The data that persisted over time allow us to consider that we have found a Church built in the late 13th century, if not already in the 14th century, thus integrating itself in what has been called the “românico de resistência” [resistance Romanesque], widespread in this region of the Tâmega and Sousa.
Consisting of a single nave and rectangular chevet (the latter being lower and narrower than the nave), the Church of Jazente stands out for the homogeneity of its construction, little changed over time.
The main façade is dominated by the main portal, consisting of two slightly broken archivolts that rest directly on the height of the wall.
It tympanum is supported by corbels that rest on a sort of pillar decorated with vertical grooves. This tympanum is perforated by a large cross with a central disc, with another cross along the lintel.
Still on this façade, a narrow crevice is surmounted by the belfry and, on top of this, a small cross.
The south lateral portal is structured with five cross-positioned circular apertures and surrounded by a double circle.
Over the portal, remains a drip-course which, coupled with the protruding corbels, confirms the existence of a porched structure, but could not reach our times. Immediately upon the drip-course, two narrow crevices, of Romanesque flavour.
In the nave's front wall there is also a narrow crevice, over its gable, a terminal pattée cross.
In turn, the north façade is, in general, identical to the south one, except in the absence of signs of a drip-course ever had existed.
The interior of the Church of Jazente is marked by simplicity: the granite in vestments is interrupted only by narrow crevices, much to the Romanesque taste, slightly illuminate the interior.
Noteworthy is its triumphal arch that, despite being broken, seems to be more of a depressed arch. However, the presence of two pilasters with Tuscan capitals, one on each side, leads us to believe that, between the 17th and 18th centuries, the intention was to transform this arch, dignifying it and increasing the opening of its span.
Regarding the altarpieces, these do not correspond to the usual interventions carried out in the 17th and 18th centuries and which changed the inner aspect of medieval churches: these are contemporary altarpieces of the 1930s and 1960s.
In the nave, close to the main entrance, on the Gospel side, we have the font, certainly of the late Romanesque. The base and bowl are both polygonal.