The Gothic factory, which hardly suffered during the sacking of the city around 1368, was almost completed around 1377, when only the façades and the tower remained to be built. Throughout the sixteenth century, this temple, built entirely in quarry stone, had a series of interventions that caused a very important change, both architecturally and in its movable assets, in such a way that being an essentially Gothic temple, however The incorporation of Renaissance pieces gives it a truly refreshing and very beautiful image.

Although the west portal is drawn in late Gothic style under the bishopric of Alonso de la Fuente el Sauce (1500-1520), the rest of the works developed throughout the sixteenth century will already be decidedly Renaissance, in some of which there is evidence documentary of Andrés de Vandelvira's intervention. Vandelvira has traditionally been attributed the great cover of Dean Ortega's chapel, dated 1537; Although it cannot be documented by documentation as his work, however, certain architectural elements, such as the use of small columns, relate it to others from his youth, such as the cover of the Granary in his hometown, Alcaraz, or the also cloistered cover of Santa Clara from Ube.

The façade, very rich in terms of decorative elements -probably carved by the sculptor Esteban Jamete-, is formed by a large semicircular arch flanked by Corinthian columns on bases with skulls, in the spandrels maceros, in the frieze allegorical figuration; The set is crowned with the noble coat of arms of the deán Ortega family inserted in a tondo adorned with beautiful sculptural decoration and plaques with inscriptions.

From the second half of the five hundred, the old temple was enriched with other pieces in which Vandelvira participates directly, and whose knowledge we owe to V. M. Ruiz Fuentes. In 1564, the stonemason Pedro de Gorostiaga contracted the cover of the feet and the boxed vault that covers the access to the interior of the temple on this side, which had to be carried out in accordance with the plans and conditions of Vandelvira. From Vandelvira is also the beautiful baptismal chapel covered with a flared coffered vault -similar to the ochavo of La Guardia, although of smaller proportions-, which is being built, together with the staircase, the adjoining well and font, in 1553 by the stonemasons Tomás Gil de Donesteban and Pedro de Regil, to whom Vandelvira had given it.

At the request of Bishop Diego de los Cobos (1560-1565), a large entrance door to the old sacristy with the arms of the prelate and Mannerist design was built, on the margin of the aforementioned cover of the feet, and after this a new sacristy of Rectangular layout, whose material execution was in charge of Pedro de Gorostiaga, although in all probability under the direction of Vandelvira.

However, leaving aside the great cover of the Dean's chapel, the most specifically Vandelvian work is the cover of the feet, whose layout, in the opinion of Arsenio Moreno Mendoza, constitutes in itself one of the most experimental and vigorous Mannerist works. of all 16th century architecture. Its scheme responds to a semicircular triumphal arch with double columns on the sides raised on foundations and between them veined niches; On the entablature there is a large central arch to house the sculpture of the titular Saint and two smaller ones with scallops on which the arms of Bishop Diego de los Cobos hang, while on the thread of the central arch there are two figures that support a second entablature with God the Father on it with a triangular pediment as the finish and flames at the ends.

This very singular architectural composition is enlivened by abundant sculptural decoration, partly missing and, in general, in a poor state of conservation, probably due to Lorenzo Brogio, of possible Italian descent.

OTHER NON-ARCHITECTURAL ARTISTIC MANIFESTATIONS

The excellent Gothic-Renaissance architecture of this parish is also completed with some pieces of furniture of great artistic value. Dean Ortega's chapel is undoubtedly the most sumptuous, as it still maintains its original grille, forged in the 16th century by Juan Álvarez de Molina, from Ubeta, with beautiful Renaissance motifs, the Dean's coat of arms and the Assumption of the Virgin on the crest. surrounded by angels playing musical instruments; the interior only conserves part of its Renaissance altarpiece, in whose execution the painter Julio de Aquiles and the sculptor Juan de Reolid intervened, but incorporating Vandelvirian stylems.

Already in the church, the wrought iron pulpit with the shield of Bishop Diego de los Cobos (1560-1565) and the remains of the choir stalls, carved in the middle of the 18th century, are worthy of note. Within contemporary imagery it is worth highlighting the set of the Holy Supper, the work of Amadeo Ruiz Olmos, and a Jesus