The current building occupies the lot of the biggest mosque and of the first Gothic colegiata built in its interior, and he/she began to get up in 1596 for agreement of the juries, according to an anonymous architect's plans, maybe, Pedro Thief of Maple. The economic recession that supposed the expulsion of the Moorish ones, the pest of 1648 and the war of Catalonia interrupted the work during great part of the XVII century. Renewed in 1683, he/she stopped in 1707 soon after Guerra of Succession again, and it was stopped up to 1731, for the lack of economic resources. The steeple began in 1797 and it took in being concluded more than 80 years, while the Baroque dome with drum and covered with glazing tile he/she collapsed in 1886, being substituted by the current one. The known managing architects of factory, besides the mentioned Thief of Maple, they are: Francisco of Figuerola, Alberto Pineapple, Jaime Pérez, the dean Ortiz, Francisco and Vicente Cuenca, Antonio Ferrer, author of the dome, and Luis Ferreres that finished the main facade.
The plant of the church is of Latin cross with very accented cruise and girola, to the style of the Gothic big cathedrals, but the language formal employee in the ornamentation is classicist: grooved pilasters, doric friezes, frontons, etc. As architectural company it constitutes an exceptional sample of the manierismo that characterized the art of the first stage of Contrarreforma, and it is linked to the assets focus of the bishopric of Cartagena. The most original space is the polygonal presbytery perforated by nine arches sustained by extraordinarily lengthened pilasters. Also, in the interior it is necessary to highlight the large windows of the cruise, the exquisite one works of the chapels of the girola, the cover of the old sacristy today museum schoolboy, as well as San Vicente's altar; and in the exterior, the two lateral covers of Baroque inspiration, the north great perron built in 1753 by the stonemason Josep Cuenca and the door of the apse, call of the Market that follows the models of Sebastiano Serlio.
In the last war it was desolated, disappearing the choir, organ, altars, images, embroideries and goldwork. It conserves some works of artistic great value however, among those that it highlights; the cross procesional, considered the best piece in enameled goldwork of the XIV century in to the Crown of Aragon; the chalice of Calixto III; the Custody bigger than the Corpus, and other transferred pieces doesn't make a lot to the old sacristy, as Santa Ana's altarpiece, teacher works painted by Joan Reixac in 1452 and the same author's charts, Santa Elena and San Sebastian, of great fame this last to be supposed erroneously that you/he/she is the portrait of Ausiàs March.
Special comment deserves the tabernacle of the biggest altar, designed by Happiness Rodríguez, without a doubt a work teacher, in which you/they also worked the decorator Guixart and the sculptor Esteve Bonet. The regular image was carved by Mariano Benlliure, inspiring by the missing person's iconography carves Gothic.
The square of Seo is one of the urban spaces of historical bigger significance: in her they took place the annual bullfights, the acts of the real proclamations, the assembly of the catafalque of Asunta in their octave, and other religious events and laymen.
The sculptures in the two pontiffs' brass Borja that run off with in the atrium of Colegiata is work of Octavio Vicent.