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.