The origin of this building is a basilica in this same place in the fourth century known as the Three Saints to house the remains of the Cordoban martyrs Januario, Marcial and Faust. After the conquest by Fernando III in century XIII, on the rest of the temple where possibly there would be a mosque, the temple was raised. Although it is one of the churches founded by Ferdinand III the Saint, its appearance does not resemble the Gothic model of his time, but is the result of numerous reforms that have been the subject, the most important being the following: Medieval, two portals are preserved as well as part of the tower, which is of Mudejar style. The Renaissance touch is given by Hernán Ruiz II who built a new portal in 1542 due to the poor state of the original. At that time began the first renovation of the church, namely the main facade and the pillars of the interior, and years later is found in the basement of the temple the remains of the Holy Martyrs of Cordoba of which there were historical references. Already in the Baroque era, in the seventeenth century, the tower was finished with a steeple, the headboard was consolidated, and the interior space was reformed by hiding the armor of the primitive roof by arched vaults. In the 18th century, the Chapel of the Holy Martyrs was built. At the end of the 19th century, the architect Pedro Nolasco Meléndez planned the realization of rooms that adjoin the temple. During the years of the twentieth century, it has many reforms and was closed for some years until its reopening in 1996. In 2006, Pope Benedict XVI agreed to the declaration of the temple as the Minor Basilica of San Pedro. The church is originally Gothic in its structure, although with elements that belong to the transition stage of the earlier Romanesque. The Renaissance works are made by Hernán Ruiz II, and they reconstructed the main façade and the pillars of the naves. The interior remodeling corresponds to the later stage of the baroque, its elements being more visible because it affects the decorative elements. As its name suggests, the church floor is of the basilical type, with three naves, the central nave being of greater width and height. The head has the central apse of polygonal type, in the interior and exterior, while the lateral ones are quadrangular to the outside and semicircular to the interior. The main façade dates from 1542, also the work of Hernán Ruiz II. Its main doorway has two buttresses, and two others in esviaje close the facade laterally, balancing the whole. The main portal, located at the foot of the church, fits perfectly between the central buttresses and is composed of two bodies, the upper one centered by the image of its titular saint, San Pedro. In the interior we highlight the altarpiece of the Chapel of the Holy Martyrs made by Alonso Gómez de Sandoval and begun in 1742, as well as the main altarpiece. This main altarpiece is an outstanding work of Baroque art, made by the artist Félix Morales Negrete, his upper bodies being hired a few years later. The final gold of the altarpiece was made in 1760 with Juan Francisco Ruiz Gallardo. The altarpiece consists of a bench, with two bodies and an attic, and located in three streets. In the bank there are two doors for the altar service, and the upper bodies are articulated with salomonic columns in the first and stipes in the second, while the attic is decorated with sculptures and paintings. The image of the Virgin of Hope presides over the first body in the center of the altarpiece, between two canvases representing the Liberation of Saint Peter and Saint Peter healing a paralytic. In the second body, San Antonio Abad is flanked by San Miguel and San Rafael, while the attic is presided by a canvas of the Immaculate between the saints Faust, Januario, Marcial and Eulogio.