He dedicated himself to St. John the Baptist and the first cleric to serve it was Michael of Biedma. During the 17th century the need to expand that small temple was experienced, and even the insignia architect Eufrassio López de Rojas came to realize a simple project, which was not carried out due to lack of means.

In May 1785 the vice-president and factory butler Manuel de Arredondo requested the reform and expansion of the temple given its poor condition. In June of that year, the master of works Ramón Maroto issued a detailed report on the precise works to secure the ancient area and expand the temple. The cost was estimated at Rat 11,718.

The works were authorized and started by the architect Miguel de Aranderas, who was at that time one of Jaén's most accredited. The works were carried out, among others, by the singers Agustín Peinado, Manuel Caballero, Juan de Armenteros, Juan de Ortega and Pedro Caballero. The new temple was opened to worship in 1798. In 1829, he was redesigned by the Jiennese architect Manuel Paedilla. In the events of the Civil War, the parish was seized on 3 August 1936 and was dismantled and lost its small but interesting movable heritage.

In general terms it retains its primitive arrangement typical of the mannerist religious architecture: a single ship with small hornacino chapels marked on the walls; a short cruise covered with a half-orange dome; an open chapel on the side for Our Lady of the Dolores and chorus at the foot of the temple.

It retains images of Jacinto Higueras (Virgin of the Rosary and Our Father Jesus) and a small but select collection of goldsmiths. The main facade is very simple and its lines are in harmony with that of the nearby Conistory House.

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.