres lived. Its rooms offer a journey through the political history of Spain in the second half of the 19th century and the beginning of the 20th. In addition, the houses are two magnificent examples of traditional Canarian architecture, with their interior patios and the wooden corridors on the upper floors that lead to them.