In the first half of the 17th century the presbytery was covered and the major chapel was restructured and, in the 18th century, the interior was repaired and the bell tower was remodeled.

Its plant is very long and of a single ship arranged in three unequal sections: The presbyterium, also elongated, covered with a canyon vault with lunetes; an earlier space, a little wider covered with a vault of edges and flanked laterally by hornacino chapels; the third section, is centralized and covered with a half-orange vault on pechines. On the main altar, the Linaran painter Francisco Baños, in 1961 painted a fresh mural in his schematic and geometrical pictorial line.

The most significant elements of the facade are:

The cover with a simple half-point arch with trapezoidal dovens and in the upper body, a hornaine with dogrous columns - on its sides, plates with cut diamond tips and pinacles on the extreme - dogrous and triangular fronton.

The tower of the bell tower, has a first body of square floor, and the second, of polygonal plant, topped by a conical volume covered with Arab tile.

In this Church we worship St. John the Baptist, the patron of the Villa, whose chromed poly size is the work of the sanctisteño sculptor Jacinto Higueras (1940 approximately). It is classic, with harmonic and perfect proportions.

One of the most important and valuable pieces that are preserved in this church is a silver cross adorned with low-reliefs that represent the Old and the New Testament on one side.

From 24 to 29 June the parties are held in honor of Saint John the Baptist. Within the playful acts, "the bulls" stand out, a custom in which the young men run through the streets of the village to the bullring, from time immemorial. In the afternoon of June 24, the Holy Patron walks through the streets of the village until he reaches the bullring, the double-handed bar, to turn the wheel as a blessing and welcome of the popular acts prepared in his honor

He dedicated himself to St. John the Baptist and the first cleric to serve it was Michael of Biedma. During the 17th century the need to expand that small temple was experienced, and even the insignia architect Eufrassio López de Rojas came to realize a simple project, which was not carried out due to lack of means.

In May 1785 the vice-president and factory butler Manuel de Arredondo requested the reform and expansion of the temple given its poor condition. In June of that year, the master of works Ramón Maroto issued a detailed report on the precise works to secure the ancient area and expand the temple. The cost was estimated at Rat 11,718.

The works were authorized and started by the architect Miguel de Aranderas, who was at that time one of Jaén's most accredited. The works were carried out, among others, by the singers Agustín Peinado, Manuel Caballero, Juan de Armenteros, Juan de Ortega and Pedro Caballero. The new temple was opened to worship in 1798. In 1829, he was redesigned by the Jiennese architect Manuel Paedilla. In the events of the Civil War, the parish was seized on 3 August 1936 and was dismantled and lost its small but interesting movable heritage.

In general terms it retains its primitive arrangement typical of the mannerist religious architecture: a single ship with small hornacino chapels marked on the walls; a short cruise covered with a half-orange dome; an open chapel on the side for Our Lady of the Dolores and chorus at the foot of the temple.

It retains images of Jacinto Higueras (Virgin of the Rosary and Our Father Jesus) and a small but select collection of goldsmiths. The main facade is very simple and its lines are in harmony with that of the nearby Conistory House.

Its plant, basilical, has a wide and deafan space structured on three ships covered with flat roof. The ships are divided by five half-point arches that stand on pillars of unequal size, the lines being greater with the central ship. Both sides are located chapels. The architectural element that volumetrically stands out on the whole is the presbyterium, covered by a half-orange vault on pechines ornamented with trapezoidal geometric elements, to which it is accessed through a large half-point spinal arch. At the foot of the temple and raised on pillars is the choir.

From the artistic point of view the most valuable element is the altarpiece, inspired by the Italian model of Vignola, more specifically in his masterpiece, "the Gesu" of Rome, of great interest not only for its structure and the colossal use of the classical orders, but also for the richness and complexity of the iconographies both sculptural and pictorial that it houses.

The factory, which alternates the regular with the irregular, differentiates the basic plant and the head of the presbytery, and both the cover and the window voids of the first facade body are pointed and aboculated. The central body, of higher height, has three circular voids laterally to give light to its interior. The tower is a unique element due to the quality of the silo, the amplitude of its dimensions, the first of the small half-point voids arranged to axis with the wider window of the bell tower, the successive well-cared cornels - one adorned with gargolas, another long-lasting molding - and the four vases that crown its angles, work of the brothers John and Iñigo Mojica (1,553)

Its interior consists of a single floor of drawer - or of what is also known as contender - divided into three ships that hold columns of smooth fuse with docile capitals and poorly decorated eye arches.

Outside, the church has two bodies separated by molding with two leftovers covered by half-point arches. The side facade, which looks at the Fuente de la Negra, is of greater proportions than the side that is located in the perspective with the street of access to the town center.

The most unique element of the church factory is its tower, located laterally in the corner between the two covers. It is not exempt, but integrated into the building, to which it overcomes and adds a third body for bell tower, with holes covered by half-point arches.