It features a simple half-point arch cover with two small side voids imitating saetas. On the top we find a hornadine with the image of Mary Magdalena and on a side a small body of swordsman.

Location: To the north-east of the city centre, very close to it and at the limits of the Natural Park of Cazorla, Segura and Las Villas.

Distance: 3 km.

Medium: On foot.

Access route: By a road that leaves directly from the city centre towards Los Rinnes.

It is actually a wide rectangle, divided into three floors in height and with an airful turret-view on the east side - or left side. Very common typology in Granada, especially in the neighborhoods of San Jerónimo, San Matías and la Magdalena. Although, unlike here, it does not present a porticated and blasphemed courtyard in its centralizer, which leads us to think that it would not in its origin be a foundation of a family - more or less aristocratic - for its particular residence, so we suspect it would have another purpose.

The same similarity with the granadine is also given from a constructive point of view. Thus, if brick is used for the wall walls, for the structural elements, jambas, dintels and frontons, the quarry is used - in this case the asperon so abundant in the place - and the latter are the elements that define it from the stylistic point of view.

As a result, we are facing an interesting example of a typical house of the full baroque - the second half of the XVII-, where there is still a very strong presence of the elements of Mudejar tradition, the façade being very well resolved, because of its interior only highlights the dome on the pechines that originally topped the staircase.

On the first floor, whose cover of the apainelated arch does not appear by focusing the set, its beautiful intellized windows, crowned by beautiful curved and broken fronts, stand out. In the second, the most noble, the rhythms are changed, as they are small intellized windows with the same type of front, except that located on the door which is a large balcony framed by a beautiful alfice, also being in both bodies of a high quality the grate. Finally, a large, flying cornice separates them from the last with a proliferation of semicircular windows.

A number of hypotheses have been set aside on the promoters of its construction. At some times we thought it might be the great plateau that the first Marquis de la Rambla ordered to raise in the town, from which we even have several works payments. However, by some documents it seems to be deduced that it was built by the albaceas and employers of the foundation created by Mother Martha of Jesus - the so-called Almagro House - from the place - to also use it as a table to house travellers and carriages, which with their income would help to cover the expenses of the Hospital of Mercy.

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.