The church, beginning in 1534, is the first great church built by Vandelvira and from here he left two years later to Ubeda where Francis of the Cobos had commissioned him to perform the Sacred Chapel of El Salvador. The church was completed during the 18th century although the shrimp of the Christ of the Veracruz dates from the 18th century.

In the lightness of the domes and in their composition, elements are intuited that will be present in their most representative architectural element, the vanish dome. The paintings that cover the domes of the central ship date from 1575, the work of Pedro Raxis representing scenes of the Old Testament and the Passion of Christ.

We can imagine Vandelvira and his assistants during the first years of the construction of this church, large wooden scaffolding, the noise of the quarries, piles of stone to be turned into armchairs and the caleros selling lime for the argamase. Without a doubt, the most curious image should be the perplexity of the elderly, seeing such thin pillars on the sides of a great central ship, nothing to do with the churches of the area, or the recite Sanctuary of the Virgin of Fuensanta, in the nearby Villanueva of the Archbishop.

Thanks to this father's work, we know many things about the College of the Society of Jesus in Segura de la Sierra. The buildings that are preserved today in Segura de la Sierra are the result of one of its neighbours' efforts to make a religious foundation. His name was Cristóbal Rodríguez de Moya and, in the face of his wife's death, he understood that he would have a problem with his heritage of not marrying one of his three daughters. By choosing his daughters for religious life, he founded a College.

To observe the interior of the Church of the Jesuits is not to do so in the key of the history of art or to analyze the restoration that the building has suffered, it is to have a vision of society from the end of the 16th century to approach its fears and a religiosity that permeated all aspects of life, of fear of the devil or to die in sin. An approach to daily life in a small mountain community, with the poor of solemnity to which the Society of Jesus attended with its pastoral missions.

In short, it is about knowing one more episode of the history of the end of the 16th century in Segura, the plague of 1596, the famine of 1605, the charity, the fears and poverty of a large part of the population and the collective sadness of the death of Francisca de Avilés, the last daughter of Cristóbal Rodríguez de Moya. To mentally recite the passage of this woman's death puts the hairs at the top, with a mass attended by all the people and even the Franciscans of Santa María de la Peña, of Orcera, to give the last farewell to the foundress.

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.

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 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.

Tranco road A-319, in the surroundings of the Tranco reservoir.

Aflation of paleozoic granite surrounded by prebetic (triasic) materials with which it has a relationship of inconformity. Part of the village is built on the granite, which force a meandro in the Guadalimar River.

These are pink-coloured granules in afloor, in which large quartz and feldspar crystals are distinguished, in general unmeteorized. They are part of a recently exhumed paleorelieve after the erosion of the triastic clays and herring that cover them regionally. This is the granitic outcrop of the Central Iberian Zone of the southernmost Iberian Massif and further into the Betic Externs.

Source: Inventory of Georresources of Andalusia. Environmental Council. Junta de Andalusia.

Half a mile from Hornos, on the right, you will find the look at Las Celadillas. Later on, do not stop visiting the charming village of La Capellanía, whose crossing is well marked to the left. From there you can walk along the signposted path PR-A 150, which is close to the steep slopes of the Yelmo Chico and allows you to contemplate a wide range of views. The A-317a road itself lends itself to the walk, as it has very little traffic since the new A-317 road was built from Hornos to Santiago de la Espada.