Iglesia Parroquial de Santo Domingo de Guzmán.

Its construction belongs to two architectural orders: the primitive ogival, already much reformed, and another baroque that invaded the entire Church. The date of its construction is unknown, but, if we accept the theory of Fray Pedro Mariscal de San Antonio, it must be assumed that it was built at the end of the 15th century or the beginning of the 16th. What is certain is that in 1559 Hernán Ruiz (who was Master Master of the Cathedral of Seville) signed a contract to remove "the four old pillars and the stone from the movements of the arches, with pebbles, lime and sand". The current four columns of the temple are not the ones that Hernán Ruiz promised to do, because in the s. XVII a great work was done. The existence of the pillars prior to the signing of the contract by Hernán Ruiz and the testamentary provisions of some people to be buried in the Church of Santo Domingo, with a date prior to said commitment, is what makes us date this building between the ss . XV and XVI.

It has a rectangular plan with a transept and three naves. The façade is very simple, divided in two by a pediment. Its lower body lacks ornamentation; only the doorway breaks this simple monotony. The upper body, triangular, neoclassical, adorned with four attached columns, on which a small triangular pediment rests, in whose tympanum there is a tile of the owner of the same, Santo Domingo de Guzmán. Attached to the façade is the bell tower, 31 meters high, built in 1792.

The most valuable piece of this church, archaeologically speaking, is the stone or altar on its façade, embedded to the right of the main door:

HIC. RELIQVIAE. SACORV.
MARRIAGE. ID. sc. TAKE.
sc. DIONISI. SACORVM. COSME.
ET. DAMIANI. sc. AFRE.
sc. SEBASTIANI. sc. SABAE.

According to Rodrigo Caro "something is missing from the beginning, and everything that can be read there tells how the relics of the holy martyrs St. Tomé, St. Dionisio, St. Cosme and St. Daniel, St. Afra, St. Sebastian, St. Sabas were there. ".

Inside we can highlight the altarpiece of the High Altar, in Baroque style, composed of three streets with niches, separated by Solomonic columns. The niches of the side streets are occupied by sculptures that represent the four evangelists and the bishops San Isidoro and San Leandro of Seville. In the central street, one of the niches is occupied by a baroque sculpture that represents the Immaculate Conception; on it an image of Sto. Domingo and in the lower part a wooden carving from the s. XVII that represents the child Jesus and is attributed to La Roldana.

The Chapel of the Tabernacle, where a precious image of Our Lady of the Rosary with the sleeping Child God in her arms is venerated, has a better half with a lot of art executed, with fretwork and plaster rosettes. As for the image, the name of the sculptor who made it is not known, but he must have been a good teacher, otherwise he would not have achieved the great beauty and paleness that this image has. The same does not happen with the patron saint, San Laureano, whose patronage is well documented: he was elected patron by popular election, although he was not solemnly confirmed until September 19, 1888 by Leo XIII.