It cost him the effort, but in the end, and despite the resistance of Toledo, in 1534 he obtained the title, but his descendants could not keep it since it was reinstated to its previous owners after a notorious lawsuit in 1634. Cobos would soon complete his dream of becoming a great lord with the purchase of the giennenses villas of Sabiote, Canena, Torres and Velliza (Valladolid); his wife, María de Mendoza, rounded off this great State with the acquisition of Jimena, whose purchase process had already been initiated by her husband.

In all these enclaves, more in his hometown and in that of his wife (Úbeda and Valladolid, respectively), Francisco de los Cobos projected large building programs of marked artistic and propaganda significance. This dual intention is perfectly reflected in the project of the church of Santa María, which in all probability was in charge of his trusted man, Dean Ortega, who in turn would entrust the work and direction to Andrés de Vandelvira, the teacher of stonework of the House, especially from the works in El Salvador de Úbeda.

The new church would be built on the river Cerezuelo, but for this, not only the space dedicated to the church had to be vaulted, but also the rest of it located in front of it. Thus the temple closes and presides over the square, which also had the Town Hall building (currently hidden) and a beautiful pillar-water trough, which Chueca Goitia attributes to the hand of Andrés de Vandelvira, despite the fact that the date 1606 carved in his large central sign indicates otherwise. We must not forget that the Advancement to Toledo returned the footprints of Cobos and his descendants, the Marquis of Camarasa, must have been erased from all those properties where they were present.

That temple, located in a unique natural setting, suffered a catastrophic flood at the end of the 17th century, taking with it almost all its personal property. The fire by the Napoleonic troops in the War of Independence left the factory in ruins, remaining standing the head, part of the perimeter walls, one of the two towers of the feet, with various remains, and a portal on the side of the Epistle. The destruction and the scant documentation found so far on its construction process, makes it difficult to establish the stages and the masters responsible for its factory. In any case, the difference in style between the headboard and the rest seems clear. Andrés de Vandelvira is present in the head and chapel of San Isicio, leaving the part of the feet and the side portal out of his language, which, according to José María Crespo, could be largely run by Alonso Barba.

The cased barrel vault of the presbytery, the Serlian span of the front, the angular pillars that would make up the transept, with half Corinthian columns and fantastic heads, and the spiral staircase topped with a cylindrical body are undoubtedly elements used by Vandelvira around the 1540s. The vault of the chapel of San Isicio, for its part, is closely related to the one located under the bell tower of El Salvador de Úbeda. The plant, made up of a nave and transept to be covered (at least in the initial project) with vaulted vaults, would approximate the type of La Guardia, a convent church in which Vandelvira also left the best of his art in the main chapel and transept. .

The ruins of Santa María, currently undergoing restoration according to the project of the architect D. Pedro Salmerón, still show today the superb architecture with which it was conceived by one of the most influential men of the 16th century in Spain, Don Francisco de los Cobos, who was also fortunate to have Andrés de Vandelvira at his service, one of the most outstanding stonemasons of the Spanish Renaissance.