There are two houses on both sides of the church, corresponding to the old house of the priest and the post commander.

In front of the works in this constructive phase were Francisco del Castillo "El Viejo" and Domingo de Tolosa. In 1547 Andrés de Vandelvira and Juan de Maeda assessed the works carried out by Castillo and Domingo de Tolosa, focusing primarily on the lifting of the major chapel and the first section of the temple. It is the first documented news about the intervention of Andrés de Vandelvira in this church, whose initial approach will be changed by this teacher by 1559. The changes introduced by Vandelvira affected the remaining sections: the ships are equal in width and height, among the counterstrong are chapels, the initial nervations of the vaults are changed by bays, the pillars, with semi-columns and Corinthian backpilars, are now cruciforms and with a more classical modulation, similar to those employed in the cathedrals of Baeza and Jaén.

The work on foot was, among other teachers, under the direction of Castillo "El Viejo," but in 1564 the contract that this master had signed with the church was transferred to his son Francisco del Castillo "el Joven," related since 1555 to the construction. "El Joven" Castle followed the guidelines marked by Vandelvira, which visited Huelma in 1569 and 1570 to assess the works. In 1575, the year of the death of Andrés de Vandelvira, the factory was quite advanced, but some vaults and exteriors were to be finished with the covers, the sacristy and the bell tower. He now appears as a master of the Francisco del Castillo "El Joven" factory, which will be in charge of it until his death in 1586. The central vault, with a sculptural program completed by Marcos Hernández in 1584, and five other decorated with geometric motifs of the mannerism, were worked under its supervision, highlighting the third decorated with the weapons of the Giennese prelate Francisco Sarmiento de Mendoza (1580-1595).

The last three vaults are no longer of stone, but of brick, and were removed after the death of Castillo along with the sacristy, whose disposition in "L" reminds us of the solution proposed by Vandelvira in the dependencies of the Jaén Cathedral. The exteriors, a work of Castillo "el Joven," present one of the most elegant heights built in the 16th century within the Andalusian religious architecture. Castillo "El Joven" introduces in these exterior models of civil architecture taken from the architectural treaties of Sebastián Serlio. The rhythm of this plateau is marked by the Corinthian pilasters placed on the two floors, by the windows adintered with triangular frontons and by the cover, highlighting that of the south, equally adintered and crowned by large triangular fronton and flanked with hornadoes. Heraldic, mascara, garlands, masked cornels and other elements of the mannerist repertoire complete the beauty of the whole, finally finished already within the 17th century with a large tower of bells, in whose second body the shield of Bishop Moscoso and Sandoval (1619- 1646) appears. The temple of Huelma - as Rafael López Guzmana points out - "perfectly shows the aesthetic evolution that occurs in the Kingdom of Jaén during the 16th century; in addition to having, in its realization, the most outstanding teachers of the moment."

OTHER ARTISTICAL MANIFESTIONS

Of the important set of movable goods that this magnificent temple was acquiring over the centuries, there is nothing left, as they were completely destroyed in the last Civil War (1936-1939). We know that in the major chapel there was a good altarpiece drawn at the end of the 16th century by Sebastián de Solís, which was supported by the sculptor Cristóbal Téllez and the assembler Blas Briñón. Today, the chapel is painted by Juan Almagro (Pegalajar, 1886-1965), and a size of a Risen one is worth it. Of some value is a canvas of granadine school of the Immaculate Conception, anonymous work of the last third of the 17th century.

It dates from the 18th century and was the first parish built in the New Populations. Its simple-drawn facade is built of red sandstone. It has a small cover with a half-point arch, three small gaps at half-height and a colonial-looking swordsman.

Inside, it stands out the size of the Immaculate Conception made by the Jiennese sculptor Jacinto Higueras (father), as well as its main altar, which was brought from the Church of St. Nicholas in Ubeda.

It began in the 13th century with the semantic of the Gothic, in the following centuries the majority of the factory was configured according to the artistic lexicography of the Renaissance and finished the works in the 18th century in Baroque style.

Its ship is rectangular, structured in five sections that separate hard arches pointed over semi-pillars, and is covered with a pair and row wood roof in two waters. The right side has four chapels covered with half a barrel.

The one that welcomes the patron, the Virgin of the Field - the sculptural group that form Mary and the Child is from the 20th century - has its access through a half-point arch on pillars with pilasters curved with capitals with ovens and darts. On the left side there is a capilla-hornina with a half-point arc.

The presbyterium has flat tester, is covered with a half-barrel with lunetes and is accessed through a half-point spinal arch on pillars with artefacts. At the foot of the temple are the tower, the choir high and the door. The tower is Renaissance, built with silery, with a square base, has bell holes and is covered in four waters.

They also deserve to stand out their two Renaissance covers, one, the most valuable, on the side of the Gospel, and the other at their feet. Its porch, of very later construction, is significant as it involves the insertion of an element of popular architecture.

Its cover is not in line with the street, but it moves back, encouraging a false elliptical square as an urban space of respect. The facade, which does not make concessions to ornamentation, is of magnificent silvery and features pilasters in the corners. With a perfect symmetry, the central body consists of a half-point arch emphasized by a diric-Tuscan inlet crowned by fronton and two large niches also flanked by pilasters. On the second floor there are four large bones. The late-incorporated swordsman stresses that the church must be the highest official building in the municipality. Inside its one-ship plant is rectangular and covered with a half-barrel vault that rests on false half-point arches with geometric moulds. The header is flat and the choir is at the foot.

It is accessed through a pointed arch framed in brick seen and on it we find three vains of half-point arches. On the façade we can find a tile with the image of The Immaculate covered with a glazed ceramic weave.

The bell tower is divided into two bodies, the first one houses the clock and the second one is occupied by the bell tower framed by a mold and covered with a roof in four waters.

The novelty of the temple lies in the fact that the sides of the rectangle of its plant are broken in the form of a saw tip on its sides - with iconographic windows with human and holy figures - while on the front they alternate the straight lines with the circular lines and at the entrance a triangle is formed for the tower to stand on it.

The floor is of terraced; the altar is of granite; the tower is of brick seen; the wood has a presence in the roof; and a large cross presides over the main facade.