Pol·lèntia is the only Roman city that can presently be visited in Mallorca. It is also the best example of the Romanisation of the Balearic Islands, its ruins telling us of the pax romana times. Excavation work in Pol·lèntia began around 1920 and continues to this day. The part that is open to the public includes a small fragment of the wall, the ruins of three mansions and a street with an arcade. The area can be accessed via Sa Portella. Also worth a mention is its Roman theatre, the only still preserved in the Balearic Islands. It was built in the 1st Century and had a seating capacity of almost two thousand persons. Today a portion of the tiers and the stage can still be appreciated. An interesting complement to the visit is a trip to the Museu Monogràfic de Pol·lèntia, (Monographic Museum of Pol·lèntia) where valuable pieces found during the excavation works are on display.

Old medieval house which in 1606 passed into the hands of the Genovese jurist, J. Francesco Pavisi, who rebuilt it in the Manierist style, closer to the owner’s origins than the traditional city architecture. The traditional layout was maintained in the courtyard. Alterations were carried out in the 19th century when it was converted into a boarding house.

Palace dating from the XVIII century with a magnificent stairway and lovely gardens. Located in the township of Bunyola, this estate includes an ancient Mallorcan house boasting one of the loveliest gardens on the island. It was purchased by the Ministry of the Environment and the Council of Mallorca in 2002, and it was slated to be converted into a major international environmental centre. It is also a piece of island history, which spans a period between the 15th and 19th centuries. It's clear historical value led the government of the Balearic Islands to protect it by declaring it an Asset of Cultural Interest. Its gardens just beckon you to get lost with a great book in your hands, to retreat from the noise of the world for a spell just as the driving force behind the most important refurbishment of the home, Antoni Despuig i Dameto (1745-1813), must have done. Despuig turned the estate into a magnificent classical palace with an Italianate air whose ground floor houses an important art collection. The history of Raixa, nestled at the foot of the Sierra de Tramuntana (Tramuntana mountain range), dates back to the presence of the Muslims on Mallorca, who chose this site for founding their ARaixa farmstead because of its plentiful water and fertile lands. Next to it is another estate, Biniatzar, which is said to have been the exemplary olive-producing farmstead during the Islamic times. After the Catalans conquered the island in the 13th century, Raixa was passed among a series of owners, such as the Zaforteza-Tagamanent family, until it fell into the hands of the Despuig family in the 17th century.

Jorn Utzon and Mallorca: Can Lis and Can Feliz, two of his poetic architectural works on the island Jorn Utzon was one of the most relevant architects of the twentieth century. Born in 1918 in Copenhagen, Denmark, he studied in his native country and neighbouring Sweden, later furthering his knowledge in other countries such as France, Morocco, the US and Mexico. One of Utzon's most famous works, which took up a good part of his professional career, is the Sydney Opera House, which he worked on between 1956 and 1966. The work turned Utzon into the most exalted example of the architectural movement known as the Third Generation. Utzon decided to build a house in Mallorca in order to retire there in 1971. Can Lis, as this house on the cliffs of Portopetro was called, became an emblematic place over time for architecture students and professionals. In 1994, he built a new house farther from the coast. This building, called Can Feliz, provided a new refuge in S'Horta, Felanitx from which he could also contemplate the sea under the attentive gaze of the imposing Santueri Castle. Source: Jorn Utzon, Two Houses on Mallorca Federico Climent Ministry of Tourism, 2000

Typical 18th century courtyard with segmental arches and red marble Ionic columns, probably ordered by Fonticheli, an important Genovese family of merchants who bought the house in 1724. The staircase, originally with two flights of steps, was lengthened in the 19th century. The façade’s modernist aspect is the result of an alteration by the architect Jaume Alenyà in 1909.

Built in the 18th or beginning of the 19th century, apparently all that remains from the original house is the courtyard. A segmental arch separates the entrance, with its wooden ceiling, from a Catalan-style staircase that is now set in an enclosed space.

Symbol of the ancient splendor of the town: the palace was commissioned by the King of Mallorca Jaime II, in 1309. He had it built on a base of Islamic origin that was possibly the fortress of the emir Mubaxir, who died in 1114. Between 1319 and 1523 it was the residence of the veguer de fuera and, with the disappearance of the Kingdom of Mallorca, it suffered serious damages. In 1583, Philip II transferred it to the Conceptionist nuns and a major reform was carried out (especially intense in the seventeenth century) to adapt it to the conventual use. Not long ago, in 1987, the keep was renovated. The ensemble that has come down to us has elements of both a fortified palace and a strictly enclosed convent. It is a very heterogeneous ensemble and the church, of traditional typology, stands out.

The construction of this large temple lasted 25 years, from 1786 to 1811. The particularity is that if in many towns such a monumental construction entailed the elimination of the primitive oratory, in this case it was decided to preserve it and build the majestic building next to the historic one, on land with a cemetery. They also had to buy some houses. The old church is an architectural jewel, now known as the Chapel of Roser, with origins in the thirteenth and fourteenth centuries and added side (where the museum is located) in the sixteenth century, next to what was wall. The new temple was blessed by the rector Benet Vadell (a native of Petra), "the last direct relative of Beat Juníper Serra. Another curiosity of the new temple is that when it was blessed all its cost had already been collected, which shows the "interest" and "devotion" of the people.

Congregation that settled in Sineu in 1864. The oratory or chapel of the convent is a neo-Gothic building that was inaugurated in 1892. It has a doorway with a pointed arch, with four plain archivolts that, like the jambs, are free of ornamentation, with the lower part made of stone. Above the portal, a line of impost gives way to a rose window, the stained glass windows of which form the M of the anagram of Mary. The crowning presents vegetal motifs, two lateral pinnacles and a belfry topped by a cross. To the right of the chapel, marked with the number 19, rises the facade of the convent itself; it has three floors and a lintel doorway. To the left of the chapel is the school building, which was inaugurated on June 19, 1927. The classrooms of the building, currently unoccupied, are distributed on three floors. The educational work of the nuns lasted almost to the present day, until their eight-grade school became a public school.

There are many reasons beyond religion that contribute to make a church an emblematic building, and one of them is to have a good location. The church of Sant Llorenç undoubtedly meets this condition, with its front standing out in the middle of the main square of Selva (Mallorca) and its beaked bell tower of sprouting windows and pyramidal roof protruding among the surrounding buildings, wanting to scratch the sky of the Raiguer region. It has been there for a long time, since the 14th century, when it came to replace another even more primitive temple, although successive alterations have gradually changed its face. Of its two facades; one is the product of one of these reforms; the other, however, was part of the original Romanesque ensemble. Of that primitive aspect and of its mixed function as a fortress, the loopholes in the upper part also speak: small windows where the archers found just the right width for their arrows. A lot of art, many valuable elements concentrated in this temple consecrated to the patron saint of the town, San Lorenzo. It is not surprising that it is considered of cultural interest.