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.

The original element is its rectangular ship covered by a half-barrel vault that rests on fajon arches which, in turn, unload over foothills. Very later is the presbyterium, which is accessed by a half-point spinal arch, and whose flat tester receives light by clover-shaped windows. Outside, on the right side, at the feet, a swordsman with two bodies is raised, the lower one with two moons with a half-point arc and the upper one with a single hole of bells. However, the most prominent of the parochial is the cover, Renaissance as the ship, between verticalized strokes. In the middle point arc a small sheet emphasizes the key and the gears contain triangular plates. The jambas, on the other hand, are smooth and the flank columns with Corinthian capitals. The internment has double architrabe and, above it and the stone vases of the ends of the cornice, there is a striking medallion, on the parchment board, with a relief of the Saying Virgin with the Child on the knees and a cherub at the feet.

Its construction began in 1538, with a very slow rate of growth as a result of a shortage of economic resources. It was built almost entirely at the end of the 16th century, working in it the famous Jiennese architect Ginés Martínez de Aranda.

During the 17th century the works resumed and in the first third of the 18th century the sacristy, the cloister and the major chapel were concluded; and at the end of the 18th century the tower was built, which contrasts stylistically with the rest of the church.

The works had to begin shortly after, and when on January 26, 1537 a visit was made by the visitors of the Order of Santiago, in the inspection of the accounts there was an expense that linked Andrés de Vandelvira to the project of the new factory next to the cantero Juan de Mojica; the church butler justified a total of 30,000 maravedis paid to these teachers "(...) for the quenta of the work of the yglesia that is being avened from haçer in the plaça (...)."

The trail of the new church was set up in Francisco de Luna, a master of canteria of recognized prestige at the service of the Order of Santiago, which in turn would be the one that encouraged Vandelvira and Mojica to keep the work at first. However, a certain documentary vacuum has generated confusion in the constructive process of this church, since if at first it is clear the commission to Mojica and Vandelvira, months later as it appears from another letter from the king - of 12 October 1537 - the factory was rekilled by the cantero Juan Martínez, although at the foot of the work was left Juan de Mojica for many years. De Vandelvira and Francisco de Luna do not know any more data related to the church of Orcera, but they must have influenced Juan de Mojica, a bartender at the end and after all professionally related to them. Perhaps Vandelvira also influenced the intervention made in the church by the singers Martín López de Alcaraz and his father Anton Sánchez, active in the city of Ubeda, in the years 1567 and 1568.

In the church, finally built throughout the 16th and 17th centuries, once again the Gothic-Renaissance duality is maintained in the approach of its unique ship, divided into three sections covered with tercelette vaults plus a quarter or major chapel with a starved vault. The arches perpiaños of the sections are half-point and the parietal - slightly pointed - are placed in semi-columns raised on bases of more classical composition. The classicism is more forceful on the outside: windows, side cover, cornels and vases that crown the contrasts. At the beginning of the 20th century, a monumental and proud 16th-century cover came from the late Franciscan convent of Santa María de la Peña, in which a beautiful Gothic image was venerated with this advocation, now preserved in the parish temple of Santa María del Collado de Segura de la Sierra.

Lost almost all of its movable goods in 1936, they are worthy to describe within the imagination a Crucified Christ of Manierist inspiration - preserved in the sacristy - which presents the particularity of which it was made in wood paste, and an Ecce Homo, a baroque size venerated in the town under the advocation of El Señor de la Caña, located at the entrance of the chapel of the Sagrarian. The major altarpiece, in gold bread, was built in the post-war and occupies most of the header's tester.

The beautiful tower is the work of John de Aranda (1640) decorated with episcopal shields. The cover is neoclassical from the end of the 18th work of Manuel Caballero, one of the best in the province due to its airful proportions. Located on the wall, there is the valuable 'Ibero-Latin inscription of Galdur' old cradle city of Jódar, of the 1st century. C. This practice served to enaltecer the classical antiquity, where this architectural style found its roots.

History

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.

Tranco road A-319, in the surroundings of the Tranco reservoir.

That historic day will play an important role, as the heat attached to the scarcity of the liquid element for the French troops would be a key factor in defeating the Galo army, which in the last moments of the struggle would despair to reach the desired place where to satisfy the unbearable thirst. The popular tradition tells us that many of these soldiers will be thrown into the river of the San Lazaro Garden, the only place near with water, with the following phrase "To die here and resurrect in Paris."