Set formed by two formally differentiated bodies, the façade that opens onto Plaça de l'Estació and which has a ground floor and two floors, with an Arabic tile roof on two sides and is a house between partitions and responds to the characteristics of the eclectic language. The building on Miser Rufet Street, attached to the first, consists of a ground floor and a floor, with an upper roof. The most remarkable element of the façade is the grand tribune with floral ornaments and the coat of arms of the three towers. This part of the work is part of the modernist aesthetic. Torres House was built in 1873, in the widening area started in 1865 around the station. In 1901, the part of Miser Rufet Street was added.

Moliner House, which occupies an entire end of the block, is on the corner of Raval de la Font and Sant Sebastià Streets. It has three faces on the outside and the fourth acts as a partition. It consists of ground floor, mezzanine and two floors. It has a circular turret with battlements and a chamfer, ground floor and three floors. It is topped by Arabic tile roofs. The formal characteristics of the work are found within the eclectic language. In 1896, Santiago Güell designed the refurbishment of the façade.

It is a building between partitions with a rear courtyard and with façades to the square and the passage. It is a single-family house in its origins, later adapted to social uses. The property has a rectangular plan and consists of a semi-basement, a mezzanine, two floors and an attic. The roof is partly gabled and partly flat. It consists of four corridors perpendicular to the façade separated by a load-bearing wall. The main staircase has four sections and is attached to the partition. In the hall we find two lowered arches and a central column. There is a covered back gallery that forms the front facing the courtyard. The load-bearing walls are of common masonry and brick. The forge is made of wooden beams and tile surround. In the semi-basement there are lowered tile vaults. The roof is made of Arabic tiles with a structure of wooden beams and slats and tiles. The staircase is covered by Catalan vaults. The main façade is symmetrical and is composed of four vertical axes that correspond to the four corners. The ground floor has four low arched portals. The first floor has two balconies running from two openings with a lintel each, crowned with drip edges. On the second floor there are four balconies of an opening crowned with a cornice. The top of the building is composed of a cornice and flat baluster railing. The rear façade is composed according to six vertical axes with lowered arched openings on the semi-basement and mezzanine floors and with galleries with lintels on the upper floors.

Complex made up of the nuns' residence, the chapel and a new building, with a front garden. The house has a ground floor, a main floor and an attic. The façade has a symmetrical composition, and has a remarkable element, which is the pointed arch of the balcony door, with floral ornamentation. The roof is covered with Arabic tiles. The chapel, with a single nave and of small dimensions, presents the use of brick as a fundamental characteristic. The roof is gabled. It presents a combination of several architectural languages. Neo-Gothicism and modernism are predominant. The Convent of the Germanes de la Vetlla dates from 1899. The project, signed by the architect Santiago Güell i Grau and preserved in the municipal archive of Vilafranca, was presented on the 27th of May and approved on the 28th of June. The new construction dates from the years 1974, 1975 and 1976, and was made according to the project of Josep M. Rovira i Gimeno.

Department store between partitions of three corridors. It has a ground floor and a rooftop terrace at the top. It has a symmetrical composition (it repeats the module three times). Its formal characteristics place it in the modernist style, which together with eclecticism constitutes the predominant language in this interesting route. Currently, only the façade is preserved, as a block of flats has been built on top of it. These department stores of Magí Figueres and Galofré (also known as Cal Figueras de Manlleu) date from 1904. They were designed by the architect Santiago Güell and presented on March 10 to the City Council, which approved them on the first of June. It is the first work of this architect with modernist characteristics. It is located in the wide area formed on the sides of the Sant Martí Sarroca road, inaugurated in 1881. Currently, a residential building has been erected on top of the department stores, which have been converted into commercial spaces. Only the façade of the old store has been preserved.

Building between partitions with a rectangular plan formed by a double body. The first consists of a ground floor, two floors and an attic and a gabled Arabic tile roof. On the ground floor there are two semi-circular arch side portals and a central window; on the first floor a wrought iron balcony occupies the width of the façade, with three semicircular arched openings with archivolts; and in the attic there are six rectangular openings. The façade is topped by a wooden eaves. The second body has a ground floor, a main floor and roof deck. The main floor is occupied by a tribune supported by posters that combine iron, glazed ceramics and coloured glass. The crowning is stepped, with an iron railing in the central part. The construction of Casa Batlle dates back to 1908. Josep Batlle i Planas entrusted the project to the architect Santiago Güell i Grau. It was presented on March 27, 1908, and was approved on April 8 of the same year. This project is kept in the archive of the Vilafranca del Penedès Town Council.

Public building with a single nave and between partitions. It is on the corner with Muralla dels Vellets Street. It has an Arabic tile roof which is a pavilion with a lantern. There are two accesses to the chamfers, with steps. The walls are ordered by horizontal and vertical bands of exposed brick, a material also used in the door and windowsills. The project for the Chicken and Giblets Market, carried out by the architect Santiago Güell, was presented on September 25, 1911. In 1912, the auction for the building was held and in December 1913 it was officially inaugurated. It houses the Archive and the House-Museum of the Festa Major de Vilafranca.

Building between partitions of three corridors. It has a ground floor, two floors, a turret and a rear garden. The access door, the balconies and the balconade with railings with naturalistic ornamentation stand out from the façade, as well as the mouldings and the crowning with roof railing and ornamented gable. The decoration of the façade is completed with quilting simulation. The construction follows the aesthetics of Modernism. This is one of the most remarkable examples of modernism in Sant Sadurní. Santiago Güell's project, preserved in the City Council's archive, dates from February 10, 1909, and was approved on June 10 of the same year. The work was carried out between 1910 and 1912. It seems possible that the building was the result of the refurbishment of an earlier construction. Casa Mestres is located in one of the axes of the large 19th century area of Sant Sadurní, centered on Carrer del Raval, a sector that is currently affected by a process of tertiarisation.

House between partitions and three corridors. It consists of a ground floor, two floors and an attic. The roof is gabled and made of Arabic tiles. It is worth noting the entrance door with a carpenter arch, as well as the hall. It has undergone successive refurbishments and extensions during the 19th century, which have changed its initial appearance. The most remarkable example of which is the angled tribune with an upper roof located on one of the sides. The main interest of this work is its typological value. In 1913, the architect Santiago Güell carried out several renovations to the main floor and the expansion works of the side tribune.

Four-story building separated from the rest of the street by two small passages. It consists of a ground floor and three floors. The roof is made of Arabic tiles. The house presents a predominantly classical language. It is part of the eclecticism trend. The construction date is 1868. In 1915, a project was made to restore the façade and refurbish the windows, which was presented to the City Council on September 27 and approved on October 7. This project, preserved in the archives of the Vilafranca Town Hall, is the work of the architect Santiago Güell i Grau. It houses the archive of the VINSEUM Documentation Centre (CDV), the information service of VINSEUM Wine Culture Museum of Catalonia.

The Hill i Ferret House faces one of the main streets of the city, the Rambla, at the edge of the old town. It is a building between ground floor partitions, two floors and an attic, with a gable roof. The main door is located at one end to give way to the hall and the staircase; it is in this body, differentiated from the rest by two pilasters that frame it, where it introduces the triangular pediments on the door and on the cornice, and other classical elements. There are balconies on the floors and modulation of openings in the attic. The Hill House was commissioned by Joan Hill i Ferret to the architect Santiago Güell in 1925. The project, preserved in the archives of the Vilafranca Town Hall, bears the date of September 25, 1925.

Building between partitions. It is on the corner with La Palma Street, on the garden side. It consists of a ground floor and two floors, with a roof and a terrace. There are terraces and galleries with stained-glass windows. The tribune made with iron and glass is interesting. The work presents a combination of styles that includes it in the language of eclecticism. It houses the headquarters of the DO Cava Regulatory Council.

The house faces one of the city's main roads, the old Barcelona road, which continues towards the interior of the city with the Rambla de Nostra Senyora. It is a building between three-storey partitions, crowned by a massive acroterium that hides a roof. The façade is symmetrical, divided into three parts by pilasters with Ionic capitals that end in ornamental spheres with garlands. The three openings on the ground floor form a lowered arch; on the main floor there are balconies, and on the upper floor, a gallery of windows with mullions, with a straight layout. The design of the main door, made of iron and decorated with medallions, should be noted. The construction of this house was commissioned by Pere Martí i Catasús to the architect Santiago Güell. The project, preserved in the archives of Vilafranca del Penedès Town Council, dates from June 22, 1910. Santiago Güell did most of his work in his hometown, where he worked as a municipal architect. He is the author of the best modernist architecture in Vilafranca, but as from with the Martí Catasús house, he begins a classicist process that merges it with Noucentisme in a very advanced way.

Church with a single nave covered by a vault of five cross sections and five lateral chapels per band between wide buttresses. The apse is polygonal and has seven locks with internal buttresses and an octagonal bell tower at the back. The crypt is covered with a cross vault, the ribs of which are supported by two vault keys. Access to the temple is through two doors. The old main entrance, located on Carrer de Santa Maria, has a round pointed arch and preserves remains of a painting representing the Crucifixion. The second door corresponds to the current façade, in neo-Gothic style, which opens onto Plaça de Jaume I. It has a large pointed arched door and, on the tympanum, there is a sculptural group representing the Coronation of the Virgin. Above the rose window, the crowning is double-sided with blind arches and small side towers. Crucifix of the high altar (18th century): Polychrome ivory crucifix showing Christ's body arched to the left, perhaps due to the shape of the ivory piece, and rounded, with legs together and feet crossed. The head, with long hair, is tilted to the left and back and rests well below the raised arms. The cross is modern and made of silver. Organ (1942): Architectural composition of wood, arranged in three floors by semicircular arches and recesses and mouldings between them. Triangular pediment and small pinnacles on the crowning. Corbels and stipes at the bottom, in the form of a balcony with a façade of molded polygons. This structure is refilled with metal tubes, often with plant-themed openwork wood ornaments added to them. Crypt Burial (1916): White marble sculptural group made by Josep Llimona i Bruguera, consisting of the dead Christ, lying on a bed and covered by Saint Joseph of Arimathea with a sheet, with Nicodemus behind. At the foot is Mary Magdalene, at the head the Virgin Mary with Saint John and Mary Salome in the foreground. Stylised realistic figurative work, characteristic of modernist aesthetics. It was patronised by Bishop Torras i Bages, as indicated by an inscription. Vault keys of the crypt (16th century): Two keystones with round outline. One presents the theme of the Resurrection, with the triumphant Christ on the tomb, with a cross in one hand, a robe that partially covers his body, fastened with a buckle and a cruciform border on his head. Two soldiers, dressed in armour, one on each side, are in a position of falling back. The other presents the theme of the Piety, where the Virgin, in a robe and excessively long legs, carries Christ on her lap and has one leg over the other while her arm is down to her back. Altar of Saint Felix in the crypt (20th century): White marble altar consisting of the figure of Saint Felix dressed as a priest, with hands folded on his chest, arranged on a pedestal with reliefs in the form of a palm of martyrdom, an ax and a crown of roses and ornamented with garlands of roses and bay leaves At the feet there are the figures of two angels dressed in tunics leaning on the pedestal in an attitude of weeping and their wings spread out around them. Enamel of the Holy Supper of the high altar (20th century): Enamel on polychrome metal, with the religious scene representing the Last Supper. All the figures completely occupy the space and are arranged symmetrically around a central one, the Christ. All the figures wear robes and are standing except for the two closest to the central one, who are kneeling in front of the table, on which the bread and wine are laid out. Schematised realistic figuration. Paintings of the portal of Santa Maria (14th century): Remains of polychrome paintings arranged in the centre of the external archivolt and the upper side wall of the portal of Santa Maria. The Crucifixion is represented with the figure of the Virgin and the sun on the right and Saint John and the moon on the left and characters with a border under arcades. Stylised and sinuous figures typical of the Gothic style. They were found in 1973 and are in serious danger of irreversible degradation. Grilles of the side chapels: The interior bars have doors formed by bars that are joined at the top, creating single, double or triple arches, ogee or recessed, sometimes overlapping and some polylobed. The bars end up forming pointed arches between the bars and a cornice of Gothic foliage of stylised acanthus leaves, rosettes and outline clovers above which rises a crown of spikes that alternate the following themes: agave with spikes and flowers, spiked pomegranate and flowers and spiked spiral. Altarpiece of Sant Ramon de Penyafort (20th century): Altarpiece made by Rafael Solanic i Balius, consisting of a central exempt sculpture of Sant Ramon de Penyafort surrounded by bronze panels embossed with scenes from the Saint's life and framed by uprights and lintels of wood and marble without moulding. The statue is made of polychrome wood and represents the Saint dressed in friar with his hands on his chest carrying a book. A key hangs from his belt and at his feet there is a tiara. In the reliefs there is a main assessment of volume and space through the introduction of architectural elements. Statue of Santa Llúcia: Polychrome wood sculpture. Juvenile female figure right, dressed in tunic and mantle, with head and body slightly arched to opposite sides and with one leg supporting the weight and the other slightly advanced and supported. She wears a border and braids and in one hand the palm of martyrdom and in the other a plate with eyes. Exterior grills (20th century): During the renovations of the main façade carried out between 1903 and 1905, the Renaissance box was demolished and replaced by a neo-Gothic portal that took advantage of the original medieval base. The exterior wrought iron bars can be found on both sides of the main portal that opens onto Plaça de Jaume I, and also flanking the Santa Anna portal, on Carrer de Santa Maria. The wrought iron work of the bars of the main portal combines smooth and spiral circular cylindrical bars topped with screw-on floral motifs. The two dragons flanking the entrance stand out. The bars of Santa Anna's portal are smaller and also alternate smooth and spiral bars topped by leaves and forged acanthus. Paintings of El Santíssim Chapel (20th century). The frescoes of the Capella del Santíssim were made by the Vilafranca painter Lluís Maria Güell between 1941 and 1944. These paintings decorate the side walls, on both sides of the high altar where there is the sculptural group of the Calvary by Enric Monjo, and the dome of the chapel. The frescoes on the walls depict six episodes from the lives of saints and are separated by adjacent pillars. The paintings on the dome are framed in borders and represent the theme of heavenly Glory. Stained glass windows in the apse (XX century): The set of seven stained glass windows in the apse were paid for by Ramon Pujol Güell and were installed from 1959. The central stained-glass window in the apse represents different episodes from the life of the Virgin and was designed by Pau Boada and Josep Brugal. In the six remaining stained-glass windows, three on either side of the apse, on the north side, the creation of the world, the expulsion from paradise and the genealogy of Christ are represented. On the south side the following are represented: the Annunciation, the Apocalypse and the Coronation of the Virgin. These last three stained-glass windows were designed by Pau Macià. The Basilica of Santa Maria is part of the most important historical and monumental complex in Vilafranca. Documented in 1188 in the reign of Alfonso I. It was rebuilt in the 13th century, having undergone several remodellings since then. The current building dates from the 15th century (consecrated on 1489) and the crypt from the 16th century (1561). Important works took place between the 18th and 19th centuries, such as the refurbishment of the vault, which collapsed in 1735, that of the bell tower (1775, 1860, 1919) and the construction of the Capella del Santíssim, in 1809. At the beginning of the 20th century, the main Renaissance façade was replaced by the Neo-Gothic one. The refurbishment was carried out between 1903 and 1905 according to August Font's project and under the direction of Santiago Güell. In 1934 it caught fire and, immediately, the reconstruction was undertaken under the direction of Jeroni Martorell. In 1935 the Generalitat declared it a Historical and Artistic Monument.