The Arch of San Lorenzo in Jaén was built between the 13th and 14th centuries as a part of the now-defunct Church of San Lorenzo. It is on the corner of Almendros Aguilar and Madre de Dios streets. Moorish tiles and coffered ceilings adorn the interior, which also houses a modest chapel. There, the Friends of San Antón Association has its main offices.

According to legend, Ferdinand IV the Moor was buried here after his tragic death in Jaén on September 7, 1312. This is why, throughout the centuries, the Arch has served as the site of a funeral dirge for the city's bishops.

On July 6, 1555, Maximilian of Austria, Charles I's uncle, was baptised here.

The Constable Miguel Lucas de Iranzo's secretary, Juan de Olid, was laid to rest beneath the Arch. Built in 1491 by Don Luis de Torres, son of Constable Iranzo, the small chapel was the titular chapel of the nearby Hospital de la Madre de Dios. In addition, it served as the chapel for the first Jaén Conciliar Seminary back in the year 1620.

The church of San Lorenzo was abandoned and eventually collapsed in 1825, leaving only the Arch. Its artistic treasure is split between the churches of San Bartolomé and La Merced, while the parish church and archives have been relocated to San Bartolomé.

In 1877, after a group of Jaén residents campaigned for its complete destruction, the site was designated a national monument.

The Jaén architect Luis Berges Roldán oversaw the restoration project that started in 1969 thanks to funding from the Directorate General of Fine Arts.

The church, which stood at the locations now occupied by the numbers 2 and 4, was a single-nave structure. The nearby Church of La Merced now houses many of its priceless artworks, including the famous Cristo de las Injurias canvas and the Santo Domingo and San Bartolomé de la Cuesta altarpiece.

A plasterwork pendant bearing a votive lamp hangs from the centre of the chapel's brick vault. Beautiful Mudejar tiles form a plinth along one entire chapel wall.

A crucifix against a red damask background is displayed in a niche with a segmental arch above the altar. Fine Mudéjar plasterwork forms a festoon across the length of all the tiled panels in this niche.