After the destruction during the French invasion of the Gothic-Mudejar church of Santa María Magdalena, located on the site of the square that now bears its name, the parish moved in the 1840s to the temple of the extinct Dominican convent of San Pablo el Real, of centennial history.
The oldest architectural remains, from the medieval period, concentrate on the apse and the chapel of Dulce Nombre de Jesus, which preserves three formidable vaults with a set of laces on tubes. The rest of the factory results from the reconstruction undertaken by Leonardo de Figueroa between 1691 and 1709, in the most exuberant Baroque style.
The artistic heritage held within impresses with its richness and aesthetic skills. Its spectacular murals, which are a celebration of the Order of Preachers and the apostolic college as pillars of the Church, are due to the paintbrushes of Lucas Valdes and Clemente de Torres. The altarpiece, assembled during the first third of the eighteenth century and in whose sculptural work Pedro Duque Cornejo probably intervened, should be considered the second in proportions of our city, surpassed only by the Cathedral of Seville. Other side altarpieces hold sculptures from Roque de Balduque (Virgen del Amparo), Juan Bautista Vázquez the Elder (Virgin of the Fevers), Jerónimo Hernández (Risen Christ Child), Gaspar del Águila (Nazareno of Fatigas) are housed, Juan Martínez Montanes (San Jose and Child), Juan de Mesa (Assumption), Francisco de Ocampo (Christ of Calvary), Pedro Roldán (Virgen de la Antigua and Seven Sorrows and the mystery of Christ and Descent) and Juan Astorga (Virgen de Presentación). Not to mention the picture collection, of which two masterpieces by Zurbarán (Saint Domingo in Soriano and the Miraculous Healing of the Devout Reginald of Orleans) stand out, exhibited in the sacramental chapel, as well as several paintings by Valdés Leal, in the Dulce Nombre de Jesus.