When we enter the interior of this church we are drawn to the attention of the amplitude given by the great deafan ships, which are supported by a square section machons, all arranged in an orderly manner and giving a harmonious character to all the interior construction.

Another of the most prominent aspects is the body of the church composed of three ships of three tranches each and with the same height, which house spherical vaults in advocation to James the Apostle. As we enter through the main entrance, on our left we find a chorus above the arista vaults, under which is the baptismal pile.

Another of the most prominent aspects of this church are the altarpieces, which were created after the Civil War. The altarpiece on the main altar is made by Francisco Cerezo, a jiennese painter born in Villargordo. But we can also find an image of St. Joseph, whose author is unknown and an image of the Virgin of the Dolores, which as discussed above is taken in procession during Good Friday.

The works were probably started under the mandate of the prelate Don Esteban Gabriel and Merino (1523-1535); during the period that he was in charge of the Diocese, a series of covers were worked with his heraldic, associated with Gothic temples, in which the new stylems of the protorrenaissance or plateresque are introduced. In Santa María, and attached to this style, two interesting covers with the Merino shield are preserved, which have traditionally been attributed to Diego de Alcaraz, an important active bartender in the Loma de Ubeda during the first half of the 16th century.

The constructive process of this temple did not end with Bishop Merino, but was extended for much of the century. Andrés de Vandelvira, master of the Cathedral of Jaén since 1553, was also required to review, assess or give designs for the works planned by the diocese. In Santa María he intervened twice, according to V. M. Ruiz Fuentes; on September 15, 1570, to give the traces for the chapel founded by Dta. Marina Ortega, located next to the tower; in 1571 he dictated the conditions to finish the bell tower, taking charge of the work the local bartender Diego de Ávila.

The chapel only remains the cover, with a simple half-point arch, with mirrors in the gears, flanked by cramped pilasters and topped with a moulded cornice. The first body is original from the tower, the rest being the result of a reconstruction of the mid-20th century.

On the side of the Epistola is opened a monumental chapel, which according to G. Torres Navarrete was costed by Alonso del Villar and his wife Maria Ximénez. Architecically, it responds to a vandelvirian composition, made up of a large, triumphant, half-point arch, with the typical alternating batons used by the Master, in double and highlighted key pilastras, framed to the extremes by semi-columns Corinthian and backpilastras, with the typical alternating sticks used by the Master; raised on the bases on which it appoints an emplement decorated with tacos in the cornisa, in which it is raised in the center a hornadina of a classic molding duration, with an acclaimed image of St. Mary, with an acclaimed image of the other, with an acclaimed image of the same.

The production of Andrés de Vandelvira has traditionally included the petreo altarpiece of the Descence of the Cross, which, although mutilated, is preserved on the side of the Epistle. It is a burial chapel founded by Fra Miguel de Síles Martínez, Comendador de Alcántara and prior to the convent of Santo Domingo of the same city, in the opinion of G. Torres Navarrete.

In 1571, the date of the foundation of a chaplaincy in that burial, the whole was probably completed. To the sculptors Luis de Aguilar or Juan de Reolid have been attributed the sculptural tasks: the beautiful relief of the Descession (partially mutilated), the four missing sculptures of St. Peter, St. Paul, Saint Benito and Santo Domingo of the lateral hornazas and the crucified Christ, held by two angels, with which this unique Renaissance funeral altarpiece is overcome.

OTHER ARTISTICAL MANIFESTIONS

The Major Chapel of Santa Maria was embellished with two great interventions planned in the 16th century, which still look in it. Its Gothic vault was decorated with a pictorial program based on Virtues inserted in tongs and various motifs imitating marbles, all done at the temple on plaster.

The main altarpiece, made up of three streets, two floors and attic, has come to our days somewhat retouched, but it retains a large part of its original structure worked during the 16th and 17th centuries, being golden in the 18th century by the painter ubetense José García de Espareón.

In the sacristy are of beautiful bill the drawers and table of marble (S. XVIII). The Yacente Christ (S. XX), by Victor of the Ríos, and a Crucified (S. XX), by Francisco Palma Burgos are remarkable from his imagination.

Built in overturned and painted masonry, its simple, small-sized facade speaks a classicist language: a slight step emphasizes the access door, composed of a half-point arch on imposts, flanked by Tuscan pilasters, which give way to an internment completed on a triangular front with bones on each side. On the ledge of this first body is raised an airous spadagna, with a pyramidal structure on three levels, with pinacullos at the ends and half-point holes for bells. The sword underlines its hierarchy, making it the highest building in the square.

Inside it is a single drawer ship, covered with a half-barrel vault and double lunetes on the sides. The presbyterium is opened with a tural arc and also hornains made up of Tuscan columns, empleamento and triangular fronton are observed. This space is covered with a vault of edges and is illuminated by two large, bone-shaped windows. The header is presided over by the sculptural image of the patron saint, St. Helena, between dogrous columns that support an internment and a curved fronton.

The absence of political autonomy, the absence of a local nobility or bourgeoisie, and the lack of economic resources, led the project to raise a parish church consecrated to San Pedro ad Vincula to be postponed until well into the 19th century and needed remodeling still at the end of the 20th century.

The church rose on an old hermitage and the old cemetery, located next to it. It was from the 1860-70's that the works of the temple were promoted following the project of Vicente Serrano and whose execution would be carried out by José María de Cuenca.

It consists of a single ship, articulated by sections, with curved header and irregular plant by the annexation of spaces for chapels on the side of the Gospel. Close to the feet is the chorus and, symmetrically designed, two snail stairs. It is covered with a two-water Arab tile and has a lower height even than the houses it has attached.

Its current cover does not conform to the one drawn in 1860, which had a classical pseudo air, a narrow entrance hole and a fronton that was born from the roof line; it was changed by a simpler, more functional and less packed inlet. The tower, located on a side of the presbytery, has a square structure in which its initial chapitel has also been replaced by a slender flashlight that gives it a somewhat exotic air. The facade, gilded, is reinforced by small counterstrengths. In 1993 Luis Alonso Salcedo restored the tower by giving him the eclectic air that he now presents and also directed the works of the presbytery and the chapel of the Virgin of the Remedies.

The church, in spite of its generous dimensions, was organized from a single ship, divided into two sections, with a half-barrel vault cover that is discharged on fajon arches. On the outside there is a neo-classicist air. The main cover is of a bartender. The tower, with a chute look, was later added.

According to F. Escolano Gómez, on May 14, 1565, Pedro Hernández de Baeza, prior to the parish church of San Andrés, is responsible for the charge and discharge of the factory from the years 1562 to 1564; in the discharge of the year 1564, he is paid to Andrés de Vandelvira 3,740 maravedís "(...) by the traça of the major chapel that he made (...);" it is also noted that the factory continued between the years 1565 to 1570 and that in 1572 Alonso (the work of the work of the work of the Barba...). "Other notes in this regard are in the years 1575, 1576 and 1577, the latter being at the head of the master's office the Juanes de Izpino or Azpino. In the accounts of the years 1604-1610 there is a record of a..." second work of the chapel... "It is difficult to specify at present the vestiges of the Vandelvirians preserved in this major chapel, as it suffered an important intervention in the 17th century, in addition to numerous subsequent restorations.

In any case, his participation in the constructive process of this monumental Gothic church is documented, the beginning of which is to be placed under the mandate of the prelate Don Alonso Suárez de la Fuente el Sauce (1500.1520), whose shields champion on the delicate plateresque cover open on the East side. There is a splendid tower of bells, with beautiful plateresque crest, raised in the time of Bishop Gabriel Esteban Merino (1523-1535). It is also the West cover, carved by the command of Bishop Don Diego Tavera (1555-1560). It does not keep the temple inside the original wooden roof, of which only one part remains at the level of the choir. The importance of this church for the city of Baeza is due, apart from the artistic, to the veneration of the local Patrons, St. Andrew the Apostle and Our Lady of the Alcazar.

OTHER ARTISTICAL MANIFESTIONS NOT ARCHITECHANIC.

The main chapel is headed by a beautiful altarpiece, which in the opinion of Professor Luz de Ulierte is "(...) one of the best carved, chromed and golden poly of the whole diocese, both its architecture and its sculptures (...)." Estilistically it is inserted into the circle of Sebastian de Solís and Gil Fernández, although made by the brothers Blas and Juan de León, between 1629 and 1633. The iconographic program is made up of the twelve Apostles, Christ Crucified with the Virgin and Saint John. In the shrimp, the Virgin of the Alcazar, patron of the city, is a Gothic size, although reformed in the 18th century. At the foot of the temple are the chorus and a canvas of the Divine Pastor in the baptismal chapel, pieces of the 18th century. Dieciochesca is also a beautiful Immaculate Conception. In the sacristy there are nine tables from an altarpiece of the late Collegiata, attributed to the painter Francisco Sánchez in the last decades of the 15th century. They represent the Birth, the Adoration of the Magi, the Circision, the Presentation of Jesus in the temple, the last Supper, the Performance, Calvary, the Ascension of Jesus and the Assumption of the Virgin.