The Parish Church of San Juan Evangelista acquired its current appearance in the 18th century, modest and austere Baroque, far from the later eighteenth-century pomposity.

It has a rectangular floor plan, with three naves covered with a vaulted ceiling in the central nave and a barrel vault with lunettes on the sides. The main chapel, also rectangular in plan, is covered with a simple barrel vault, decorated with fresco paintings by Muñoz Barberán inspired by the Apocalypse, the book of the titular of the temple.

The supports are square pillars with attached pilasters that contribute to the cruciform appearance of its floors. The triumphal and transverse arches, all of them semi-circular, start from the pillars. Above the transept, there is a half-orange copula, on pendentives, with four óculos that provide natural light for the fresco paintings by Muñoz Barberán from 1968, referring to the Assumption of the Virgin. Two of the four pendentives also belong to the same artist, dedicated to the evangelists, accompanied by their respective symbols, whose work was cut short by the 1968 earthquake, when the artist, on his own initiative, decided not to continue, possibly for fear of a repetition of the earthquake and the risk involved in working permanently on scaffolding. The other two represent medallions, one with the cross of Santiago and the other with a chalice.

On the outside, the building has an austere ashlar stone façade with few concessions to decoration. The access to the first section is formed by a semi-circular arch, the keystone of which is decorated with the cross of Santiago, the military order under whose rule the church was built. The second section rises from the plasterwork that acts as an entablature above which there is a quadrangular opening that is enclosed and flanked by decorative geometric motifs consisting of pyramids on prismatic floors, crowned by balls, very typical motifs from El Escorial of early 17th-century. The keystone of the lintel of the quadrangular opening, which is decorative on the outside while providing natural light for the choir, contains the ornamental motif of the keys of St. Peter. On top of this new dust cap, on which the aforementioned decorative elements are repeated, on both sides of a cross.

To the right of the façade is the tower, with three sections and a pyramidal top in the form of a capital, where the aforementioned geometric ornamental motifs are repeated.

Ángel Ríos Martínez
Official Chronicler of Blanca