The church is placed in St. Mary’s Square where there is also a monument carved in marble of the Saint Patrons of Ecija Our Lady of the Valley and St. Paul both from the XVIIIth century.

The present building dates back to the XVIIIth century and was built on an older Mudejar temple from the XVI-XVIIth centuries.

Antonio Matías de Figueroa designed the principal porch of Baroque style.
 It is sheltered under a very high arch of amazing effect, giving us the present of one of the most original entrances of the Andalusian Baroque style from the XVIIIth century.
Its doors are made of mahogany and bronze nails with a storm door of mixed Mudejar-Baroque style, cylinder-shaped and covered by a fourth-of-a-sphere with tracery.

Its ground plan is rectangular, it has three naves covered by truncated domes, a very deep main chapel with semicircular vaulting and lunettos with a drum dome on the crossing.

The tower was almost totally destroyed during 1755 earthquake, when the second and third sections became really damaged.
It was built against the main porch, its design reminds us of Seville’s Giralda and has a slender body of bricks with decorated openings.
On the bells section there is a plentiful decoration of tiles from the XVIIIth century.

In the right (Epistle) nave next to the main access, there is an altarpiece that belongs to the former Mudejar church.
It is an oil on wood of St. Lorenzo, surrounded by St. Sebastian, St. Peter, St. Paul and St. Fulgencio from 1570, over an alabaster sepulchre with lying sculptures from XIVth century.
Next to this, you can see a crucified Christ from the XVIth century, an image of Our Lady of the Tears, an altarpiece of neoclassic style of St. Joseph, another retable with the Child Jesus as little Shepherd and the Simpecado of the Rocio Fraternity.

The choir stall is worth seeing, very simple, of classic lines, made by Juan de Mesa and also the oil on wood of Our Lady la Antigua by Villegas Marmolejo from 1575.

At the left (Gospel) nave it is possible to contemplate the following reredoses: the first one of Baroque style, with the Whipping scene, another one with the bust (candelero) image of Our Lord Jesus the Captive and then another reredos with Our Lady of Pilar.

The cloister is next to the Sacramental nave.
We have to highlight its archaeological collection with pieces of different periods and cultures.
One of its most exceptional pieces is the sculpture made in marble of a head of “Germanicus” from the Roman period.

It is a National Monument with the category of Site of Cultural Interest.

It is perhaps the most interesting building of Ecija’s Historical Complex; it belongs to the Gothic-Mudejar style of the XVth century and is considered one of the smartest churches of Andalusia.
At the early Renaissance and the Baroque periods the temple underwent several reforms on the tower, Sacramental Chapel, the beautiful irregular cloistered yard with its entrance door crowned by a large window with blazing figures, the choir, the chapel, the Tacas (decorative inscriptions or placards) Hall and the Sacristy. 

The present tower was built in 1766, it’s one of the most typical of the town with its huge brick body decorated with tiles of local influence motifs.

The temple inside is of Mudejar style, with rectangular ground plan and three naves covered by wooden coffered ceilings.

At the right nave (Epistle) starting at the foot of the church there is a chapel with the image of the Divine Shepherdess, then a door that gives way to the backyard and the Montero family Chapel, built in 1630 and reformed in the XVIIIth century, dominated by the image of Our Lady of Grace.
Inside the chapel, masks and items of South American influence can be seen, this is so because the person who ordered this chapel building was a man from Ecija that did several travels to the “New World” during the Conquest of America.
Next there is a reredos from the XVIIIth century carved in low relief dedicated to the Souls.

The chapel at the right of the high altar, closed with a grilled gate, houses Our Lady of Sorrows, who goes on procession together with Our Lord of Expiration every Holy Tuesday.

The Main Altarpiece of this church is considered an exceptional piece of Ecija’s artistic treasure. Paintings and sculptures make a group of great aesthetical and artistic harmony.
It is carved according the dominating style during the transition from Gothic to Renaissance periods, it has relieves and sculptures made by the circle of Jorge Fernandez and paintings of oil on wood from the XVIth century.
St. James (Santiago) image occupies the principal niche with scenes of the Resurrection, Jesus Entrance in Jerusalem, Holy Thursday Maundy, the Prayer in the Garden, the Capture and Jesus Before Pilate.
This superb masterpiece is considered as the most important altarpiece of the Archbishopric after the one from Seville’s Cathedral.

In the Gospel nave (left) we have to mention from the reredos the paintings attributed to Pedro de Campaña, the leading painter of the XVIth century Seville School and, dominating the group, the magnificent work of the Christ of Expiration, considered as one of Pedro Roldan’s masterpieces (XVIIth century).

According the legend, there is a Moor buried where the tower church –dating from year 756- is placed nowadays.
Those days the town needed to have a Cadi.
To elect him, several distinguished Muslim Holy Men were chosen to act as polling institution.
Where the tower rises today, there was a Holy Man that, noticing his party was losing, swallowed several balls from the opposite party, being so unlucky that a sentry saw him doing so and he was judged, had his throat cut and was buried in the same place where the offence took place.
A kind of burial monument was raised on the "holy man’s grave", because according Arab beliefs, the holy man’s body would filter through the monument bricks and stones along time and legal elections.
From that day on there have been many elections and the poor Holy Man has only been able to rise his head.

It is placed in the highest area of the town, at the typical street of San Antonio.

1479 is set as the year of this Mudejar church’s foundation.
All kind of reforms and additions have been made on this building, disguising so its XVIIIth century Baroque style.

We highlight the tower designed by Antonio Matias de Figueroa and built by Antonio Caballero between 1777 and 1782.
This famous tower is considered as the finest one of the Ecija Baroque style of the XVIIIth century.
It has carefully chosen stonery and tiling.

Inside the church you will find a ground plan of Latin Cross, flat head and graceful dome on the crossing with paintings on the pendentives.

At the right nave (Epistle) you can find the Christening Chapel covered by a Rococo vault and an oil on canvas from the XVIIIth century, the Chapel of our Lady of Bethlehem where you can see a Murillo inspired painting from the XVIIIth century and the “Scene of St. Giles Life” ascribed to Alejo Fernandez on the first third of the XVIth century.

The high altar is occupied by the retable of Baroque style from the XVIIIth century and is dominated in the central chamber by the image of “St. Giles” from ca. 1500.

The Sacristy has extraordinary crates carved in Rococo style and Baroque mirrors.

At the left nave (Gospel) we have to see at the Sacramental Chapel the image of St. Michael the Archangel, from ca. 1700 ascribed to “la Roldana” and placed on the Chapel access arch.
It is also worth seeing the “Christ of the Health” dominating the main reredos.

This image of “Christ of the Health” (“Cristo de la Salud”) goes on procession every Holy Wednesday; his is the Fraternity with a higher number of members in Ecija. 

The oldest details found about this church existence date back to the XVIth century.
Many and very important works were made in the building along the following century but the most significant period for it was the XVIIIth century, when its tower – the finest among the Ecija towers- was built.

In 1776 the church is pulled down because it was in ruins, leaving only the sacramental chapel, today the church.

Next to the church entrance we find a first retable to the right dedicated to martyr St. John of  Nepomuk.
The second retable is dedicated to St. Stanislaw Kotska, with medallions of Jesuit Saints.
Next to these we find the reredos of St. John the Evangelist, who goes along in procession together with Our Lady of Mercy and Jesus the Nazarene on Good Friday.

At the principal altarpiece from the XVIIIth century Our Father Jesus the Nazarene is venerated together with the images of  St. Paul and St. Joseph to His right and  St. Peter and St.John the Baptist to His left. 

If we go on with the same order we find a first altarpiece at the left side with Our Lady of Mercy, an altarpiece with an interesting painting of Our Lady from La Antigua from 1570 and another picture with Our Lady of El Carmen.

Next stands the door that gives way to the Sacristy, which contains an interesting sculpture of a crucified Christ made by Pedro Roldan in 1681; we also access to the Chapterhouse, decorated with a coffered ceiling with tiles from the XVIth century and a great picture from the XVIIIth century of iconographic significance with an allegory to Ecce Homo and Christ’s Sentence. 

The Christening Chapel has a very old font where the writer Luis Velez de Guevara was christened in 1579.

In the Sacramental Chapel there is a large altarpiece with salomonic embossed pillars dominated by Our Lord of Oblivion from the XVth century.

The doors give way to the Shrine chapel  decorated with stone chippings and a beautiful double dome.

Huge paintings can be seen in the church, like the Immaculate from the XVIIth century and St. Marina, this one of iconographic relevance, just to mention a couple.

This church’s history is very interesting.
On a former Roman palace a Mudejar Temple was risen, remaining still some items from it.

This church was the first built in Neoclassic style in Andalusia. It was designed by Cordovan architect Ignacio Tomas, who, making the most of Roman granite shafts raised the original fronts, of an unusual classicism and difficult to find by these parts.

This church’s tower-belfry is Mudejar style and was brought down by a lightning in 1892.
One of the tower bells was melted on one side by a lightning and can be seen at the exhibition of Our Lady St. Mary’s churchyard.

At the right nave (Epistle) next to the church entrance you can contemplate two Neoclassic retables with Baroque sculptures of St. Joseph and St. Peter.

The high altarpiece is Neoclassic; an interesting image of St. Barbara related to sculptoric works of Pedro Roldan is venerated here. It has been restored along the XVIIIth century. Both sides house the Sacred Hearts of Jesus and Mary.

At the left nave (Gospel) we highlight a Neoclassic reredos dedicated to the image of the Patron Saint of Ecija, St. Paul, made by Ecija sculptor Salvador Gomez de Navaja in 1575.

Inside the Sacramental Chapel the main altarpiece can be seen with an image of Jesus Without Rope, considered as one of Sevillian XVIIIth century sculptor Montes de Oca’s masterpieces.
This image goes on procession every Good Friday along our town streets.

Once you go out the Chapel you can find a retable with an image of the Virgin of Patronage related to sculptoric works of Pedro Roldan.

Next there is a Neoclassic reredos with the Baroque sculpture of St. Michael and further on a chapel with the picture of the Virgin de la Antigua from the XVIIth century.

At the foot of the church the best choir stall of Ecija can be found, carved in 1672 with medallions and relieves of Apostle and Evangelist Saints.

This Neoclassic style temple has three naves and one crossing, where Gothic vaults are preserved from its foundation period
The main entrance that opens into the España square or “plaza” belongs to the XVIIth century.
Inside this temple we will find the High  Altarpiece, considered as one of the most important ones of Ecijan Baroque period of the XVIIIth century.
In this rich composition, the Miraculous Immaculate Virgin is venerated inside the main niche. St. Domingo of Guzman and St. Francis of Assisi are on both sides of Her and St. Anthony’s Vision  is at the top of the altarpiece.

The choir has Neoclassic lines and the smaller belfry is considered an interesting XVth century work, being perhaps the oldest element of the church.
The XVIIIth century was decisive for the temple; the most important works took place along this century’s second third.

Indeed, the half-sphered dome that covers the Main Chapel, the pillars coating and the barrel vault are dated back to this period, although the marked Neoclassic appearance suggests a later work. 

There is evidence at the Town Archives of the existence in 1570 of a hermitage dedicated to Saint Anne at the place occupied by the church nowadays. 
Along the XVIIIth century important works were carried out  in the temple that gave it its present appearance.
We know that in 1741 part of the church was rebuilt and in 1763 the Main  Chapel was carved.
The works were not finished yet when the century ended.
The original tower is Baroque style, from the XVIIIth century and is very ornamented with tiles and carved bricks.
The church is made up of one only nave with a semi-sphere dome over the crossing.
This is the settlement place for the Fraternity of Yedra (Ivy); some artist of the Juan Martinez Montañes circle made the sculpture of their Christ from ca. 1630.

At the main altarpiece the Christ of the Ivy, St. Anne, St. Dominic and St. Francis are venerated.
The side retables correspond to the XVIIIth century, you can see Our Lady of Charity at the right hand, being made this image in 1963, and it goes along on procession with our Lord the Christ of the Ivy every Holy Monday.

At the foot of the nave there is a chapel on the right  (Epistle) side where you can contemplate a picture of Our Lady of Montserrat.
The Town History tells us that in 1870 a Catalonian man called Juan Alabert dedicated to carriages rental got suddenly very ill when going through Ecija; he stayed at an inn placed at the corner round the bridge –today it’s the Bar Montañes.
St. Anne’s Church monks knew about this and decided to move this man to their quarters to look after him until he became healthy.
The man was so grateful that ordered a painting of  Our Lady of Montserrat to be made with an inscription telling his story.

There was an old hermitage dedicated to St. Martin on the building site of this temple, transferred to the Minims Order in 1505.
It was the fourth convent founded in Spain, when Saint Francis of Paola was still alive.

Interesting works were carried out along the XVIIIth century, being perhaps the most important the tower building, finished off in 1757, with a design related to the Victory Tower of Estepa.

The Baroque style main entrance is carved on marble.
Its inside has a simple structure with a Greek cross plan.
We highlight the High Altarpiece from the XVIIth century dominated by the Virgin of the Victory and the Saint Christ of Confalon ( Banner).
The sepulchres of the marquises of Peñaflor are at this church’s interior.
Political event of the XIXth century affected the temple, which suffered different ups and downs until it was definitively secularized.

It dates back to the first quarter of the XVth century.
Very important works of reform were made along the XVIth and XVIIIth centuries and the tower was built in 1637.

A huge nave of great simplicity with a certain Neoclassic appearance forms the temple.

At the right nave (Epistle) there is the oil on canvas picture showing “St. Joseph’s Death”, then a reredos with a bust of Ecce Homo from 1644.

There is an interesting Baroque altarpiece dedicated to Our Lady of Loneliness in a nave next to the Epistle, called nave de la Soledad. This Marian Figure is one of the most beautiful of Ecija and was made on the second third of the XVIIIth century.
This Virgin goes on procession together with the Holy Burial Urn every Holy Saturday.

We highlight at the Piety Chapel a sculpture that shows “The Descent from the Cross” from the XVIIIth century and an altarpiece with the image of a Crucified Christ from ca. 1520.

At the Saint Sepulchre Chapel you can see one of the masterpieces from Ecija historical legacy, a valuable urn with silver and tortoiseshell applications from the XVIIIth century.
This urn will represent Ecija at the Baroque Andalusia Exhibition to be held in Granada on 2007.
Inside it lies a figure of Jesus, an important sculpture from the XVth century.

The High Chapel reredos dates back to the last third of the XVIIIth century and is dedicated to a sitting image of Our Lady of el Carmen.

At the left nave (Gospel) we have to mention several retables as the one dedicated to St. Anne and the Girl Virgin, the Sacred Heart of Jesus and to Maria Auxiliadora (Mary, Help of Christ), all of them are sculptures.
There are also two painted retables, one dedicated to St. Lucy and St. Barbara and the other dedicated to the Nazarene.

It has been declared National Monument with a category of Item (Site) of Cultural Interest.

It has been declared National Monument with a category of Item (Site) of Cultural Interest.

It was founded in 1592 and belonged to the hospital dedicated to the Holy Conception.
Its rule reflects that the aim of the hospital is assisting fourteen sick men.

The brick facade is of Renaissance style, being made up of a main body with a semicircular arch and a niche in the upper part with an image of the Immaculate flanked by coats of arms.
This group is dated circa the end of the XVIth century.

The single belfry  rises gracefully on salomonic pilasters corresponding to the XVIIIth century

The temple has one only nave with a semicircular arch to separate the altar.
You can find inside an amazing  Mudejar work of coffered ceiling, don’t miss contemplating the octagonal one that covers the altar.
 

The main altarpiece dates back to the last third of the XVIIth century and its dominant element are the salomonic pillars.
It is worshipped in him an interesting sculpture of Mother Mary (Immaculate), from circa 1600.
It shows a young maiden wearing a golden robe with flowers decoration.
Her lost in thought face is framed by undulating hair cascading on her shoulders.

Next to the altar you will find the devote image of our Lord Jesus of the Highest Pain sculptured by Lorenzo Cano in 1814.

You can contemplate at the side reredos paintings from the XVIIth century of The Loneliness, Saint Anthony of Padua, Saint John Nepomuk and the Holy Family with Saint Joachim and Saint Anne.

It was served by the Missionaries of Mary until recently.
The church has a nave and cross plan.  
The covers of this building are formed by barrel vaults and lunettos over the body and half-sphere vault over the crossing.
On the pendentives there are the coats of arms of the Patron Saints. 
The high Altarpiece is modern and presided by the picture of the Sacred Heart of Jesus.
To the right we can find a small image of the Immaculate from Montañes’ workshop (first quarter of the XVIIth century) and to the left a picture of  St. John Nepomuk.
A picture showing St. Philip Neri is at the attic.
We  highlight the “Sacred Shroud” group ( XVIIIth to  XXth century).