The intense functional and administrative use from the beginning has been the cause of numerous and radical interventions over time, among which the one carried out in 1791 is perhaps the one that affected the property most intensely, together with the one in 1952. When it was declared a National Monument in 1926, only the main bay, hallway and imperial staircase were built, elements of which only the first two could be attributed to the original 16th century project.

Of uncertain date as to its origin, although the date of 1523 is indicated by some documentation as its beginning, the style and especially the use of the Serlianas does not correspond to those years. It is known that it was finished in 1564. Regarding its authorship, although disputed, we think that it has unmistakable structural features of Andrés de Vandelvira, such as the prolongation of the facade plane laterally to the limit of the bay, or the use of anthropomorphic supports on covers.

The current building occupies a large corner lot with the main façade facing Pasaje Cardenal Benavides street and another side facing Gaspar Becerra street. Apart from the deep renovations, a house adjoining the main facade, acquired in 1942, was added.

The Renaissance and Vandelvirian part focuses on this façade panel that marks the front bay. It is a landscape plan of two floors separated by a marked cornice, which determines two very different planes: A lower one, bare, with no more ornamentation than is concentrated in the two entrance doors and two small central windows, while in the At the top are the four balconies in the shape of a “serliana”, in addition to the lightening of the wall that the holes represent, these are enriched with reliefs of grotesques in friezes, arches and boxes of pilasters, approaching a concept of “horror to the void”, more typical of the first renaissance. A fifth span, this one half a point, at the far right indicates that it is the remainder of a mutilated or later modified part. This taste for ornamental luxury is reinforced by the official coats of arms of the monarchy and of the city between the balconies and is finished off with a colorful eaves under the roof, decorated with a classic frieze of eggs and arrows and fantastic corbels of medieval roots.

Of the two doors, the one on the left was the entrance to the jail, and it consists of a great simple semicircular arch with don allegorical figures like caryatids that support the entablature: Justice and Charity. The other, more sumptuous, corresponds to the residence of the Corregidor, it opens with a segmental arch, flanked by two columns on a Corinthian order pedestal with grooves in the shaft and alternating baquettes in the lower third, in the use of Vandelvira and masks in its upper third; a very French guy who likes this architect. On the door and on a large cartouche, a legend alluding to the Corregidor, Juan de Borja, and the date of its completion: 1559.

In the hallway, the original triple stone arcade on columns is preserved, although cut above the keystone by the forging of one of the later reforms. In the background, the imperial staircase covered with a half orange, is inscribed in the final moments of the 18th century Baroque.

At the present time, the rehabilitation project of the architect Iñigo de Viar Fraile is being carried out