This church was consecrated in 1222 by the bishop of Zaragoza, Jimeno de Luna, although its construction did not begin until the last third of the XII century. It belongs to the Romanesque-to-Gothic transitional style. The construction materials were blocks of sandstone.

It has a church-fortress appearance on the outside, a very characteristic style in this region, with its battlement tower, parapet walk and battlement crowns. From there, you can watch another unfinished tower that was supposed to be added in the XIV century. In the XV century, an outdoor platform was added on the south side.

But the true value of this church increases when we see its two façades. The north façade has a collection of Romanesque sculptures, undoubtedly one of the richest and most complex collections of Cinco Villas and one of the most significant ones to come out of the workshop of the Master of Agüero. The façade opens in a semicircular arch, with five archivolts. These are separated by little arches with vegetal and geometrical ornaments surrounding the tympanum with an extraordinary representation of the Last Supper. The scene represented on the archivolts, using each of the voussoir, belongs to a homogeneus iconographic story, the main theme being the Redemption and Life of Jesus. The inner archivolt stands out with its secular representations: a flute player, a contorsionist, a female dancer, gryphons and harlots. All of them are symbolizing sin.

The west façade has a central tympanum with an Aragonese monogram of Christ, held by two angels. The most interesting elements of this façade are its capitals, covered in vegetal motifs, fantastic animals and harlots. The emblematic images by the sculpture workshop of the Master of Agüero can also be seen: a contorsionist female dancer, this time next to a female harpist.

Once inside the church we can apreciate some characteristics, testimony of its Romanesque-to-Gothic transitional style: barrel vault and polygonal apse with ribbed cover, creating big pointed arches on the polygon’s sides.

Originally, San Salvador was a one-nave church. Towards the mid XV century, two chapels were added at both sides of the presbitery (altar area). The other chapels were opened starting in 1545, following the wishes of Hernando of Aragón, bishop of Zaragoza and son of king Fernando II, the Catholic. By the end of the XVIII century, the El Voto chapel was added.

The inside itinerary begins towards the right side of the Epistle. In that direction we will see:

  1. Santo Cristo chapel. With a XVI century It is a polychromed wooden carving, gilded with mannerist style.
  1. The Immaculate chapel (la Inmaculada). The baroque altarpiece that we find inside the chapel is dated in the first half of the XVII century. In both sides of the chapel there are two paintings: San Pedro de Arbués (1660) and Virgen de la Caridad (second third of the XVII century).
  1. El Voto chapel. This chapel broadened its original size between 1792 and 1806, due to the “Vow to the Virgin Mary” that the people from Ejea made on January the 14th, 1773, after she saved them from a cholera epidemic. Inside the chapel there are four paintings by Luis Muñoz (1804), representing images of the story of El Voto (the Vow). The neoclassical altarpiece represents an image of the Immaculate Conception, flanked by Santa Teresa and San Juan Evangelista (Saint John the Evangelist).
  1. Saint Matthew chapel (San Mateo). Within the chapel there is a Renaissance altarpiece from 1549. There are also seven Gothic sculptures that follow the German-Spanish style from the late XV century. They are made out of hardened plaster cast and sit in a XVI century niche.
  1. Mary Magdalene chapel (María Magdalena). Here we find an icon of María Magdalena, dated in the early XVI century, and an altarpiece with the Coronación de Santa Teresa (Coronation of Saint Teresa), from the late XVIII century.

Once we reach this point, we find a treasure of San Salvador: the main altarpiece, with 24 boards painted in tempera. In international-Gothic style, also with some Spanish-Flemish Gothic influences. Blasco de Grañén started painting in 1438 and it was finished by Martín de Soria in 1476. The titular painting, El Salvador, and all the woodwork (contemporary of the resto of the altarpiece) were made by Domingo and Mateo de Sariñena. This altarpiece was hidden until its restoration by other oil paintings from 1704.

Next to the main altarpiece is the sarcophagus of Don Francisco González, priest and prebendary of this church, censor during the Inquisition and founder of the San Carlos seminary in Zaragoza. Designed in 1787. Next to the altarpiece is a relocated Renaissance pulpit from the mid XVI century.

Following our itinerary along the Gospel side (left side of the observer) we find:

  1. Sacred Heart chapel (Sagrado Corazón). It hosts a baroque altarpiece, dated between the end of the XVII century and beginning of the XVIII century. We can see the Sacred Heart of Jesus (Sagrado Corazón de Jesús) in the middle, with San Miguel at its right side and the Virgen del Carmen at its left side.
  1. Our Lady of the Pillar chapel (Nuestra Señora del Pilar). The finishings in the entrance and the cover were decorated with plastering from the First Renaissance. The altarpiece is Baroque in style (XVIII century), as well as the icon of the Virgin of the Pillar.
  1. The Holy Family chapel (Sagrada Familia). The altarpiece in front of you is dated between the end of the XVI century and the early XVII century. At both sides of the altarpiece you can see the original coat of arms of Ejea de los Caballeros.
  1. Main entrance (north façade). Right above it there is a covered balcony that used to hold the organ. Nowadays, the organ is in the choir. Its construction may be dated in the early XVII century.
  1. Baptistery and choir. Two magnificent representations of the First Renaissance in Spain. Apart from the vegetal ornaments, the medallions, typical of this style, stand out. The Choir hosts an organ built in 1882 and a set of chairs from 1609-1610, whose author is D’Orleans. The baptistery hosts a baptismal font from the late XVII century.