The town project, including the Church, was carried out in Madrid by the architect Fernando Cavestany in 1952.

The church has a basilica plan. The generous central nave is covered with lowered arches and transversal vaults.

Rising above the rest of the town, the church tower, square in plan and whose bell tower has nine small openings per side, is an immediately recognizable urban landmark, and whose abstraction contrasts with the figurative aspirations of the main building.

The Parish was inaugurated on August 13, 1964. In 1970 the altar table was moved to its current location. The Ara contains the relic of the Holy Martyrs Saint Felix and Saint Celestino.

To highlight the image of the Patron, San Isidro Labrador of great devotion, who processions every year in a pilgrimage, as well as the mosaic image of the owner, San Juan de Ribera.

Located two kilometers from Bornos, a short distance from the reservoir of the same name.

A characteristic feature of the town is its striking geometric layout: a quarter circle with its vertex facing south, which resembles the experience of the town of Esquivel, designed by the architect Alejandro de la Sota.

Fleeing from orthogonality, the town presents a fan-shaped scheme, with concentric streets of circular layout, intersected by radial streets, which achieve the desired picturesque effect of closing the urban space.

The town facilities are located at the crossroads between the aforementioned north-south axis of symmetry, currently Almarda street, and the Coto de Bornos road that crosses the town from east to west following the same curved guideline.

In the center of these facilities, the church, with a basilica plan, is a clear example of the historicist references of autarkic architecture.

The generous central nave is covered with lowered arches and transversal vaults. Rising above the rest of the town, the church tower, square in plan and whose bell tower has nine small openings per side, is an immediately recognizable urban landmark, and whose abstraction contrasts with the figurative aspirations of the main building.

With the church as the center, the town presents the particularity of having three large open spaces aligned with each other and joined by a portico, in a perpendicular direction to the axis of symmetry defined by Almarda street: to the east of the church square, there is the school, whose courtyard can be seen from the portico, while to the west, the shopping and facilities center unfolds around a closed square, called the Crafts Square.

Various types of housing were projected, being especially interesting those that solve the chamfered corners in the encounters of the curved streets with the straight ones.

According to Padre Mariscal, “the Hermitage of Calvario was built, largely with their alms and solicitude, by some devotees of this town with the surname Soto; In the years 1696, a hermit, who was called Brother Mendoza, a native of Córdoba, was collected in the hostel that is attached.

This one, with the alms he requested from the neighbors, added another room to the chapel, in a square and as a better half (...)

The monastery of San Jerónimo helped him a lot, with sustenance for himself and a lot of material for the work. The last illness gave him when his attempt was reaching perfection.

According to the Bornense historian Manuel Barra, despite this statement by Father Mariscal, the truth is that those who constantly took care of the needs of Brother Mendoza were the Franciscans of the Convent of San Bernardino de Siena.

So much so, that they made a Via Crucis (imitating the one that D. Fadrique Enríquez de Ribera had instituted from the Jerónimos Monastery), starting from the door of his Convent to the Calvario Hermitage and which is very frequented on Fridays, especially those of Lent. Some crosses and chapels that indicated the stations of the Via Sacra are still preserved.

The triangular façade stands out in its construction, which offers a beautiful niche, topped with a typically Baroque belfry.

In the hermitage, a beautiful image of San Francisco de Paula is venerated, dating from the first half of the 18th century. Other images of merit that are currently in said hermitage are: Santa Rosa de Viterbo (16th century); Saint John the Evangelist; an image of the Virgin, under the invocation of María Santísima de la Soledad; and others of less merit.

It also houses paintings of great interest, El Descendimiento(16th century) from the Italian school and which presided over the Chapel of the Colegio de la Sangre.