The oldest piece is the southern portal, in the Gothic style and similar in design to that of San Miguel; the north one is from the seventeenth century, with the Valenzuela family's shields, rising above it an graceful belfry, which came to replace its primitive tower located at the head and of which there are no traces. The plan that has reached our days includes a division into three naves and five sections, the section of the head and the central nave being of greater proportions. Today it lacks an apse, its head being a continuous, flat wall. The oldest remains correspond to the first section, covered by three Gothic vaults of complex design and a great constructive display (the lateral ones are starred, the central one with terceletes), which descend on two square-section free pillars, with four adjoining Tuscan half columns , and in a series of corbels on the walls. It is in this part of the temple where the scarce documentary data that has been published about it can be related. The Gothic vaults according to Domínguez Cubero can be attributed to Domingo de Tolosa. Indeed, subsequent investigations by Rafael Frías, support the opinion of Domínguez Cubero, since in 1559 the bishop Don Diego Tavera (1555-1560) ordered in the visit of this temple: “(...) that the altarpiece that Miguel has Ruiz. Once the altarpiece is finished, the stonework that Maese Domingo is in charge of continues (...) ”. In the same year it was “(…). They download one thousand four hundred and ninety-six maravedis that I pay to Baldenvira because he came from Jaen to give the trace of the work that the said Master Domingo is going to do, who came three times to see the work (…) ”. From this documentation it seems to be deduced that the temple begun by Master Domingo is visited by Vandelvira, who would give new plans to follow the factory based on pillars of the Siloesque tradition and vaulted vaults. This project for a new church must have had problems years after the intervention of Andrés de Vandelvira, according to the testament of the beneficiary Juan de Mestanza from 1585, in which he orders to deliver ten ducats “(...) for the work of the Mr. Santiago's posts (...) ”, in the opinion of Domínguez Cubero. As a consequence of this situation, the project drawn up by Vandelvira, which in all probability included a living room church with free-standing pillars and its traditional vaulted vaults (except for the Gothic vaults of the first section), was radically rigged in the middle of the 17th century. . Now semicircular arches are built on quadrangular pillars, covering the set of the three resulting naves with half-barrel vaults with lunettes and transverse arches. In the 18th century, specifically around 1733, the Chapel of Cristo de la Columna was built, embellished with rich decoration of Cordovan-inspired Baroque plasterwork. The titular sculpture, a high-quality Renaissance carving, is currently venerated in the parish of Santa María.

OTHER NON-ARCHITECTURAL ARTISTIC MANIFESTATIONS

This temple has come to our days very looted in relation to its movable property, but it had them and of great artistic quality. Some of them were lost forever, but others have been relocated to other churches in the city. The famous Renaissance carving of the Christ of the Column was taken to the parish of Santa María, a beautiful grille from around 1575 (placed in the Reinoso chapel) and a painting representing the Adoration of the Eucharist, in a baroque style, attributed to Bernabé of Ayala.