It is through the visit of October 9, 1525 that we know that the parish church of Santa María del Collado is being made again, at the head of the factory, the bartender Maese Rodrigo. Through the description made by the visitors in the visit to the temple on January 19, 1537 it seems that the temple was finished.

On this occasion with the visitors, the master singers Francisco de Luna and Andrés de Vandelvira travelled to Segura de la Sierra, without a doubt to inspect what was built by Maese Domingo, which apparently presented certain problems; Luna and Vandelvira made a statement "(...) for the security repair of the yglesia desta villa e de la nesçaña that çerca dello has and what in it they contenydo make haber in the yglesia that they do from here two years first that they verge (...)."

The documentation silences the detailed content of this statement and, therefore, we do not know the level of intervention of both teachers, but they had to give orders to solve the defects of the Gothic factory built by Maese Rodrigo, but also to end, among other works, the tower chapitel, the chorus stairs or the vaulted chapel of baptism. However, the most clearly vandelvirian piece preserved in the temple is its main cover, covered by a large arcosolio with a half-canyon vault of Spanish-manchega tradition; it was ordered to work by the visitors in 1554, although the order was not carried out until the end of the century.

Vandelvira died in 1575 and, therefore, was not able to take care of it, but in any case the piece responds to a clear compositional scheme developed by it in the covers of the churches of San Miguel de Jaén, San Juan Evangelista de Mancha Real, or that of San Nicolás in Ubeda, but with a greater constructive and ornamental dryness not without classical correction; it is formed by the consabid arch of half-point on impostes with jambos and threaded, which is flanqué by two pairs of columns of compound and transphizon the same, with the two-and-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-two-a-a-a-a-a-a-a-a-a-a-a-two-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-

The data provided and the consequences that can be derived from them suggest a direct intervention by Andrés de Vandelvira in the church of Segura de la Sierra and a fluid relationship with the sanctiaguists responsible for his factory. This relationship was initiated thanks to his father-in-law Francisco de Luna, a singing teacher whose professional activity from the beginning was closely linked to the Order of Santiago on Spanish-manchegas lands.

Outside, the temple offers a staggered volume due to the different heights of the ships, the facades counterstrengths and the presence of the torre-bell tower. The main facade stands out from the whole by the body of the tower attached to the wall and by the cover, made up of a conopial arch with archivoltas and columns with the capitals of pitchers.

On the northern façade the cover of the 18th century is opened, formed by a half-point arch framed by pilassas, while on the side, work of 1529, the door is located from the old palace of Villalta or Casa de la Torre.

In the century of the great reforms (XVIII), the friar church became the help of the parish of Santa María la Mayor, of Alcalá la Real (1778). New works were made in charge of Master Jacinto Pérez, which consisted of lengthening the ship and building a major chapel that was not there.

Church of Saint Lucia - 124; Views
In the second half of the 19th century, the church was dedicated to the Virgin of the Dolores and the dimensions of the building were not enough for the number of neighbors. It had an altarpiece composed of several paintings and chaired by an image of the size of the Dolorosa, attributed to José de Mora. There were only three altars on the ship. From this time it was the wooden door with claverie, dated 1852.

At the end of the 20th century and by the hand of the parish priest Alberto Jaime Martínez Pulido, the reform was carried out which we can see today, maintaining the ancient elements, but with a view to the new millennium. From this stage is the magnificent craftsman that was made in Atarfe (Granada) in the workshop of 'The Three Juans'.

Among the oldest elements still stands the tower-bell tower, with three bells bearing the sound names of Our Lady of the Dolores, San Rafael and Virgen de las Mercedes.

Its construction seems to start around 1576, and so the details and style place it in the late 16th and early 17th century. The plant is one ship (living room) with a high choir at the end and the vaults on the deck are half-canyon. The breasts of this dome have frescoes attributed to the village of Escudero de la Torre. The golden altarpiece has an 18th-century salomonic columns. The facade is made of stone with irregular armchairs with a simple three-body slate that rises at the northwest angle of it. The cover, attributed to the architect Juan de Aranda and Salazar (Master Major of the Cathedral of Jaén and continuator of Vandelvira), reigns an elegant classicism with a hornacino in which is found the stone image of Santa Isabel, the church holder. In this church, on August 25, 1812, the solemn act of swearing of the new Constitution of Cadiz, "La Pepa," was held.

Between the two hills the square was established, which would henceforth be the religious and political centre of the people. There, between the end of the 16th century and the first third of the 17th century, the parish church of San Pedro was erected in an explanade located in a peñasco, on the site of an ancient medieval temple. Its only plant is rectangular with four hornadine chapels and flat tester presbytery. As an autonomous ornament of the architectural one can describe the pile of holy, Renaissance, carved stone water; the image in size of the Virgin, from the 18th century; and, something later, the oil of St. Peter.

The outer vision of the parishioners is impressive: magnificent silvery, counter-strong, and steps to access the southern cover, which has a half-point bow flanked by the curved pilasters, a ball-split fronton, a hornaine in the eardrum and another, this time curved fronton, to host the image of the holy headline. The most prominent element may be the tower, raised on the side of the epistle, of square floor and two bodies, the bass with two windows, vault and arch and covered down, and, separated by a cornice, the second body, with canyon vault and snail staircase and, to the outside, half-point vanos for bells and corners with flanked flyers; a cornose with three gargoes with anthropomorphic figures is the whole.

The building, with marked influences of Vandelvira, Francisco del Castillo "El Viejo," and Alonso Barba, despite the reforms it has undergone over the centuries, retains the taste of the late 16th century.

Blinded by his Poniente door, between 1605 and 1615, being at the Episcopal See of Jaén Don Sancho Dávila, his current southern cover is erected, from which the traces of which Alonso de Barba, co-conspirator and main disciple of Andrés de Vandelvira, must take care.

This cover is made up, in its first body, of columns free of Corinth order, opposite to backpilasters, half-point arc with plant key and relief of virtues in the gears.

The second, after the opening, is made up of Ionian column- back-pilars (following the orthodox scheme of classicism), which embrace an idealized theme of serlian or palladian hollow, in which the free image of the headline is installed. On both sides the episcopal weapons of your promoter.

Also, in the first decade of this century, the conditions for making the bell tower - then ruined and inexplicably displaced at present after its unannounced restoration - are signed by the master Pedro de Ortiz, and the work was executed by various masonry teachers, including Juan de Bayona.

The interior of its factory, remodeled on many occasions, currently has a single living room, covered by canyon vault and dome reduced in its presbytery.

It is one of the oldest parishes in the city. It was reconstructed in the last third of the 14th century (after the destruction of But Gil), leaving few remains of the previous 13th century factory, such as the semicircular apse.

He has suffered several interventions, highlighting that of the Renaissance facade of 1605, built by the disciple of Vandelvira Alonso de Barba, under the bishop of Jaén Sancho Dávila (1605- 1615).

It was probably a mosque converted to Christian worship after the Reconquist, being a parish - dependent on the jurisdiction of the Archbishopric of Toledo in the XIIi century - until in the mid-19th century it is added to the church of Santa Maria.

External: The main cover consists of two bodies, the lower one with half-point arc with Corinthian columns on the sides and backpilers; in the shrouds we see the reliefs of two virtues, faith and charity. On the opening is a second floor of Ionian order, whose central hole covers the sedent image of the saint. On both sides there are two great shields of the promoting bishop, all topped up by pyramidal pinacles. This is a cover that repeats Renaissance schemes.

The front cover, with a half-point arch, was blinded when the choir was built - it is straight, of ancient protogotic constructions.

The bell tower, from the same time as the main cover, is simple and consists of a cubic body with four voids for the bell body. It does not currently occupy its original location.

The outside apse features scalated pillars and polylobulated arches, protogotic remains of the former 13th century factory.

Interior: Its interior has been rebuilt several times. It currently has a single living room ship covered by canyon vault with side chapels, most of which are Gothic.

The apse is polygonal with voids.

It has a great historical value, as it was one of the parishes in which the medieval city was divided, in which the Renaissance interest of later centuries is appreciated to transform the external aspect, by building facades on the medieval temples.