This church is one of the most important of the fourteen founded by Fernando III, if we naturally exempt the Cathedral. Located in the neighborhood of Santa Marina called the neighborhood of the bullfighters since in fact directly opposite is the monument to Manolete. Located in an area of streams which were areas of infection and transmission of various diseases that decimated the population from the late sixteenth century until the middle of the seventeenth century. As was usual in the parishes, Santa Marina was in charge of distributing the necessary resources in the fight against epidemics. The church was in charge of distributing bread, fruit or chickens among the most disadvantaged and even resorting to the processions of devotional images requesting their protection. These were difficult times and the faithful flocked to this parish in search of spiritual assistance. On the other hand, small assistance hospitals were organized around the parish. The neighborhood in the Late Middle Ages Low Middle Ages was the place where the Cordoba potteries were concentrated. Nearby was also the famous Puerta del Colodro, of which today there is only the name, in memory of Alvar Colodro, the first to climb the wall that would start the process of the reconquest of Cordoba. Santa Marina was built on an old Visigoth church and became a repopulating nucleus. His advocation is related to Marina, a Galician martyr of the second century. The little that is known is that she was the daughter of a pagan aristocrat who, when his wife died, entrusted the education of his daughter to a Christian nurse who knew how to transmit love to Christ. The story tells that the governor of Galicia, fell in love with her, but before his rejection he decided to torture her and lock her in jail. There she was tempted by the demon in the form of a dragon, which she defeated by nailing the Cross of Christ. Tradition states that she was finally executed by beheading, and that from her head sprung three fountains of Santas in which San Fernando was cured of a Child’s disease San Fernando had a great devotion to this virgin and the faithful gave her great veneration. The church of Santa Marina stands out for its exceptionally solid and austere appearance. In spite of the simplicity and sobriety of the architecture of Santa Marina, the decoration of its reliefs is treated with a lot of imagination, especially in its covers, of evident Burgos influence and that offer curious animalistic reasons. The main facade offers the aspect of strength of the faith, four thick buttresses staggered. Its cover is of arches of primitive Gothic style slightly pointed and with Mudejar influence, decorated with animal and vegetal reasons. The north portal is more original, with a triangular top decorated with diamond tips that houses the flared door and decorated with saw teeth. The figure of Santa Marina is located in a small niche The central rosette is medium in size. It is decorated with a solid circular core with an eight-pointed star, from which arched horseshoe arches of Mudejar style emerge. The tower is of Renaissance style, work of Hernán Ruiz II. It is formed by two bodies of blocks of quadrangular plan, the first is decorated with twelve lion heads and the second one houses the body of bells with shields of Leopold of Austria in their angles. It is topped by a stone dome and a small octagonal body that supports the weather vane. Structure and central nave The evolution of the Santa Marina building has suffered different traumatic episodes that have damaged it, such as the earthquake of 1680, the Lisbon one of 1755, and the fires of 1880 and 1936. The damages were solved with the different reforms that They were modernizing the temple. However, despite the Baroque reforms masking the original structure of the church, later the works have recovered their medieval appearance, being one of the “fernandina” churches that best maintains it. The plant of the temple is rectangular type of three naves separated by pointed arches on compound pillars, and its length is only surpassed by San Pablo. The central nave is taller and covered with Mudejar coffering, and it widens as it advances towards the feet, in reverse with what happens with the aisles. As usual, there is no cruise, but a head of three polygonal apses. The main chapel is covered by a ribbed vault, it has its front with three Gothic windows, an arcosolium and communication spans with lateral apses. The apse of the epistle still retains its original structure, however the gospel has been very transformed. The temple underwent important reforms already at the end of the 14th century. At the beginning of century XV the Chapel of the Orozco would be finalized and is where a Brotherhood at the end of century XV would be instituted. Today this place is occupied by the Sacristy. In 1630 the apse of the gospel was again transformed to house the Chapel of the Benavides there. The enclosure houses the Baptismal Chapel in the apse of the Epistle and the spectacular Chapel of the Tabernacle. Advancing from the feet to the apse, the first canvas that is contemplated represents the titular saint and is signed and dated in 1678. It was made for the missing main altarpiece and is one of the best paintings of Fray Juan del Santísimo Sacramento. It represents Santa Marina in one of the episodes of his temptations, attacking with a lance in the form of a cross against a dragon that symbolizes the devil. Above, a cross has been represented on which the Holy Spirit is in the form of a dove holding in its beak the laurel wreath, symbol of the victory of good over evil. Beside it is an anonymous work of the eighteenth century that represents San Joaquin and Santa Ana teaching reading to the Virgin, a theme that persists from the sixteenth century, coinciding with the rise of the cult of Santa Ana, the mother of María. Further on you can contemplate a beautiful Annunciation of the XVII century and Italianate aesthetics. It is interesting the detail of the dove, sign of the Holy Spirit, which breathes its breath on the surprised Virgin. This theme is one of the most represented in the history of Christian art, since it is not limited to collecting one of the episodes of the life of Mary, but refers to the origin of the Incarnation. It embraces the central mystery of the Christian faith, in which God renounces his dignity and is reduced to the human condition, for the love of man. The reiteration of this iconography is justified by the interest in linking the Redemption with the freedom of Mary. It is up to her to accept the mission that St. Gabriel announces to her and unleash the process of the salvation of humanity. The altarpiece of the Main Chapel has paintings by Antonio del Castillo and sculptures, such as the Virgin of the Light by the Cordovan sculptor Gómez de Sandoval. The temple houses the processional images of the brotherhood of Our Risen Lord and Our Lady of Joy.