This Church comprises a single nave and a rectangular chancel; its façade is dominated by a tower-shaped volume that takes up the nave's first quarter and, much like a façade-tower, gives this building a somewhat militarised and defensive look, doing justice to its reputation of fortress-Church.
In fact, this tower-shaped volume is the only one of its kind in the panorama of Portuguese Romanesque architecture: this volume takes up the entire width of the Church and, fulfilling the role of a west façade, it shapes a vertical structure that rises just above the nave's level.
But it is in terms of its internal space that this volume shows an extremely original composition given the fact that it creates, in this part of the temple, a solution comprising three narrow naves, with parallel stonework vaults, one for each bay.
Three round arches rest on two high and robust square pillars, which have half-columns addorsed to three of their sides. These pillars, with the help of the external buttresses that end just below the cornice, are the ones that support the entire structure.
The central arch is much higher than the other ones, rising right up to the nave's panelled ceiling.
Accompanying the level of the arches, the small central nave's vault is higher than the lateral ones; it is also supported by a small transverse arch resting on corbels. Two longitudinal arches rest on columns whose carved capitals complete this ensemble.
In these capitals we can find vegetal and anthropomorphic themes, such as the representation of the seated man or of the man being swallowed by animals, a common theme on the Braga-Rates axis.
Beyond these arches, and leaving these small naves behind, the wide spatiality of the single nave appears in a contrasting way. So, its amplitude shows, in addition to its great height, that this was an exceptional place in terms of the Romanesque scale that was being used within our territory at the time.
Further ahead, the triumphal arch, which is pointed and surmounted by a framed oculus, comprises three archivolts resting on colonettes embedded on the wall, with capitals that are also decorated; these were carved using granite with a finer grain than the one that was used in the rest of the Church, which also allowed giving a more refined and defined treatment to the sculpted shapes.
Here, there are monsters swallowing naked figures that are hanging from their mouths by the legs, a subject with clear origins in Braga and that is also repeated in the main portal and in one of the high capitals from the nave's first bay.
In the archivolts we find denticulate motifs. However, given the great extension of the triumphal arch's span, when compared to the arches from the Church's first bay, we may take the risk of considering it belongs to a later chronology.
Besides, the chancel's great amplitude and the fact that it shows flat corbels on the outside are signs of an extension of the Romanesque modus aedificandi over time; perhaps, in this case, it already takes on a resistance-style nature.
This space of the Church has wide rectangular large windows that create a clear contrast with the crevices of medieval origin that still illuminate the nave's interior in a diffuse way.
On the outside of this religious temple, the Romanesque spirit is very much alive. The presence of stones carved with initials along its wall faces, which were also reused in the bordering walls, remind us of the organization of building sites in this period.
On the main façade, a narrow crevice surmounts a portal formed by three sharp-edged pointed archivolts. It features three fluted shafts and capitals decorated with vegetal and animal themes.
The vegetal and anthropomorphic-themed sculpture, well attached to the frustum, suggests a later chronology than the one of the nave's high capitals, which are more swollen, or even of the ones from the triumphal arch. The ensemble is surrounded by a chequered frieze and its impost extends itself along the entire façade.
Although currently we find a flat tympanum here, there is information that, in 1924, a large and thick granite stone was leaning against the façade. With an engraved cross in the centre, this stone worked as a tympanum that was surely part of this portal. Just above the portal, four corbels prove the prior existence of a porch-like structure.
On the upper part, a cornice rests on a Lombard band - a recurrent motif in several buildings from the Sousa river basin - whose little arches are supported by corbels with zoomorphic decorations shaped as bovine heads; some of them have a more finished look, others look more sketchy or worn away.
It is also above this western volume that we find the bell tower; it too is a compact building, in which two round arches were opened, on each side, to shelter the bells. Finally, the western façade is propped by two buttresses, which are located on the corners and help to provide this entire heavy and massive structure with a better support.
Despite the fact that the Church's body is not vaulted, the walls are reinforced with buttresses that, finished with wedges, end below the cornice level. This cornice, on the side elevations, is supported by flat modillions.