Besides Siloé, Francisco Roldán, Francisco Antero, and others were involved in designing the new cathedral.
Siloé planned the main chapel in a Renaissance style, with an alternation of straight lines and curves, with profuse decoration in the classical style and highly developed entablature.

The Freyla brothers, Pedro and Miguel, worked many years on a tower intended as an emblem of identity for the city.

In 1574, work stopped for lack of money, and was not resumed until 1594, when Bishop Juan de Fonseca y Guzmán resumed the project.

The work received a new impulse at the end of the 17th century and beginning of the 18th with economic assistance from the king.
Blas Antonio Delgado was placed in charge of the new plans, with changes in the design giving more emphasis to horizontal lines.
Delgado laid out the general design of the cathedral, the elevations, the doors and the cupola, but in 1714 had to move to Jaén.
Vicente Acero took over, reworking the plan extensively, before also having to move on.
The city government approached Francisco de Hurtado Izquierdo; rather than take on the project himself, he recommended Gaspar Cayón de la Vega.
The strong imprint of Cayón de la Vega can be seen in the latter stages of construction of the building, in the vaulting, the dome, and in the portada de las Azucenas—the front portion of the building, utilizing a motif of lilies—which Acero had begun.

When Cayón de la Vega left for Cádiz in 1731, the façade was under construction according to his plans, but others such as Vicente Acero, Pachote, and Thomas added pieces that were not in Cayón's plan.
Besides Siloé, Francisco Roldán, Francisco Antero, and others were involved in designing the new cathedral. Siloé planned the main chapel in a Renaissance style, with an alternation of straight lines and curves, with profuse decoration in the classical style and highly developed entablature. 
The Freyla brothers, Pedro and Miguel, worked many years on a tower intended as an emblem of identity for the city.
In 1574, work stopped for lack of money, and was not resumed until 1594, when Bishop Juan de Fonseca y Guzmán resumed the project.
The work received a new impulse at the end of the 17th century and beginning of the 18th with economic assistance from the king. Blas Antonio Delgado was placed in charge of the new plans, with changes in the design giving more emphasis to horizontal lines. Delgado laid out the general design of the cathedral, the elevations, the doors and the cupola, but in 1714 had to move to Jaén. Vicente Acero took over, reworking the plan extensively, before also having to move on. The city government approached Francisco de Hurtado Izquierdo; rather than take on the project himself, he recommended Gaspar Cayón de la Vega. The strong imprint of Cayón de la Vega can be seen in the latter stages of construction of the building, in the vaulting, the dome, and in the portada de las Azucenas—the front portion of the building, utilizing a motif of lilies—which Acero had begun.
When Cayón de la Vega left for Cádiz in 1731, the façade was under construction according to his plans, but others such as Vicente Acero, Pachote, and Thomas added pieces that were not in Cayón's plan.
Guadix Cathedral