Church consisting of single nave and rectangular chancel, both defined by massive walls. Except for the Gothic window which cuts the chancel's back wall and the small rose window that tops the triumphal arch at the nave's level, the lighting of this small Church's interior is made through narrow crevices opened on both elevations of the nave and chancel. Several authors fit it into the so-called late-Romanesque style.
The main and south side portals are cut in the thickness of the wall, showing no tympanum, and their archivolts lean directly on the walls. We are, therefore, before a building devoid of column-shaped supports.
Both the naturalism of the floral motifs that adorn the main portal's central archivolt and the one inside the chancel's Gothic window, as well as the nave's square-shaped corbels and the shape of the ones in the chevet's forepart contribute to the theory of a late chronology, sometime around the 14th century.
However, we should notice the persistence of Romanesque ornamentation, as shown by the pearls adorning the external archivolts that surround the chancel's window and the triumphal arch.
The inscription with Gothic characters found next to the main portal is worth highlighting. Despite being barely legible, Mário Barroca suggests us the following reading: +: ERA : M : CCCC: XX : III […] / […] / […] / […] / […] / […] / […]
Knowing that, as a rule, the Romanesque and Gothic construction began by the chevet and then progressed to the façade, this inscription in Escamarão could indicate, even if not explicitly, that the completion of the Church's building would have occurred in the Era of 1423, i.e., in 1385.
On the south façade, there would have been a single-pitched porch-type structure that sheltered the side portal, as the five corbels placed roughly halfway up the two narrow crevices suggest.
Inside the Church, granite prevails and the remaining liturgical furnishings were already designed in modern times. Several testimonies report the existence, at least until the early 20th century, of a mural painting in the Church which has been dated back to the 16th century.
The frontals of the nave's collateral altars belong approximately to the same period. Using the arris technique, these are presented as being mudéjar tilework panels, with an ochre, green and blue-based polychromy on a white background, forming standard compositions with phytomorphic and floral motifs, anticipating the carpet tiling style that would become rather fashionable in the 17th century.
The Church's main altarpiece was designed according to the so-called national style, surely before mid-18th century. In this altarpiece, we can identify spiral-shaped (pseudo-Solomonic) columns and semicircular archivolts.
Nevertheless, we should take into account the regionalized and vernacular nature of this national gilded woodwork specimen, attested here by its polychromy. At the centre and as an apex, it displays the Benedictine Order's coat of arms.
On the collateral altars' frontals, we find Neoclassical pelmets that completed an altarpiece ensemble of the same period, which was dismounted during the restoration interventions carried out in the 1960s at the expense of the parish, which sought to emphasize the Church's medieval character.