Architecturally it constitutes a temple of Gothic-Mudejar style. It was probably founded during the thirteenth century, although its oldest remains that have survived date back to the fourteenth century; later it would be remodeled in the XVII, XVIII and XIX centuries.
In its initial period the temple had the three usual ships of the Mudejar churches of the time. However, the important reforms and extensions to which it was subjected over time have resulted in a series of transformations interior and exterior of great importance, among which highlight its widening in two new side aisles more to get now to the number of five, and the creation of an important series of chapels, giving all this place to a temple of irregular plant.
The tower-façade, in the Mudejar style, is located at the foot of the church and has a blind ogival arch at its feet with a bell and cross body in the 18th century baroque style. It is topped by oval spire with ceramic coating and vases of the same material on the flanks. Next to the tower is the ceramic altarpiece of “Ntra. Señora de la soledad”.
The cover of the epistle is Mannerist style made by Diego López Bueno and presents vain lintelled with broken alfiz, topped with pediment match with sculpture of San Lorenzo Martyr in its niche, and on the sides high reliefs with the arms of the Saint and two grills on fire. It is flanked by ceramics dedicated to the souls, to Our. Father Jesus of the Great Power and to Maria Santísima of the Sweet Name and by sculpture of Cardinal Spinola.
The cover of the gospel presents curved pediment with pilasters on the sides in whose tympanum are the grill and the palm of San Lorenzo.
Highlights the main altarpiece, which is composed of bench, two bodies and attic, the architecture and structure of it was made by Martínez Montañés who started the works in 1632. The tabernacle had been made before, by 1625, by Diego López Bueno . In September 1645, due to controversy and disparity in the development of the work, Montañés transferred Felipe de Ribas, the execution of the imagery, being the sculptures of the crucified, St. Lawrence and the angels, work of the brothers Felipe and Francisco Dionisio de Ribas, made in 1652.
El Sagrario is the work of Diego López Bueno of 1625 as well and counts in the first body with paintings by Francisco Pacheco. On both sides of the main altarpiece are paintings by Juan de Uceda and Francisco Pimentel. The chapel of the Conception is presided by an altarpiece made by Francisco Pacheco in 1623.
It is a temple with five naves, separated by quadrangular pillars that support pointed arches on those that support the roofs, in the form of a trough with stringers in the central nave and hanging on the sides; with square Mayor Chapel and choir at the feet. It presents a vault of half orange on pendentives on the presbytery and ashlar masonry of the baroque choir of the XVIII century, work of Juan Leonardo.
If you access through the main door in the nave of the Epistle, we will see Altarpiece of “Our Lady of Carmen” work of the fourteenth century with canvases of “Santo Domingo, San Francisco and Santos Juanes.”
Continuing the epistle is the Chapel of the “Sweet Name” presided over by the titular images “Our Lady of the Sweet Name” and “Our Father Jesus before Annas”, works of Castillo Lastrucci (1624) both of Baroque style.
Located at the foot of the epistle is the chapel of the “Virgin of Rocamanor” fresco of the fourteenth century Gothic style.
Continuing the other nave The altarpiece of “San José con el Niño” is the work of Pimentel and the Baroque-style headline by Cristóbal Ramos.
We continue with Painting of “La Sagrada Familia”, of Renaissance style, made by Villegas Marmolejo (1595) and it is located in the altarpiece of “Santo Rostro”.
Painting of “the Annunciation” and “the Holy Family” both by Villegas Marmolejo (XVI) and Renaissance style.
In the sacramental chapel, work of Felix Romero (1699) is the altarpiece of “the Immaculate Conception”, made by Paniagua (1703) and flanked by “San José” and “Santa Ana with the Virgin”, and in the attic a “Child Jesus”. The chapel is adorned by the angels of Hita del Castillo.
The altarpiece of “the Virgin of Granada” and the “Crucified”, both of Baroque style, are the work of Fernando Barahona (1682). They are presided over by sculptures of the titular works of Roque Balduque of Renaissance style (1554).
Altarpiece of the “Santo Cristo del Amparo”, Baroque style, is the work of Fernando Barahona (1682) presided over by baroque owner made by Dionisio Rivas.
Chapel of the “Miraculous” presided over by modern carving of the owner and mural painting of the “Christ of fatigue” work of the sixteenth century.