The origins of the building date back to an ambitious unfinished project by Pedro Díaz de Palacios, then senior master of Malaga Cathedral, who was commissioned in 1629 to build the Church of San Pedro in the Perchel neighbourhood, to support the old parish church of San Juan. For this purpose, a church with three naves, a main chapel, sacristy and tower was designed, combining classical ornamental elements inherited from the Renaissance, together with the Mudejar style of the magnificent pair and knuckle framework that covers the nave. For various reasons, this project was not completed, and only the construction of a nave was carried out, as well as the simplification of other elements in the chancel, and the planned tower was left as a belfry, later eliminated by the existing bell tower. In the first quarter of the 18th century, the monumental chapel of the Sagrario was built, in a clearly Baroque style, attributed to the master Unzurrunzaga. It is remarkable for its rich ornamentation, consisting of exuberant plasterwork and paintings, close to the Malaga painter Diego de la Cerda.

At the beginning of the 20th century and after the events of 1931 and 1936, the building being in a state of ruin, it was decided to rebuild it, according to the projects presented in 1942 and 1943 by the architect Enrique Atencia. In the restoration report, the structure of the church was respected, but two chapels were added to house the images of the Cristo de la Expiración brotherhood. Today, the building stands out for the sobriety and monumentality of its forms, together with the simplicity of its magnificent façade, made of reddish stone that stands out against the wall. It is also worth mentioning its identity values, increased in the last fifty years by the presence of the brotherhood of the Cristo de la Expiración, whose titular images have a great power of devotion and concentration for a large part of the population of Malaga.

The church has a very simple construction, with a single nave, covered with a reinforced framework, reinforced with loop braces that rest on pairs of corbels embedded in the side walls.

The pinion wall of the chancel is clad in wood, while at the base it is bare, with three oculi in front of it. On the perimeter walls, there are large semicircular arches, bent, mostly blind, supported by Doric pilasters. The upper part of the arches have stained-glass windows.

The main chapel has a chancel with a flat headwall, composed of a blind semicircular arch, with similar characteristics to the perimeter walls of the nave.

The baptismal font is located on the left side of the chancel. It was made between 1600 and 1699, in limestone, carved and polished. It consists of a cylindrical base on an octagonal section base and a circular basin with a venerated interior and exterior.

At the foot of the nave is the choir, made of wood, elevated on four jacenas, the first of which rests on two corbels and supports a balustraded parapet.