This temple was consecrated in 1174 by the bishop of Zaragoza, Pedro Tarroja. It is a church-fortress, with Romanesque style although with some transitional Gothic elements. The construction materials are blocks of sandstone.

Of the two façades, only the south façade still has the original Romanesque style, with Cistercian reminiscences. On it you can see the series of archivolts and attached columns, all of them with geometrical elements and floral ornaments. In the tympanum we find an Aragones monogram of Christ over a segmental arch from the Baroque period. In this very same south side you can see the space of an old sarcophagus, which has the oldest example of the coat of arms of Ejea de los Caballeros on top of it.

The west façade has greatly changed, due to a renovation that took place between 1649 and 1650 and that also affected the bell tower. Both the composition and the structure of this façade belong to the baroque style. The two sculpted basic emblems of Ejea are the main standouts: the one with the band (the oldest one) and the one with the knight.

Inside, there is an only nave covered by a barrel vault. The apse, at the beginning of the church, is polygonal and with a blind arcade with trumpet-shaped hollows and ribbed cover. The arcosoliums were opened between the buttresses as of the XV century.

Starting from the west entrance and following the right side (Epistle side) we can see:

  1. One-pieced baptismal font. Probably from the same age as the church’s construction and, thus, of Romanesque style.
  1. Virgin of the Pillar chapel (Virgen del Pilar). Hosts a baroque altarpiece (end of the XVII century and beginning of the XVIII century) with a representation of Our Lady the Virgin of the Pillar in the middle. At the sides we find San Francisco Javier and San Anthony of Padua. On top of the altarpiece, Anthony the Great (San Antonio Abad). This chapel was financed by the prebendary Bernardino Mulsa.
  1. Santo Cristo chapel. Paid for by the village, as indicated by the original coat of arms of Ejea, placed on the finishing. Cristo Crucificado (Christ crucified) is dated in 1609. Its perfect carving and the crudity of the suffering in the face of Jesus attracts all of the attention. The rest of the altarpiece was finished in the early XVIII century.
  1. Saint Joseph chapel (San José). Displays a baroque altarpiece from the year 1728, representing Saint Joseph in the middle. In addition, over the small altar, we can se the head of John the Baptist –San Juan Bautista- (baroque style, XVIII century). There is also a minuscule Romanesque baptismal font.
  1. Santa Tecla and the Holy Physicians Saint Cosmas and Saint Damian chapel. Inside this chapel we can find a marvelous altarpiece from the Late Gothic, dated between the end of the XV century and the early XVI century. Donated by the Alias family, whose coat of arms can be seen on the dust cover. The finishing of the chapel is a rib vault.

We are now facing the main altarpiece, of baroque style (1699-1734), churrigueresque due to the excesive ornamentation. In the middle we can see the Holy Mary (Santa María), a Gothic carving from the XIV century. Over it is John the Baptist, the oldest patron saint of Ejea. And over the patron saint there is the coat of arms of Ejea, the one with the Knight in this case. At boths sides of the Virgin we see Saint Joseph and Saint Joachim.

In the left side of the apse we can see a Romanesque relief from the late XII century. It is an Annunciation that still preserves the original polychromy. This relief was found in the church of San Salvador and then relocated in this church of Santa María. It could have been part of the cloisters in San Salvador.

Following our itinerary we continue along the left side (Gospel side). We will find:

  1. Coronation chapel (Coronación). We can contemplate a magnificent altarpiece from the Aragonese First Renaissance, dated around the year 1521. Its authorship has been attributed to Martín García and Antón Aniano. It hosts the following iconography: Annunciation, Nativity, Epiphany and Resurrection (on the bench); Nativity of the Virgin and Immaculate Conception (left side); Coronation of the Virgin (central line); Withsuntide and Dormition of the Virgin (right side). This altarpiece was donated by the Bayetola family, whose coat of arms can be seen on the dust cover. A Spanish-Flemish Gothic mural painting (XV century) was discovered on the chapel’s ceiling, representing the Tree of Jesse (Árbol de Jesé).
  1. Saint Blaise chapel (San Blas). The altarpiece is baroque in style and was financed by Catalina Palacios in 1772. Its iconography represents Saint Blaise, Saint Benito, Saint Scholastic and Saint Anthony of Papua. The chapel is covered by a rib vault. On the left wall there is a door that leads to the pulpit, a fascinating piece of flamboyant Gothic style from the late XV century or early XVI century. Over the pulpit there is a strange Gothic calvary that indicates a crude sensationalism. Inside the chapel there is a beautiful wooden female bust (Renaissance, XVI century).
  1. Saint Anne chapel (Santa Ana). There is an altarpiece with paintings from the first third of the XVIII century dedicated to Saint Anne, Saint Gregory of Nazianzus, Saint Joachim, Saint Augustine and Saint Thomas of Aquino. On the top corner you can see the coat of arms of Francisco Pérez de Luna, the donor. Right by the entrance, in the finishing, there is a plastering in flamboyant Gothic style. From the same time are the mural paintings that are still preserved on the chapel’s vault.

When we reach the spot from where we started our itinerary, we find the enormous choir. Its construction is subsequent to the church’s, precisely from the XV century. The banister is made of an exquisite flamboyant Gothic plastering from the late XV century or early XVI century. The organ also stands out. It is a mannerist piece from the early XVIII century.