It is the oldest and largest house in the town, sent to build in the year 1,760. It was used as a house of the Carrillera and the posio, where food was stored to distribute to the people in the years of scarcity and drought.

It was also believed that the inquisition was established there because his shield was on the facade, but after successive studies the researchers concluded that the Court of the Inquisition was in another house and that only one member of it lived there. This house, other ancient people and the Church, are united by underground tunnels that come out of its wells and lead to the outskirts of the village.

It was built on the primitive Mosque, documented by the Arab geographer Al-Himyari, which mentions that it was "three ships supported by marble columns."

His primitive advocation was that of Santa Maria, not knowing what the primitive building was, only that the Altar Mayor was oriented to the west and its main door to the north, next to the so-called "Source of the Place." The first documentary data on the works of the present temple dates back to 1547, bringing the stone from the quarry of Bedmar. In 1569 the Sunday Master of Uriarte worked on it. From 1582 to 1589 the work was carried out by Juan Vizcaino. In 1591, the Gaspar and Francisco de Aranda brothers were mentioned as builders and singers, building the central ship with their six side chapels with cassette vaults, so to the use of Vandelvira, who was the supervisor of the works of the temples of the Diocese. The whole set is of Renaissance-purist style.

In 1613 the construction of the Tower began, according to the trace of Juan de Aranda Salazar in a baroque style. Three shields belonging to the Bishops are carved in stone: Sancho Dávila, Cardinal Moscoso and Fernando Andrade, in the work of the Masters Francisco de Zamora, Alonso Galan, Andrés and Diego Guerrero, being completed in 1661 by Euphrassio López de Rojas, a shield of Sancho Dávila is found inside. One of its four bells is 1794.

In 1729 he repaired the header or Major Chapel by Juan de Consuegra. From 1771 to 1780 is built the current cruise, Capilla Mayor and dome of the Evangelists in neoclassical style with details of the rocky in the dome that was built by Pedro Fernández, Manuel and Juan Armenteros. In 1799, the pulpits and graderies were placed and the construction of the Main Fachada in neoclassical style was started by Manuel Caballero, who finished it, along with the choir in 1801. According to some historians, the façade is one of the best in the province because of its irous proportions. In 1864 the Capels of Expiration and Baptism were built. In 1877 the construction work of the Chapel of San José, directed by the architect Pedro Pascual Samaniego, with elegant orange half, was completed and decorated with interesting frescoes from 1915. From 1989 to 1992 the temple suffered a profound restoration by adding elements that further enhance its interior as several altarpieces in Macael marble and stone, the magnificent Reja and silery of the Chapel of San José, lighting, etc.

Little one was to be the early church for the Council to take the agreement of enlargement and to extend it, as stated in the Act of Cabildo of 11 November 1545: "Attend to the neçania that woes that the church and temple is enlarged and enlarged as the people who come to the dibines oficiços to the church do not take within it (...)." These works were not to solve the problems, and by 1564 the Council decided to build a new temple according to the traces of Andrés de Vandelvira, master of the factory of the Cathedral of Jaén and also director of the parish factories of the Diocese. The agreement is reflected in the Act of Cabildo of 6 January 1564: "Let another yglesia be built and fagged again that is wider and better, because the one that is now very narrow and partly working (...) will be built the new church where the best paresçiere to be made healthier (...) and will be traced by Andres de Vandelvira, master of works of this bishopric (...)."

Neither outside nor inside are structures kept in plain sight that remind us of the Vandelvirian architecture, in large part by the above-mentioned radical interventions practiced in the temple, which continued to preserve its primitive location. A more detailed analysis of its factory and an inspection of hidden areas provide us with certain architectural elements that can support the partition of Vandelvira in the works, case the remains of the run-in conserved between the deck or roof and the current vaults. It is to be thought that because of its unique disposition, exposed to the seasons and winds, that church suffered a serious setback in its original architecture, which, after strong restorations or modifications, was covert or integrated into which we currently contemplate.

In any case, certain works were completed in the temple in 1587: tower staircase, general enlucido, repairs on the roof. At the end of the 17th century, according to Professor Galera Andreu, Master Francisco Landeras made a modest swordsman, which is not the one currently preserved, because this is the result of the works of the 19th century. In 1837, according to the report of Juan Tuñón, master of public works of Baeza, it was necessary to strengthen the silery on the west side, to fix the corner on the midday side and to do the whole roof. Years later, specifically on January 26, 1860, Antonio López, a master of works at the Cathedral of Baeza, made another report, in which there is a need for a number of damage to the walls, soleras of the chorus ship, straps of the armor of the roof, roof of the sacristy; as far as the bell tower is concerned, he says: "The bell tower is necessary to do it again from its plant (...) by the construction of that bell tower that will have six and a half rods of width and nine and fourth of high (...) its cost is eleven thousand and two hundred reais."

The conditions are also inserted: that the bulk of the walls of the bell tower will be of rod and half a fourth in frame, and its brick and mixture factory. By 1866, the architect José María Cuenca, states that the building was in very poor condition, although some works had already been done. In 1876 there was a record of new payments for works (including the general encalado of the temple, the fees for the direction of the architect Vicente Serrano Salaberri, etc.), which amounted to 26,000 reais.

All these works, plus the necessary and continuous general maintenance, have determined their current configuration: a living room church with three ships, with vaults down the central and half canyon the sides. Special mention should be made of the arcosolinos of the 17th century that flank the presbytery, with simple classical altars crowned with the blasphons of the Sánchez Barrionuevo.

OTHER ARTISTICAL MANIFESTIONS

In the side chapels of the cruise, the shields of the Sánchez Barrionuevo (S. XVII) are kept on the plaster. The paintings of the disciplinant procession of the Christ of Veracruz are interesting. The most valuable piece is its mudejar baptismal pile, made of green glazed ceramic with a gothic inscription between sogued moulds, which is closely related to that of the church of Bartolomé de Jaén. The baptismal pile (1750), decorated with a threaded serpent, is interesting.

Also preservedan oil on canvaswith the iconography ofEcce Homoof the 17th century: a sitting Christ that responds to the baroque aesthetics of the dark, another 18th century oil of the Divine Pastor of popular theme and great chromatic contrast and of the 20th century, a wooden size of a Crucified, with careful anatomical study.

When we enter the interior of this church we are drawn to the attention of the amplitude given by the great deafan ships, which are supported by a square section machons, all arranged in an orderly manner and giving a harmonious character to all the interior construction.

Another of the most prominent aspects is the body of the church composed of three ships of three tranches each and with the same height, which house spherical vaults in advocation to James the Apostle. As we enter through the main entrance, on our left we find a chorus above the arista vaults, under which is the baptismal pile.

Another of the most prominent aspects of this church are the altarpieces, which were created after the Civil War. The altarpiece on the main altar is made by Francisco Cerezo, a jiennese painter born in Villargordo. But we can also find an image of St. Joseph, whose author is unknown and an image of the Virgin of the Dolores, which as discussed above is taken in procession during Good Friday.

The works were probably started under the mandate of the prelate Don Esteban Gabriel and Merino (1523-1535); during the period that he was in charge of the Diocese, a series of covers were worked with his heraldic, associated with Gothic temples, in which the new stylems of the protorrenaissance or plateresque are introduced. In Santa María, and attached to this style, two interesting covers with the Merino shield are preserved, which have traditionally been attributed to Diego de Alcaraz, an important active bartender in the Loma de Ubeda during the first half of the 16th century.

The constructive process of this temple did not end with Bishop Merino, but was extended for much of the century. Andrés de Vandelvira, master of the Cathedral of Jaén since 1553, was also required to review, assess or give designs for the works planned by the diocese. In Santa María he intervened twice, according to V. M. Ruiz Fuentes; on September 15, 1570, to give the traces for the chapel founded by Dta. Marina Ortega, located next to the tower; in 1571 he dictated the conditions to finish the bell tower, taking charge of the work the local bartender Diego de Ávila.

The chapel only remains the cover, with a simple half-point arch, with mirrors in the gears, flanked by cramped pilasters and topped with a moulded cornice. The first body is original from the tower, the rest being the result of a reconstruction of the mid-20th century.

On the side of the Epistola is opened a monumental chapel, which according to G. Torres Navarrete was costed by Alonso del Villar and his wife Maria Ximénez. Architecically, it responds to a vandelvirian composition, made up of a large, triumphant, half-point arch, with the typical alternating batons used by the Master, in double and highlighted key pilastras, framed to the extremes by semi-columns Corinthian and backpilastras, with the typical alternating sticks used by the Master; raised on the bases on which it appoints an emplement decorated with tacos in the cornisa, in which it is raised in the center a hornadina of a classic molding duration, with an acclaimed image of St. Mary, with an acclaimed image of the other, with an acclaimed image of the same.

The production of Andrés de Vandelvira has traditionally included the petreo altarpiece of the Descence of the Cross, which, although mutilated, is preserved on the side of the Epistle. It is a burial chapel founded by Fra Miguel de Síles Martínez, Comendador de Alcántara and prior to the convent of Santo Domingo of the same city, in the opinion of G. Torres Navarrete.

In 1571, the date of the foundation of a chaplaincy in that burial, the whole was probably completed. To the sculptors Luis de Aguilar or Juan de Reolid have been attributed the sculptural tasks: the beautiful relief of the Descession (partially mutilated), the four missing sculptures of St. Peter, St. Paul, Saint Benito and Santo Domingo of the lateral hornazas and the crucified Christ, held by two angels, with which this unique Renaissance funeral altarpiece is overcome.

OTHER ARTISTICAL MANIFESTIONS

The Major Chapel of Santa Maria was embellished with two great interventions planned in the 16th century, which still look in it. Its Gothic vault was decorated with a pictorial program based on Virtues inserted in tongs and various motifs imitating marbles, all done at the temple on plaster.

The main altarpiece, made up of three streets, two floors and attic, has come to our days somewhat retouched, but it retains a large part of its original structure worked during the 16th and 17th centuries, being golden in the 18th century by the painter ubetense José García de Espareón.

In the sacristy are of beautiful bill the drawers and table of marble (S. XVIII). The Yacente Christ (S. XX), by Victor of the Ríos, and a Crucified (S. XX), by Francisco Palma Burgos are remarkable from his imagination.

Built in overturned and painted masonry, its simple, small-sized facade speaks a classicist language: a slight step emphasizes the access door, composed of a half-point arch on imposts, flanked by Tuscan pilasters, which give way to an internment completed on a triangular front with bones on each side. On the ledge of this first body is raised an airous spadagna, with a pyramidal structure on three levels, with pinacullos at the ends and half-point holes for bells. The sword underlines its hierarchy, making it the highest building in the square.

Inside it is a single drawer ship, covered with a half-barrel vault and double lunetes on the sides. The presbyterium is opened with a tural arc and also hornains made up of Tuscan columns, empleamento and triangular fronton are observed. This space is covered with a vault of edges and is illuminated by two large, bone-shaped windows. The header is presided over by the sculptural image of the patron saint, St. Helena, between dogrous columns that support an internment and a curved fronton.

The absence of political autonomy, the absence of a local nobility or bourgeoisie, and the lack of economic resources, led the project to raise a parish church consecrated to San Pedro ad Vincula to be postponed until well into the 19th century and needed remodeling still at the end of the 20th century.

The church rose on an old hermitage and the old cemetery, located next to it. It was from the 1860-70's that the works of the temple were promoted following the project of Vicente Serrano and whose execution would be carried out by José María de Cuenca.

It consists of a single ship, articulated by sections, with curved header and irregular plant by the annexation of spaces for chapels on the side of the Gospel. Close to the feet is the chorus and, symmetrically designed, two snail stairs. It is covered with a two-water Arab tile and has a lower height even than the houses it has attached.

Its current cover does not conform to the one drawn in 1860, which had a classical pseudo air, a narrow entrance hole and a fronton that was born from the roof line; it was changed by a simpler, more functional and less packed inlet. The tower, located on a side of the presbytery, has a square structure in which its initial chapitel has also been replaced by a slender flashlight that gives it a somewhat exotic air. The facade, gilded, is reinforced by small counterstrengths. In 1993 Luis Alonso Salcedo restored the tower by giving him the eclectic air that he now presents and also directed the works of the presbytery and the chapel of the Virgin of the Remedies.

The church, in spite of its generous dimensions, was organized from a single ship, divided into two sections, with a half-barrel vault cover that is discharged on fajon arches. On the outside there is a neo-classicist air. The main cover is of a bartender. The tower, with a chute look, was later added.