The parish of San Lorenzo has its location in the neighborhood of La Ajerquía and its foundation dates back to the thirteenth century on the remains of a mosque in the suburb of Almunia de al-Muguira which is part of its minaret. Like the rest of the churches of Córdoba, the building is transformed with additions and reforms and restorations throughout the 20th century, giving rise to a Gothic-Mudejar structure composed of three naves. Of all, the main chapel has two sections, one straight and one polygonal, which is covered with groin vaults with spine. However, the last most representative element is the final body of the tower made by Hernán Ruiz the Younger in 1555. However, the building itself is not only the main and artistic element of the whole, since the mural paintings of the 14th century, which are located in the greater chapel, they are of the best works of this type in Andalusia and with influence Italian influence. These paintings had been covered in 1687, but they were discovered after the temple fire. The theme corresponds to the Passion, with the Annunciation and a gallery of saints and prophets. In the spandrels of the triumphal arch appear the Virgin and the archangel Saint Gabriel, with the Eternal Father in the key of the arch. The apse first shows the saints and prophets among the windows, included in false polylobulated niches. Among them was San Lorenzo, disappeared when the central window was enlarged in one of the restorations carried out in the building. In the upper register is also shown in the murals the Passion Cycle with the scenes of the Prendimiento, Judgment before the high priest, Jesus with the cross on its shoulders, Crucifixion, Burial of Christ and Resurrection. Ultimately culminating the pictorial works, we find in the vault that covers this space, numerous angels and seraphim, in a majestic break of glory. These works were made by at least two artists, according to the analysis of the compositions and volume treatment. One of them was in charge of the narrative scenes and the angels. In these, the figures are life-size, the profiles of the contours are made with very thin and thin strokes. The colors are applied through transparencies, using a more vivid chromatic range for the angels. Both sets had applications in gold, today losses. The funds used are neutral. Instead, the group of saints are occupying niches, their figures are much more volumetric and different treatment of physical features.