The Church of San Pablo was raised to replace the old Romanesque hermitage of San Blas, which had become too small due to the growth of the district. The current temple is the result of a series of additions, which gradually increased the original 14th century nucleus, the most valuable testimony of Mudejar style in Zaragoza. Its typology follows the traditional models of Mudejar churches: single nave, chapels between the buttresses and polygonal fivesided sanctuary. The interior is covered with pointed barrel and ribbed vaults. In the 15th century two side naves were added of unequal width, which completely surround the previous construction. The chapels that open up in these naves are additions from the 16th, 17th and 18th centuries.

The tower, originally situated at the foot of the temple, is now immersed in the construction. It has an octagonal floor plan and an Almohade minaret structure, with an outer tower, which envelops another interior one; the stair well is located between both. The outside decoration is centred on the upper floors to be able to be seen from any point of the city. The poverty and monotony of the brick wall is enriched with the panels of crosses with multiples arms and the friezes of interlaced arches. The upper body decorated with ceramics and the spire are added in the 17th century.

The Northern front door, know as the Gate of Tramontane or of the Holy Christ, is opened with a depressed arch. The figures of San Pedro and San Pablo appear on the jambs and on the upper tympanum seated Christ, the Virgin, San Juan, San Blas and another unidentified saint. The southern door presents the image of our Lady of the Populo and is the fruit of several interventions in the 17th and 18th centuries.

The High Altarpiece was entrusted to Damian Forment in 1515 and shows a clear relationship with other works by the author, such as the altarpieces of the Pilar of Zaragoza and the Cathedral of Huesca. Made of polychrome and gilt wooden, the central niche flancked by scenes from the life of the saint. In the centre of the garret there is a painting by Jeronimo Cosida_ mid 16th c.,Mannerist style- with the theme of the Inmaculada surrounded by the Patriarchs of the Old Testament end Doctors of the Church.