Its interior consists of a large ship with sections of fajon arches, while the presbytery is covered with canyon vault with cassettes. The Baroque shrimp of the Christ of the Vera Cruz stands out.

The oldest piece is the southern cover, of Gothic style and of such a trace to that of San Miguel; the north is from the 17th century, with the shields of the Valenzuela family, raising on it an angry swordsman, which came to replace its primitive tower located at the head and from which there are no remains. The plant that has reached this day includes a division in three ships and five sections, with greater proportions being the section of the header and the central ship. Today it has no apse, its head being a wall running and flat. The oldest remains correspond to the first section, covered by three gothic vaults of complex trace and a great constructive stretch (starry the sides, of tercelets the central), which are based on two pillars free of square section, with four half Tuscan columns attached, and on a series of mends on the walls. It is in this part of the temple that we can relate the few documentary data that have been published about it. The Gothic vaults according to Domínguez Cubero can be attributed to the Sunday of Tolosa. In 1559, the bishop Don Diego Tavera (1555-1560) ordered in the visit of this temple: "(...) that the altarpiece of Miguel Ruiz be finished. They say that the altarpiece is finished and that the work of singing that is in charge of Maese Domingo (...)." In the same year I know "(...). They discharge a thousand four hundred and ninety-six maravedis that I pay to Baldenvira because he came from Jaén to give the trace of the work that to do the said Sunday master who came three times to see the work (...)." From this documentation it seems to be inferred that the temple initiated by Maese Domingo is visited by Vandelvira, which would give new traces to follow the factory based on pillars of siloesque tradition and boned vaults. This new church project must have had problems years after the intervention of Andrés de Vandelvira, as it appears from the will of the beneficiary Juan de Mestanza of 1585, in which he orders to deliver ten ducats "(...) for the work of the postcards of Lord Santiago (...)," in the opinion of Domínguez Cubero. As a result of this situation, the project drawn up by Vandelvira, in which a church of living room with exempt pillars and its traditional vaults (with the exception of the gots of the first stretch) were most likely to be radically structured in the mid-17th century. The three resulting ships are now built with half-point arches on quadrangular pillars, covering the whole of the three resulting ships with half-barrel vaults with lunts and fajon arches. In the 18th century, specifically around the year 1733, the Chapel of the Christ of the Column was built, embellished with rich decoration of Baroque yeseries of Cordoba inspiration. The headline sculpture, a high-quality Renaissance size, is now sold in the parish of Santa Maria.

OTHER ARTISTICAL MANIFESTIONS

This temple has come to our days very busy in relation to its movable goods, but it had them and of high artistic quality. Some of them were lost forever, but others have been replaced in other churches in the city. To the parish of Santa Maria they took away the famous Renaissance size of the Christ of the Column, a beautiful prayer of about 1575 (placed in the chapel of the Reinous) and a canvas representing the adoration of the Eucharist, of Baroque style, attributed to Bernabé de Ayala.

It is composed of an extended body in which a vain of ear molding is opened and, aligned with it, but in height, an episcopal shield. A ledge separates it from the bell tower. In this one they open holes with a half-point arch that rest on imposts, which are extended as a list throughout the perimeter. A dial watch has been placed on the foreground of a hole. A narrow body receives the cover. The painted facade at the foot of the church and its cover are also interesting.

In the 13th century, during the reign of Fernando III (1217-1252) or that of his son Alfonso X (12122-1284), the columns were used to make a fully Romanesque church of three ships and head of three semicircular apses.

The portico is also of Romanesque trace, although in it you can see the point of the outer arches, characteristic this from the time of transition to the Gothic period. The columns inside the temple are cylindrical and base by imitating the old attic with the circular molding and he painted it square. The capitals are primordial and have a wide variety of motifs, from geometric figures and vegetable ornaments of leaves, rosetons and fruits, to animal figures such as lions, bulls, fish, goats and human figures.

The arches are pointed and the roof presents in the part corresponding to the cruise, a large vault of stone edge and in that of the ships a wooden craft. At the entrance of the presbytery there are two half columns with capitel with saw tooth ornaments, which support a large opival arc.

By the 16th century the church's enclosure was extended on the old trail, surely for greater needs of worship. The 16th century also brought together the artistic altarpiece of the Altar Mayor, which serves as an armour to the shrimp of the Virgin.

Another point to be highlighted is the chorus gate and silery both of a silver style. The gate of this, is adorned by a series of columns where there are carved various ornamental motifs, such as human and animal heads as well as fruit clusters.

The capital of these columns is Ionian. At the top door of the entrance door to the choir there is a large shield with the weapons of Don Francisco Delgado, which was preached in Jaén from 1566 to 1576. The chorus's silery is kept in good condition and all its chairs over half a shell and separated by columnites, where there are carved the same themes of the columns of the gate and as in this and on the central chair, are the weapons of the Bishop of Jaén indicated above.

The bottom of the seats is also finely worked, presenting geometric motifs. On both sides of the choir there are so many other chapels that have the wooden gate following that of the choir and with the same ornamental sizes.

It is through the visit of October 9, 1525 that we know that the parish church of Santa María del Collado is being made again, at the head of the factory, the bartender Maese Rodrigo. Through the description made by the visitors in the visit to the temple on January 19, 1537 it seems that the temple was finished.

On this occasion with the visitors, the master singers Francisco de Luna and Andrés de Vandelvira travelled to Segura de la Sierra, without a doubt to inspect what was built by Maese Domingo, which apparently presented certain problems; Luna and Vandelvira made a statement "(...) for the security repair of the yglesia desta villa e de la nesçaña that çerca dello has and what in it they contenydo make haber in the yglesia that they do from here two years first that they verge (...)."

The documentation silences the detailed content of this statement and, therefore, we do not know the level of intervention of both teachers, but they had to give orders to solve the defects of the Gothic factory built by Maese Rodrigo, but also to end, among other works, the tower chapitel, the chorus stairs or the vaulted chapel of baptism. However, the most clearly vandelvirian piece preserved in the temple is its main cover, covered by a large arcosolio with a half-canyon vault of Spanish-manchega tradition; it was ordered to work by the visitors in 1554, although the order was not carried out until the end of the century.

Vandelvira died in 1575 and, therefore, was not able to take care of it, but in any case the piece responds to a clear compositional scheme developed by it in the covers of the churches of San Miguel de Jaén, San Juan Evangelista de Mancha Real, or that of San Nicolás in Ubeda, but with a greater constructive and ornamental dryness not without classical correction; it is formed by the consabid arch of half-point on impostes with jambos and threaded, which is flanqué by two pairs of columns of compound and transphizon the same, with the two-and-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-two-a-a-a-a-a-a-a-a-a-a-a-two-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-a-

The data provided and the consequences that can be derived from them suggest a direct intervention by Andrés de Vandelvira in the church of Segura de la Sierra and a fluid relationship with the sanctiaguists responsible for his factory. This relationship was initiated thanks to his father-in-law Francisco de Luna, a singing teacher whose professional activity from the beginning was closely linked to the Order of Santiago on Spanish-manchegas lands.

Outside, the temple offers a staggered volume due to the different heights of the ships, the facades counterstrengths and the presence of the torre-bell tower. The main facade stands out from the whole by the body of the tower attached to the wall and by the cover, made up of a conopial arch with archivoltas and columns with the capitals of pitchers.

On the northern façade the cover of the 18th century is opened, formed by a half-point arch framed by pilassas, while on the side, work of 1529, the door is located from the old palace of Villalta or Casa de la Torre.

In the century of the great reforms (XVIII), the friar church became the help of the parish of Santa María la Mayor, of Alcalá la Real (1778). New works were made in charge of Master Jacinto Pérez, which consisted of lengthening the ship and building a major chapel that was not there.

Church of Saint Lucia - 124; Views
In the second half of the 19th century, the church was dedicated to the Virgin of the Dolores and the dimensions of the building were not enough for the number of neighbors. It had an altarpiece composed of several paintings and chaired by an image of the size of the Dolorosa, attributed to José de Mora. There were only three altars on the ship. From this time it was the wooden door with claverie, dated 1852.

At the end of the 20th century and by the hand of the parish priest Alberto Jaime Martínez Pulido, the reform was carried out which we can see today, maintaining the ancient elements, but with a view to the new millennium. From this stage is the magnificent craftsman that was made in Atarfe (Granada) in the workshop of 'The Three Juans'.

Among the oldest elements still stands the tower-bell tower, with three bells bearing the sound names of Our Lady of the Dolores, San Rafael and Virgen de las Mercedes.