In the middle of the 16th century, a total renovation of the old medieval factory was planned to accommodate an increasingly numerous congregation, which in 1575 reached almost five thousand souls. Documentally we have evidence that in 1553 Andrés Vandelvira, in the company of his surveyor Alonso Barba, was in Úbeda to grant a general power of attorney for lawsuits, a fact that makes VM Ruiz Fuentes think of a more than probable intervention by the master in this great project, in which the construction of a colossal temple with a Latin cross floor plan with three naves separated by pillars was contemplated. However, of that ambitious project only its head and transept were raised in the 16th century, leaving the three naves reduced to one, which was erected throughout the 17th century.

The elevation of this nave, covered with a barrel with niche chapels dotted by Corinthian pilasters, does not clash with the rest of the factory. However, the most clearly Vandelvirian architectural ensemble is located in the main chapel and in the transept, although much of its material execution was carried out after Vandelvira died in 1575. VM Ruiz Fuentes has documented that the work was contracted with Pedro de Mazuecos and Juanes de la Carrera, master stonemasons authors of the chapels on the Gospel side of the transept; Years later, on the visit of Bishop Sarmiento de Mendoza in 1578, the work on the chapels on the Epistle side, the main chapel and the tower was ordered to continue. In 1589 this same prelate, accompanied by the sculptor Sebastián de Solís, visitor and overseer of the works of the Bishopric, once again ordered the factory to continue, in such a way that by 1604 the main chapel was already covered. In any case, the course of the works on the head and transept, directed in all probability by Andrés de Vandelvira, and then -after his death by his disciple Alonso Barba until his death in 1595, shows the architectural repertoire used by both masters of stonemasonry.

In San Isidoro the scheme used by Vandelvira in the Cathedral of Jaén of double chapels-niches paired by section is reproduced with great beauty, which in this case are completed with beautiful sculptural reliefs that remind us of those used by the Master in part in the main chapel of S. Francisco de Baeza, highlighting among them those of the Virtues reclining in the classical way on the arch of the siloesque tradition chapels. In the rest of the elevation of the body of the transept, the Vandelvira brand is equally evident in the superb Corinthian semipillars in the corners, which remind us of the employees in the Dominican church of La Guardia and in the Cathedral of Jaén.

OTHER NON-ARCHITECTURAL ARTISTIC MANIFESTATIONS

This parish does not conserve movable assets of great value, since the conversion of its old Gothic factory by a Renaissance one exhausted the funds of its factory. However, it had a major altarpiece of interest, which around 1584 was inspected by Sebastián de Solís to rebuild it according to a new layout designed by him. All its movable heritage destroyed in 1936, today it is worth highlighting within its imagery the Christ of the Column (1942) and María Santísima de la Caridad (1960); Both images were commissioned by the Cofradía de la Columna to the sculptor Francisco Palma Burgos, who also designed their respective thrones as well as the ornamentation of the Chapel in which they are venerated, open to the nave of the church on its Gospel side. From the sculptor Nicolás Prados is the image to procession of Nuestra Señora de las Angustias (1943).