According to F. Escolano Gómez, on May 14, 1565, Pedro Hernández de Baeza, prior of the parish church of San Andrés, rendered accounts by order of Bishop Diego de los Cobos, of the position and discharge of the factory from the years 1562 to 1564; In the discharge of the year 1564, Andrés de Vandelvira was paid 3,740 maravedís "(...) for the layout of the main chapel that he made (...)"; It also appears that the factory was continued between 1565 and 1570 and that in 1572 Alonso Barba, master of the bishopric, came to see the work "(...) made by Miguel Ruiz, a church worker (...)" . Other notes in this regard appear in the years 1575, 1576 and 1577, in the latter being the stonemason Juanes de Izpino or Azpino at the forefront of the mastery. In the accounts for the years 1604-1610 there is evidence of a "... second work of the chapel ...". It is difficult to pinpoint at present the Vandelvirian vestiges preserved in this main chapel, since it underwent an important intervention in the 17th century, as well as numerous later restorations.

In any case, their participation in the construction process of this monumental Gothic church is documented, the beginning of which can be placed under the mandate of the prelate Don Alonso Suárez de la Fuente el Sauce (1500.1520), whose shields hang on the delicate Plateresque doorway open on the East. Adjacent to it stands a splendid bell tower, with a beautiful Plateresque crest, built in the time of Bishop Gabriel Esteban Merino (1523-1535). Worth noting is also the west portal, carved by order of the bishop Don Diego Tavera (1555-1560). The original wooden roof does not preserve the interior of the temple, of which only a part remains at the level of the choir. The importance of this church for the city of Baeza is due, regardless of the artistic, to the fact that the local Patrons, San Andrés Apóstol and Nuestra Señora del Alcázar are venerated there.

OTHER NON-ARCHITECTURAL ARTISTIC MANIFESTATIONS.

The main chapel is presided over by a beautiful altarpiece, which in the opinion of Professor Luz de Ulierte is "(...) one of the best carvings, polychrome and gilded throughout the diocese, both its architecture and its sculptures (...)" . Stylistically it is inserted within the circle of Sebastián de Solís and Gil Fernández, although carried out by the brothers Blas and Juan de León, between 1629 and 1633. The iconographic program is made up of the twelve Apostles, Christ Crucified with the Virgin and Saint John. In the dressing room, the Virgen del Alcázar, patron saint of the city, is a Gothic sculpture, although it was reformed in the 18th century. At the foot of the temple, the choir stalls and a canvas of the Divina Pastora in the baptismal chapel, pieces from the 18th century, are noteworthy. Eighteen is also a beautiful Immaculate Conception. In the sacristy there are nine panels from an altarpiece from the missing Collegiate Church, attributed to the painter Francisco Sánchez in the last decades of the 15th century. They represent the Birth, the Adoration of the Magi, the Circumcision, the Presentation of Jesus in the temple, the Last Supper, the Arrest, Calvary, the Ascension of Jesus and the Assumption of the Virgin.