[2] These included: treatments to water infiltration, repairs to the belltower and baptistery, cleaning and clearing of the exterior stones, restoration of fresco mural, installation of a drainage system (accompanied by the University of Minho archaeology department representatives).

[3] The church comprises a longitudinal plan of a single rectangular nave, with an extended, rear presbytery and sacristy, subdivided into articulated volumes and covered in tiled roof.

The principal facade, complete with gable, includes an archway portico comprising four archivolts, three of which are mounted on column capitols with alternating vegetal and zoomorphic designs.

[3][4] Although these forms are not well defined, they testament to the popularity of public interests at the time of its carving, providing an iconographic representation of the scene rather than a clearly literal interpretation.

[2] These sculptural themes are comparable to the churches of Sanfins de Friestas, Longos Vales and Bravães and suggest its completion in the middle of the 13th century.

[2] The representation of Christ is part of the first revivalist reproduction of the tympanum, while the serpentine lintel which is thin and less profound, is almost graffiti and less to do with the original form.

Circling the entire building is a squared-off cornice, consisting of undulating or flat diamond-shaped forms decorated with zoomorphic or geometric motifs.

At the left of the altar, through a triumphal arch, is fresco painting consisting of monk and angel, in partial ruin, with fragments missing.

The interior paintings, executed in fresco over a thin layer of plaster, was completed in a restricted colour palette: ocres, reds, black, blue and a mixture of the two.