[1] All that has survived is a Manueline doorway integrated into the bell tower, and certain architectural elements visible in the sacristy which were incorporated as fill material in the 18th-century reconstruction and which are occasionally rediscovered during renovations.

[1][2] As for the reconstruction itself, there survives a contract from 1764 between Luís Coelho da Silva of Monchique and the head of the elected Building Commission (Comissão Fabriqueira), Diogo Tavares, for furnishing wood for the church.

The main door and the three windows of the principle facade were only rebuilt in 1809 by the Faro stonemason, António Xavier de Mendonça using stone cut in the quarry of São Lourenço.

Ignácio de Oliveira e Sousa, and one of the most well-known artists of the Algarve, master-carver Manuel Francisco Xavier, for the commission to create five altar-pieces in the latest style out of wood from Flanders for the price of 700 réis.

An analysis of the piece, however, shows strong ties to 18th-century carving, not only in the dynamism of its design, but also in the preservation of columns with straight channelled shafts and in the two angels set on the curved segment of the upper section.

Beyond the usual principles of design – dignity suiting the House of God, presenting to the faithful one of the possible representations of heaven, and the framing of figures who stand out for their exemplary lives – there are other, more specific ones: the adoption of a common decorative program, a strong emphasis on the parish priest, and the possible eventual participation of a confraternity or brotherhood (probably without any members of high social status or wealth).

[6] The church houses a small collection of religious objects (sculpture and reliquaries), about 3 dozen examples from the 17th, 18th and 19th centuries, some of which come from the Carmelite Convent of Saint Joseph, and from two shrines elsewhere in town.