The Church of Tabuado has a single nave and quadrangular chancel; the chancel is lower and narrower than the nave. This difference is visible from the outside due to the staggering of the volumes. Adjoining the north wall, which was built in the modern period, we find the sacristy at the same level as the chevet and a chapel, that was initially consecrated to Jesus, at the same level as the nave.
The Romanesque elements of this Church refer us to the mid-13th century. It is, therefore, considered as a valuable example of one of the evolution stages of Romanesque architecture in this region, already belonging to a transition period.
The main façade of this temple confirms this fact through the oculus that tops the portal and shows similarities with the solutions adopted in the Church of the Monastery of Paço de Sousa (Penafiel), which already dates back to the 13th century.
Its composition shows a stonework grille drawn with small circles, a central one and six surrounding ones. The oculus is also adorned by an inner frame with rosettes carved in relief.
On the main façade, the main portal stands out. Comprised of three already broken archivolts, adorned with pearls and defined by an elegant torus, it is surrounded by a rich braided frieze.
The capitals feature bevelled carvings and several themes, from bovine animals, to palmettes and knotworks. On the imposts, there is a fine cut outlining the foliage; the imposts extend themselves along the entire façade in the shape of a plain frieze.
The columns already show an alternation between plain and prismatic shafts, signs of a fairly advanced chronology and a direct evidence of the influence that the Romanesque from Coimbra - particularly the Church of Saint James - had on this wide region of the valley of the Sousa and, even, of the Baixo Tâmega.
The flat tympanum is supported by corbels shaped as bull heads. Again,the elements that give body to this portal show similarities with the Monastery of Paço de Sousa, or even with the Church of Saint Vincent of Sousa, considered by Manuel Monteiro as one of the best specimens of the so-called nationalized Romanesque style.
The belfry, which draws a perpendicular axis with this façade, takes the shape of a massive granite block. Seen from the north it almost looks like a defensive tower, strong and massive, in its thick ashlar masonry.
The fortified and military nature of religious architecture during the Portuguese Romanesque period, more rhetorical than actually military, was heavily glossed by the historiography that addressed the matter.
At the top of the belfry, which is surmounted by a gable topped by a cross, there are two broken arches sheltering the bells. On the side that faces the portal, three corbels set at the height of the capitals confirm the pre-existence of a porch.
Two buttresses remain, in the body of the nave and at the height of the chancel arch; their existence is justified by the massive nature of the wall mass that surrounds it. The diameter of the arch, in relation to the size of the nave, protects the space of the chancel that, in Romanesque times, should be intimate and sheltered from the eyes of the devotees.
On the north façade, and despite the attached volumes, there are two narrow crevices opened above the frieze that runs along the entire Church, as well as a cornice supported by plain corbels.
The south side repeats the scheme of the opposite side, to which we add the presence of corbels that confirm the existence of a porch-like structure.
With two broken archivolts, the portal that gives access to the interior repeats a "modénature" identical to the one of main portal: the flat tympanum rests on two protruding imposts. The capitals rest on plain shafts that feature bevelled vegetal motifs.
On the back façade, over the frieze, there is a crevice formed by two plain archivolts with sharp edges and stained glass panels, shaping a diamond. A cross "fleury" crowns the chevet's gable.
The inside of the building also features the same simple nature of the architecture and the same severity of the external ornamentation. The exposed granite in the nave is only decorated by a base, also made in ashlars, and by a triple-framed cornice, placed at a higher level.
We should note that this somewhat bare look of the Church's interior is the result of the restoration intervention carried out in the 1960s.
From the Romanesque period, what stands out the most is the triumphal arch, with a very original arrangement, presenting itself like a door. Two broken-arched archivolts are surrounded by a frieze featuring a composition based on corded and geometrical motifs.
The archivolts rest on two columns, and the imposts are adorned with saw teeth and chained circles. On the Gospel side, we find capitals with different compositions; one has birds with intertwined necks and another has the figure of a man attached to the capital's basket by a rope, showing how Romanesque art adapts sculpture to architectural elements.
On the Epistle side, we see the rather common theme of the outraged and single-headed quadrupeds, and a large bird, perhaps a pelican, that Vergílio Correia called the "avejão" (big bird). Over the triumphal arch, there is an oculus opposite the one on the main façade.