The church of Santa María de Tauste is the most important church in the town. It dates from between the end of the 13th century and the beginning of the 14th century. It is contemporary to the church of San Pablo in Zaragoza. In this town there is a second Mudejar tower, the tower of San Antón, which dates from a later period.

It was originally a church with a single nave divided into three bays flanked by chapels between the buttresses of the wall. The chevet had a semicircular apse on the inside and a five-sided polygonal apse on the outside. Two small octagonal towers were built at the base, between which there is also an octagonal bell tower, popularly known as “la bien plantá”.

The tower of the church of Santa María stands out for being a magnificent example of the architecture of Aragonese Islamic descent, being not only the great architectural element of the town and its most famous symbol, but also the landmark or image par excellence of the whole town and its surroundings. In this town we find a second Mudejar tower, the tower of San Antón, of later chronology.

It has an octagonal ground plan and, according to Gonzalo M. Borrás, its structure is that of an Almohad minaret, i.e. it has an inner tower inside an outer tower and between the two is the staircase. The inner tower is divided into four superimposed rooms covered by eight-sided schiffed vaults.

The entrance is at the height of the choir, at a height of about seven metres, leading to the first room (underneath there was a circular moat that was filled in during its restoration in the 80s of the 20th century).

It is located at the foot of the church of Santa María. However, we are talking about two independent buildings, and according to Jaime Carbonel’s research, when the church was built the tower already existed and it would have originally been a free-standing building.

On the outside, the decoration seems to divide the tower into several sections, but the representation on the outside does not match its structure on the inside. The decoration begins at a certain height, with each decorative panel repeated equally on each of the eight sides, framed by bands of angled brickwork. When viewed from bottom to top, the panels contain the following motifs: interlaced mixtilinear arches, loops of four octagonal arches, epigraphic decoration, a band of mixtilinear lozenges and interlaced round arches. The battlements and merlons on the terrace and the top turret complete the building, which reaches a total height of 47 metres.