Work collected in: Fernández García, Noelia. De la reconstrucción a la renovación. La arquitectura religiosa durante el franquismo en Asturias (1938-1965). Gijón: Trea, 2021. 

The plan of this temple is a clear example of Luis Moya's knowledge of Byzantine architecture. In fact, it could be said that we are facing a reinterpretation of this architecture, revised by the Italian Baroque. In this sense, we can find influences from Santa Sofía - it joins the two hemicupolas to obtain a diaphanous space, assuming this is the step prior to the ellipse -, from Santa Irene - where we find two domes, one on a circular base and the other already pointing to the ellipse. –, from the temple of Saints Sergio and Bacchus and Saint Vital of Ravenna.

On the other hand, the Baroque revision, specifically Roman, is closely related to San Carlo alle Quattro Fontane, since the construction was carried out by building two elliptical cylinders, rhythmically alternating chapels on the inside - referring to the Pantheon and Santa Costanza in Rome - and niches on the outside, which gives it a plastic expressiveness that can be related to the concept of "curve-countercurve", so present in the architecture of the Baroque.

The dome is one of the greatest achievements in this architecture. It was achieved through the creation of a total of twenty-two pairs of arches, each one independent from the rest, crossed and supported by all the others – except for its parallel. In this way, a dome was achieved that draws directly from Hispano-Muslim architecture and Baroque architecture. On the other hand, the fact that the crossings of arches were not made in the central area of ​​the dome, allows the creation of an opening, which illuminates the space, and which is crowned by a lantern, also following the classical tradition, especially the baroque.