The origin of this church is like many others in Seville since the reconquest by Fernando III El Santo. Although the possibility of using the building of an old Arab mosque has been pointed out, there is no documentary confirmation or vestige that indicates it. As it happened with other parishes of the Mudejar type, it had to be rebuilt by Pedro I, as can be seen from the characteristics of the main portal. The current construction of the church is from the fifteenth century
The parish of San Martín acquires its importance during the sixteenth and seventeenth centuries that Seville was the port of Indians
The building highlights the uniqueness of its layout for being one of the few examples of Gothic-Mudejar style church, a single nave covered with vaults of sexpartite ribbed veins typically seen gothic compared to the other Mudejar churches
In the church it is located at the confluence between the churches of San Andrés and San Juan de la Palma and thus understand its medieval Islamic configuration.
In the earthquake of Lisbon in 1755, the temple suffered serious damage that was repaired in 1756. In the nineteenth century it became directly dependent on neighboring San Andrés, with the cults in it scarce and being the headquarters of the brotherhood of La Lanzada.
Externally, the church has two facades, the main one facing the aforementioned Plaza de San Martín. Its very modest Gothic façade with double arch in the shape of a point, is advanced with respect to the main wall and topped with a simple roof of tiles which is built in stone with a pointed wall bent and slightly flared. The jambs, generate archivolts, being the most internal made with half a bocel, ending in the upper area with a cornice.
Next to this door appears the tower, of low height and all of it made of brick, typical mudejar material, in whose upper body of bells open the hollows, finished in a horseshoe arch framed in alfiz and seated on a simple impost. The tower is covered to four waters of Arab tile in whose center an octagonal pillar appears with a vane
The other facade is located on the side street, called Divina Enfermera, which is the usual access. shows us a simple cover of neoclassical lines between two buttresses; and the hollow occupied between Tuscan pilasters, with enough dimensions for the processional steps to pass through and is crowned with a triangular or straight pediment.
From its interior we can see its main altarpiece, which was designed in 1606 by the Italian architect Vermondo Resta, and made by Diego López Bueno. Its different spaces are organized through columns of Corinthian style and fluted shaft. The whole set was completed by Gaspar Ragis, who applied polychromy until 1611.
Great artists intervened in the realization of this beautiful Renaissance altarpiece: for example, it has images of Andrés de Ocampo and Diego López Bueno himself and with paintings by the Italian Gerolamo Lucenti of Correggio. This altarpiece would later be modified in the last years of the 17th century, when it was placed the central dressing room that today presides over it.
The presbytery has a rectangular plan with two sections with ribbed vaults with angular and spinal nerves typically Gothic. It is accessed from the ship through a slightly pointed triumphal arch. It constitutes one of the few examples of ship with properly Gothic forms besides the church of Santa Ana and the own cathedral
On both sides of the nave there are different chapels. On the Gospel side, in its first section, the Baptismal chapel is opened, a square-floor enclosure with a vault with a recessed edge.
The next chapel, located on the same side of the nave, opens onto the second section and occupies the first body of the tower. It has a square floor covered with a vault of eight panels over sharp corner trunks at the corners and finished with a sixteen-sided molding.
Continue on the left side of the nave the Sacramental Chapel open on its third section, with a slightly rectangular floor covered with an arched vault.
The sacristy is also located on the left side of the nave with access from the fourth section of the nave. It has a rectangular floor plan covered with a simple alfarje. It has access to the presbytery through a small room that in turn connects with the Chapter room, which is currently very renovated.
On the side of the Epistle a chapel with access through two pointed walls opens on the first section of the nave. It has rectangular and raised floor of two heights, the lower covered with wooden alfarje made in the nineteenth century, which is the staircase that gives access to the upper floor.
In the third section of the nave on the side of the Epistle opens the chapel of Our Lady of Repose, later called the Divine Shepherdess by moving to the chapel the image from the temple of Santa Marina. It has a rectangular floor plan and consists of a tile base at the beginning of the 17th century, decorated with grotesques and shields.
Distributed in other corners of the church are the titular images of the Brotherhood of La Sagrada Lanzada, which would be established in this church from the year 1932. Especially the Holy Christ of the Sacred Lanzada, Our Lady of Guidance, (both works of Illanesde 1929), La Virgen del Buen Fin (work by Juan De Astorga of 1810) and San Juan Evangelista (Anonymous author of 1703), occupy the front of the Sacramental chapel, a small space covered by a 15th century vault.
It also has the Image of Our Lady of Divine Hope Nurse (Century XVI), of great importance and devotion.
As a curiosity, it must be said that in this church the famous image maker Juan de Mesa was buried, as it reminds us of a commemorative ceramic plaque that appears on its lateral façade as well as a replica of the Holy Shroud of Turin.