The foundation of this Dominican Friars convent dates back to the XIVth century thanks to the donation of the noble Knight don Lorenzo Fernandez de Tejada.

We can find on the records that important works were carried up along the XVIth and XVIIth centuries at the convent and in the church.
Between 1728 and 1776 the superb chapel of the Virgin of the Rosary and later the works were finished with St. Dominic’s Chapel.

This spacious church is made up of three naves, the central one covered with a framework of tracery, which recalls Mudejar style, and a crossing.

At the left nave (Gospel) several altars follow one another; St. Dominic the Penitent’s altar (XVIIIth century); the Shrine Chapel, the Nativity altar, the altar of St. Vincent Ferrer and St. Rose of Lima’s.

The altarpiece of Rococo style dominates the head of the nave.

At the right nave (Epistle) you can find the following Saints altars: St. Francis, St. Thomas Aquinas, altar of Blessed Juana de Aza, former altar of Our Lady’s Purification and St. Peter Martyr, all of them from the XVIIIth century except the first one.

The Virgin of the Rosary Chapel is the highest exponent of Ecija Baroque style and that deserves a special mention.
It is placed at the foot of the church and has a nave with three stretches, it is covered with a vault and a dome in front of the altar.
Baroque decoration dominates all the chapel with coloured marble, mirrors, fallen leaves…
Walls are decorated with fifteen canvases depicting the Rosary’s Mysteries.  

The main altarpiece is dated in 1761 and houses a niche with the image of the Virgin of the Rosary from the XVth century.
All the retable-chapel is thought as a glory breaking covered with rock, with cherubs and mirrors that create a tremendous scenographic appearance and movement proper to the Baroque style.

According the legend, in the early morning of the 20th of February of 1436 St. Paul, the Christ Apostle, appeared before Anton Fernandez de Arjona, son of a very devote farmer, and tied his right hand fingers so he would transmit God’s dissatisfaction with the people of Ecija.
Anton, after communicating everybody in the village the news, went in procession to St. Dominic’s Monastery and once he put his fingers on the Cross image, they turned into their previous natural appearance.
All this was enough to make Ecija have a special devotion to St. Paul.
Since then, every 25th of January our Patron Saint Image goes on procession from St. Barbara’s Church to St. Dominic and St. Paul’s.

Saint Florentina Convent is thought to be the oldest of Ecija and is one of the first to be established in Andalusia within their Order (Dominican Sisters).
The primitive workshop could have been a Mudejar style building, but today the Baroque rooms and buildings prevail.
From this former building a door with ogee arch and alfiz are preserved; through this door people come into the turnstile.
The cloister or main yard is formed by two floors with semi-circular arches on columns and is dated back to the XVIIth century.
Most of the convent’s buildings belong to the XVIIIth century, among them there are the sacristy (1708), the refectory, the church (1714), the main entrance (1759) and the bell tower.
The belfry has a prismatic composition with three sides decorated with pilasters, arches with ashlar blocks and tiles and crowned by a niche with a pediment.
The main facade, made of stone, is Baroque and framed by pairs of columns with masks decoration.
The split pediment houses a niche with the Virgin of the Rosary (Virgen del Rosario), wearing a cartouche with the year 1759 carved in it.

The church has one only nave with a through shaped cover and half-sphere dome over the presbytery.  
The high altarpiece has a great artistic quality.
The architectonic composition is related to Cristobal de Guadix workshop and the sculptoric works to Pedro Roldan’s.
The Dominican Sisters Community that lives at the convent is dedicated to the elaboration of pastries that can be acquired through the turnstile.

The cloistered convent of the Holy Trinity and Purest Conception is more known as “The Marroquies”.
It took this name because of its founders surname, the sisters dona Luisa and dona Francisca Marroqui.
Its building started by the end of the XVIth century and was finished along the XVIIth and XVIIIth centuries.
The convent preserves its monumental Baroque body with the turnstile and rule door linked to the church by a corridor which houses the sacristy and changing room.
The convent interior includes the nuns housing, the garden, the cloister and a sickbay.
A monumental entrance and a large tower of windowed balcony built between the end of the XVIth century and the end of the XVIIIth face outside the convent.
Its angular belfry or bell tower is very interesting, placed at the foot of the church.
Its first body is made of brick and the upper one is decorated with tiles on white stucco, simulating two attached belfries. It has two bronze bells from the XVIIIth century. 
In the upper part there is an inscription with the year 1760 in it.
Regarding the church, it goes along with the traditional type of Sevillian convents temples, i.e., one only nave as an enlarged box with flat head.
Its cover is wooden and its linteled, mannerist style facade is dated back to the early XVIth century.
Inside the church you can contemplate one of the best decorative programs representing Baroque style.

There are five reredoses; among them the one of the Gospel wall dedicated to St. Beatriz and the Holy Trinity reredos stand out due to their architectonic program and Baroque and Rococo sculpture. All of them date back to the XVIIIth century.

At the High Altarpiece we highlight the sculptures of the Immaculate and the Christ; the rest of the piece overflows with characteristic Baroque elements, with other less prominent sculptures.  

The St. Beatriz de Silva reredos, founder of the Order, has Rococo aesthetics. 
And finally, the Holy Trinity reredos has a Late Baroque structure with a significative central canvas decorated with stone chippings around.

It belonged to the Friars Minor Capuchin since 1692 until the secularization.

Nowadays it is served by a community of Sisters of the Holy Cross since 1924.
The temple consists of a cross-shaped nave with side chapels covered by a spherical segment on pendentives at the crossing, barrel vaults and lunettos at the central body with groin vaults at the before mentioned side chapels, being all these very simple and having no decoration. 
The high altarpiece is formed by two parts: a group of pictures (paintings) and a Neoclassic shrine that contains the tabernacle, the Divine Shepherdess ladychapel and the pictures of the Sacred Heart of Jesus and St. Joseph. The Titular Saint Patron and the tabernacle can be dated back to 1876.

The church and convent belonged to the Mercedarian Calced Priests until the secularization process.
Nowadays it is served by a Community of Salesian Sisters.
It was founded in 1509.
In 1543 the convent suffered a flow, only the church could be saved.
By the end of the XVIIIth century, the church and convent were in a dilapidated state that made necessary to proceed to rebuild them. 
By the end of the first third of the XVIIIth century the works were still being carried out, affecting the half sphere over the crossing and the convent belfry.
The Virgen of Mercy (Virgen de las Mercedes) ladychapel and the cloister were built in the XVIIIth century.
The convent belfry and the temple main entrance although restored, date back to the first half of the XVIIth century.
The church is a large nave with a crossing, lateral chapels and galleries over them.
Groin vaults cover the main nave, the presbytery and the chapels are under barrel vaults and a half-sphere vault is over the crossing.
This half-sphere vault leans on pendentives decorated with coats of arms and exhibits an intrados ornamented with protobaroque motifs.
The masterpiece of this church is the Titular’s ladychapel, started in 1739, where the halph-sphere, cylinder, lantern, pendentives and arms of the cross are coated by a very interesting decoration, which can be considered as a sample of Ecijan Baroque. 
The cloister was made along the XVIIIth; it is attached to the temple’s Epistle side, it is very spacious and very interesting. 
It is distributed in two floors with semi-circular arches on columns and parapets.
The high altarpiece is very relevant.

The altarpiece organization and its architectonic design are correspondent to Andalusian Protobaroque.

The sculptoric group in the altarpiece belongs to the Late Andalusian Renaissance.

It belongs to the Urbanist Clarissines Community.

It was firstly founded outside the town, moving later to their present location, two hundred paces far away from the centre, bordering the path that leads to the Sanctuary of Our lady of the Valley, from Whom they took their name.
This definitive foundation dates back from 1487.
According tradition, the convent received many valuable contributions since its starts, including the Catholic Queen Isabel I, who stayed at the Monastery and donated many alms to finance the choir stalls, the making of chorus books, current water was brought to the convent, etc.
Empress Mary of Austria and Infanta Isabel Clara Eugenia were also this House’s benefactresses; they donated the convent valuable relics, such as a thorn from Jesus’ Crown.
Ecija’s noblemen and Town Council showed the Franciscan monastery convent their affection.
The church is a large nave covered by barrel vaults and pendentives on the main nave and halph-sphere vaults on the ante presbytery.
It is richly decorated with plasterworks, pictures of the Marian Mysteries and Franciscan scenes, all of them of poor artistic value but with an acute ornamental sense.
The temple was built by the end of the first fourth of the XVIIth century by Ecijan master builders.
The High Altarpiece is made up of two parts:
the first is  a large central group with the Demonstrator and lateral boxes for St. Joseph and St. Joachim images; under this there is a tabernacle with a halph-sphere small vault crowned by the lantern containing the Immaculate sculpture;
The second part of the altarpiece completes the chapel head and has different artistic groups of medium artistic value outstanding one relief of St. Clare and the Saracens story from ca. 1630.

It has belonged since its foundation to the Discalced Carmelite Friars.
The church and convent were left by the friars during the secularization and came back in 1910.
A small part of the monastery was transferred to the friars, the rest became a Home for Old People.
The temple building started ca. 1601.
In 1612 a lightning destroyed part of the building.
Along the great Ecijan Baroque century the convent was enlarged, the church facade was made and the temple decoration started.  
By the end of this century the church had suffered many transformations that made of it an exceptional Baroque jewel.
The temple is a large, Latin-cross-shaped nave with independent lateral chapels.
Barrel vaults and pendentives on the main nave and halph-sphere cover the building over the crossing.
Its extraordinary value is given by the ornamentation based on pictorial motifs and the plasterwork with the dynamism conferred by the stone-chippings lines that, together with the splendid polychrome achieve one of the most successful Baroque samples in a town where such style displays so many exceptional examples. 
At the High Altarpiece the Virgen of el Carmen stands out dominating the main ladychapel; at both sides of Her there are the smaller figures of St. Joseph, St. Angelo, St. Mary Magdalena of Pazis and St. Theresa of Jesus.

There are several Saints sculptures at the lateral bays or spaces between columns.

The top is filled by the Immaculate, the church’s Titular.

The convent is situated on a former Mudejar palace; many of its rooms are decorated with splendid Mudejar plasterworks, well preserved because since 1630 these rooms have been occupied by the community of Discalced Carmelite Sisters (cloistered nuns).

The main facade is very interesting.
It is made up of two bodies, the first one formed by a semi-circular arch of strong voussoirs inscribed into an alfiz or stone square panel with an inner line decoration of typical Gothic work and showing the Portocarreros’ (right side) and Guzman's (left side) coats of arms, crowned by eagles figures.  

At the upper body there are three niches crowned by ogee arches with abundant Gothic decoration; in the central niche there are the pictures of St. Joseph and the Discalced Carmelite Order coat of arms.  

Over these there is a pelican at the centre of the composition and at both sides there are marine cables.

The huge facade belongs to the Gothic-Renaissance transition with a slight “Manueline” (Portuguese Late Gothic) decoration, as can be seen by the marine motifs usage.

The wooden church entrance door dates back to the second half of the XVIIIth century, although it has been restored many times; it comes from the former Honour Hall of the palace’s upper floor.
The monastery church was raised in the XVIIIth century, it has one only nave covered by barrel vaults and pendentives and a halph-sphere over the presbytery.

Inside it there are Baroque reredoses with diverse quality images; we highlight the images of St. Peter an also the Immaculate, both of the form Pedro Roldan’s workshop, also a Baby Jesus from Ribas and an interesting Christ from someone of Alonso Cano’s circle. 

This convent indoors is exceptionally interesting, as numerous and important remains from the former XVIIIth century palace are preserved, but it is also quite inaccessible as it belongs to a cloistered Community.