Surely built in the 13th century, if not in the following century, the Church of Gondar features in its edification an originally monastic nature: the corbels that punctuate the external walls attest to the existence of structures adjacent to the Church, on both sides.
Given the scale of the Church that we know today, it is certain that the monastic complex would be of humble size. We are, therefore, before a Church composed of a single nave and rectangular chancel. The Romanesque design was almost entirely preserved, despite the transformations it underwent throughout the Modern Era.
Canonically oriented (chevet to the east and front to the west), the main façade is marked by decorative sobriety. The portal features the late nature of the construction, i.e., it has no columns, the archivolts stand on the walls and the tympanum is smooth. The only decorated element of this portal is precisely the external archivolt where the chequered motif may be appreciated.
The portal is topped by a small oculus with a grid consisting of five circles placed according to the arms of a cross. Both elements show a late chronology, closer to that of the Gothic rather than the Romanesque, so we must understand this Church within those buildings that have been identified by “românico de resistência” [resistance Romanesque], rural Gothic or even of proto-Gothic.
The structure of the lateral portals, identical to each other, confirms this chronology. In both façades, in addition to the two narrow crevices that cut the vestments, thus allowing the interior lighting of the holy ground, one can still see the modillions, which are still fairly well preserved, supporting a two-volume cornice. The modillions, mainly with a quadrangular profile, are smooth or bear simple decoration, of which rolls stand out and the spheres multiply.
Over the endpoint of the south façade, along the western façade, the belfry follows the model of Romanesque bell towers: two perfectly round arches house the bells. As decorative elements, it only bears the imposts composed of a single log, which extend around the entire structure and terminal spires which, much like a pyramid, finish off the building.
On the left of those entering the nave through the main entrance, there's the font whose granite bowl is supported by a base, both polygonal. Several granite pieces are deposited here: fragments of tombstones, a holy water font, with a budded bowl, perhaps already of the Baroque era. On the Epistle side, next to the portal, a round arch niche tears up the vestment, which should accommodate an altarpiece.
Despite knowing that there were within this space several altarpieces and mural painting sets during the Early Modern Period, the truth is that, today, granite imposes itself, both in vestments and floor.
This is due to the fact that this Church was free from worship after the building of the new parish church, in the early 20th century, which led to its gradual abandonment, merely haltered by a deep restoration intervention in the second half of the 80s, which sought to return the Church to its architectural integrity and legibility, as a monuments and sacred space.
Of the altarpieces, we are only familiar with the main altarpiece that, nowadays, can be found in the new parish church. This is an altar-like structure framed within the so-called national style of Portuguese gilded wood (late 17th century / 1st quarter of the 18th century).
Of the murals, only the one decorating the intradorsum of the niche on the chancel's back wall survived. Here we may also observe the traces of paintings of the grotesque involving the casings.
The triumphal arch may have been the result of the same 18th century campaign, taking into account its formal characteristics, as well as the rectangular window with iron grating, opened on the south façade of the chevet.
The pulpit, of which only the access stairs and the classicizing console supporting its basis remain, would be further supplemented with a wooden guard.