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.

The project is carried out by Mr Manuel Sancho Sánchez, a master of the quarry, in charge of the construction of a large mason called Mr Benito el Santo. The conditions are established among which the realization of two arches dances to separate the three ships of the temple, having each dance three arches, resulting in a total of nine sections. The main cover and the bell tower were carried out by the master of the quarry Mr Manuel Sancho Sánchez. The construction of the church had to be completed on a provisional basis in order to celebrate the Holy Offices. In 1618 the Major Retablo was built, destroyed in the Spanish Civil War, occupied the whole tester of the presbytery raised on pedestal with reliefs on two very high floors, was topped with an attic finished in a broken fronton with eardrum where the figure of the Eternal Father was holding the sphere of the world in his right hand.

Both floors and the attic marked three streets, being the largest central than the sides and separated with Corinthian columns even and advanced on the general plane of the altarpiece. On the side streets, reliefs were framed with scenes of the life of Jesus Christ and of the Virgin. The central street was occupied by a great Sagrario-manifestator on the second floor, a relief with the mystery of the Incarnation. The attic was presided over by a calvary with figures of Christ Crucified, the Virgin Ruins of a glorious past in and St. John. The figure of the Eternal Father closed the whole set that also had sculptures of Saints on the capitals and cornels. The side streets were topped with shields from Bishop D. Baltasar of Moscoso and Sandoval who ruled the Diocese in 1618. Its style was Renaissance in transition to Baroque, and it was decorated with elements of the time, but without too many ornaments. The presbytery was completed on its side walls, with two large oil-painted paintings.

The organ was placed in the choir in the middle of the 18th. The bells were installed in 1858. On the façade of the tower that gives to the main square and under the main bell, if it installed in 1906, a time clock with dial in Roman numbers, costed by the Board of repair of the temple and assigned to the City Council for its conservation; it is of the so-called "round system" with compensating pendulum. It was acquired from Mr Lorenzo Redondo, a neighbour of Cuenca.

He had a hammer that gave the hours in the bell. In the 1980s, the clock machinery was cancelled and an electronic device was placed in place to keep the hours and bells marked. In 1996, the old machinery was withdrawn, restored and is currently in an exhibitor in the Hall of Plenos of the City Hall.

It has a single ship and two bodies attached to both sides by penetrating them through two half-point arches with Renaissance moulds; one serves as a sacristy with intellized cover while the other, apparently ancient Baptisteria, is covered with a Gothic vault crashed with its diagonal and tercelets.

The ship is covered all with three simple starry gothic vaults with its tercelets, highlighting that of the presbyterium for its greater wealth of composition, for if all have its diagonal, tercelette and ligation, here appear straight combates; the nervations fall into a perpiaños arches of half point that have continued on a high half-columns attached to the walls that end up in basements with Gothic moldings; in the header they do it in a kind of ménsula as in the feet, where it opens in the thick of the wall in a similar way to an anal-venterium that exists in the right.

On both sides of the ship are opened two chapels, covered the four with gothic vaults with their tercelets and diagonal resting in mends; the second on the left makes the times the entrance to the temple and is where the gate that gives exit to the plateresque cover on the north side of the square of the Wheel is located. The current location of the cover is different from the original one that was located two chapels on the left.

The bank is very modified as well as the front coverings of the central street entrecelle and side streets, which house modern saints and improper decorations (note that the church was looted and burned in part during the first days of the Civil War). From the end of the 16th century it is composed on its first floor by columns with Ionic capitals, the second by columns of Corinthian capitals, ending the side streets with triangular fronts with classic entrenamento. In the attic a modern Christ replaces what must have been a Calvary; in him and at the feet of Christ we have the following inscription that informs us of its builders, materials and of the year.

After all, it has good proportions to which the bodies of the sacristy and ancient Baptistery and the chapels contribute. The whole temple is covered by a goth-drop-eater (ship-eater). It has two counterstrengths that exercise the function of holding the push of the vault of the major chapel.

On its side of the roof we have the only entrance cover to the parish, very mutilated by physical and human agents. It is one of the first samples of the plateresque in the province of Jaén connected to the plateresque in the area of Albacete. It is composed of a half-point arch whose dovels are decorated with Renaissance moulds and as a central motif in each of them by cherubim. It is framed by very spent pillars in which a baking is preserved. In the gears we have two splendid and very classic Renaissance medallions with human relics of profile.

The present parish church of Our Lady of the Assumption, although incorporating the sacristy, which had been reformed in the 17th century by the Mannerist Benito del Castillo, rose after its collapse on the site of the ancient Gothic church of Santa Maria the Mayor. Justino Flórez projected it, between 1872 and 1910, not in a neo-Gothic style - the de Viollet le Duco - as its initial purpose, but in a Byzantine Neorromanic, due to the scarcity of resources, despite the generous contribution of the people. In addition to the mural paintings of Julio Romero de Torres, the broad portico or nártex, the cruciform pillars and, on them, the fajon arches and formers that alternate with cross vaults, the dome on the cruiser's pechines or that of the fourth sphere in the chapel of the transept, all this shows the architectural eclecticism and the historical "revival." On the outside, a single high-rise tower with arquivolta and roseton that emphasize the medieval of the whole, counterstrong, piled chairs, bones and wide steps to solve the problem of levels.