The Church of Vila Boa de Quires comprises a single nave and a rectangular chancel, showing architectural elements with a great sculptural richness.
The portal, which is stylistically very close to the one of the Monastery of Paço de Sousa (Penafiel), is composed of four slightly broken archivolts, defined by a surrounding arch decorated with secant circles showing a double, centralized movement.
On the imposts, which extend themselves as a flat frieze across the entire length of this façade, we can find vegetal motifs, represented by stylized five-leaf ivy and vertical loose motifs.
On the flat tympanum, there is an inscription related to the late 19th-century expansion, which reads: EXTENDED IN 1881.
However, the greatest similarities with the portal of Paço de Sousa are identified in the carving style of the capitals and in the motifs of the corbels, shaped as bovine heads.
In the main portal, the capitals show symmetrical motifs, with a vegetal and stylized flavour, well attached to the frustum. The columns, alternately prismatic and cylindrical, constitute one more evidence of the chronological and stylistic integration of this Church in the movement of the so-called nationalised Romanesque.
The south lateral portal is also richly ornamented showing, like the main one, two carved corbels supporting the flat tympanum: a bovine head and a terrifying animal, with an open mouth, is biting a fruit.
Its capitals show clear similarities with the ones of the portal of Saint Genesius of Boelhe (Penafiel). Carved with bevels, they show elaborate vegetal motifs combined with phytomorphic compositions and, in the left inner capital, affronted animals remind us of the strength that oriental influences had among us.
From the three pointed archivolts, the two inner ones have sharp edges, while the outer one is dotted with pearls in its chamfer. We should note the initials found in the voussoirs.
In this south lateral elevation, we should also highlight the corbels that are supporting the cornice, which for being mostly flat and with a square profile, confirm the building's late chronology. The existence of corbels halfway up the façade tells us about the prior existence of a porch-like structure.
Three broken arcosolia are carved into this façade's wall face, at the nave's ground level, showing sepulchral lids whose shape does not match the arch's space. These three specimens stand out for the total absence of decorative motifs and for the fact that they do not have any identifying element regarding who is actually buried there.
The north lateral façade is extremely simple. Narrow crevices illuminate the nave's interior and the presence of corbels halfway up its elevation also confirm the presence of a now missing porch-like structure. However, its series of corbels is richer. Although they are mostly flat, there are two corbels that stand out for having the shape of a bovine head and a human face.
The care that was put into the finishings of the building's back wall faces reveals the quality of those who worked in the Romanesque construction of this Church.
Inside, we can see the granite's sobriety on the nave's wall faces, which contrasts with the chancel's colour. The broken triumphal arch is composed of three archivolts; the outer one is dotted with pearls and finished with the same motif that surrounds the main portal.
The capitals that support them are quite interesting; they feature sculpted palmettes and mermaids with intertwined tails. With a layout that is similar to the one of the apse of Abragão (Penafiel), the chancel is vaulted and has a transverse arch, supported by pilasters and decorated with palmettes carved in relief on the imposts.
From the Modern Period, we should highlight the Baroque programme that decorated the chancel, of which only the tile lining and the vault's paintings have remained. This tiled ensemble, in shades of blue and yellow on a white background, creates an effect of deep contrast with the granite from the Church's interior.
This lining is quite remarkable and shows a will to ennoble this space; however, they had to resort to a more cost-effective technique, which is nonetheless monumental due to the noble character it provides the space with. We are before a typical example of the carpet-type tile, which is so characteristic of the 17th century.
In the chancel, two pictorial sets of the brutesque type still remain, narrating the painful mysteries of the religious and civil proceedings of the Passion and Death of Christ in eight pictures. The composition, which repainted in a recent period, included the Romanesque decoration of the chancel arch, the archivolts and the intrados, up to the capitals' level, recalling, as we've mentioned before - despite the time gap, the techniques and the underlying function -, the custom of applying polychrome paintings over the decoration and the structure of medieval churches.
In terms of the nave, we should highlight the collateral altars and their corresponding altarpieces, which were reconstructed at a date we ignore, reusing the Mannerist and Baroque structural and ornamental elements – despite being deeply damaged by the existing repaintings.
Along the nave's side walls, some corbels show images that appeal to the local community devotion.