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.

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.