It has a single ship and two bodies attached to both sides by penetrating them through two half-point arches with Renaissance moulds; one serves as a sacristy with intellized cover while the other, apparently ancient Baptisteria, is covered with a Gothic vault crashed with its diagonal and tercelets.

The ship is covered all with three simple starry gothic vaults with its tercelets, highlighting that of the presbyterium for its greater wealth of composition, for if all have its diagonal, tercelette and ligation, here appear straight combates; the nervations fall into a perpiaños arches of half point that have continued on a high half-columns attached to the walls that end up in basements with Gothic moldings; in the header they do it in a kind of ménsula as in the feet, where it opens in the thick of the wall in a similar way to an anal-venterium that exists in the right.

On both sides of the ship are opened two chapels, covered the four with gothic vaults with their tercelets and diagonal resting in mends; the second on the left makes the times the entrance to the temple and is where the gate that gives exit to the plateresque cover on the north side of the square of the Wheel is located. The current location of the cover is different from the original one that was located two chapels on the left.

The bank is very modified as well as the front coverings of the central street entrecelle and side streets, which house modern saints and improper decorations (note that the church was looted and burned in part during the first days of the Civil War). From the end of the 16th century it is composed on its first floor by columns with Ionic capitals, the second by columns of Corinthian capitals, ending the side streets with triangular fronts with classic entrenamento. In the attic a modern Christ replaces what must have been a Calvary; in him and at the feet of Christ we have the following inscription that informs us of its builders, materials and of the year.

After all, it has good proportions to which the bodies of the sacristy and ancient Baptistery and the chapels contribute. The whole temple is covered by a goth-drop-eater (ship-eater). It has two counterstrengths that exercise the function of holding the push of the vault of the major chapel.

On its side of the roof we have the only entrance cover to the parish, very mutilated by physical and human agents. It is one of the first samples of the plateresque in the province of Jaén connected to the plateresque in the area of Albacete. It is composed of a half-point arch whose dovels are decorated with Renaissance moulds and as a central motif in each of them by cherubim. It is framed by very spent pillars in which a baking is preserved. In the gears we have two splendid and very classic Renaissance medallions with human relics of profile.

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.

The present parish church of Our Lady of the Assumption, although incorporating the sacristy, which had been reformed in the 17th century by the Mannerist Benito del Castillo, rose after its collapse on the site of the ancient Gothic church of Santa Maria the Mayor. Justino Flórez projected it, between 1872 and 1910, not in a neo-Gothic style - the de Viollet le Duco - as its initial purpose, but in a Byzantine Neorromanic, due to the scarcity of resources, despite the generous contribution of the people. In addition to the mural paintings of Julio Romero de Torres, the broad portico or nártex, the cruciform pillars and, on them, the fajon arches and formers that alternate with cross vaults, the dome on the cruiser's pechines or that of the fourth sphere in the chapel of the transept, all this shows the architectural eclecticism and the historical "revival." On the outside, a single high-rise tower with arquivolta and roseton that emphasize the medieval of the whole, counterstrong, piled chairs, bones and wide steps to solve the problem of levels.

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.

This building has undergone numerous changes, both outside and inside. In the 15th century, due to an expansion, the northern cover of the church, on which a chapel is built, disappears. The current main cover comes from the church of St. John the Baptist.

It's worth a look at his facade, as it was covered by neoclassical structures. This can be seen very well in the decoration of the capital columns. In its interior, the Mudejar cover was replaced by the present one due to its poor state and in the 20th century the primitive structure was restored and stripped of its classic decoration by the General Directorate of Fine Arts.

You can see that its walls and the apse are of masonry, and that they are topped by a moulded cornice. The main cover, of silery, has a outgoing body composed of a half-point vanity with smooth archivoltas, which is supported on columns with capitals of acanto leaves. Like the other facade, it is overcome with a moulded cornish.

Inside you can differentiate three ships, covered by wooden craft, supported by stone columns. Highlights the central ship, as it ends in a barrel vault. There you will find a semicircular apse that is covered by fresco paintings from the early 16th century.