[citation needed] The facade of the church, oriented to the west and open to the square of San Martín, presents a cover with structure of great altarpiece of stone divided in three bodies and three streets separated by fluted columns and is dedicated to the exaltation of the Virgin Mary and of The Benedictine order.

In 1738 Fernando de Casas y Novoa added a large rectangular comb with the Spanish shield, finishing the whole with another image of Saint Martin distributing his cape.

The church, completed in 1652, is the work of Matthew Lopez and Gonzalez de Araújo and opens onto the square that bears the name of the monastery, which lowers her face.

The largest was built in 1636 by Bartolome Fernandez Lechuga (the author of the transept of the church), and continued by José Peña de Toro and Fernando Casas y Novoa, who finished in 1743.

The Cloister of the Offices was started by Bartolomé Fernández Lechuga in 1626, continued by Peña del Toro and completed by Fernando de Casas y Novoa in 1743.

Although the project is attributed to Bartolomé Fernández Lechuga, they worked on it Peña del Toro or Miguel de Romay, also author of the bell tower.

The iconography supposes the exaltation of the Virgin Mary as a destroyer of the sin of the world and in relation to the dogma of the Immaculate Conception, of which the Benedictine order was a great defender.

The lateral altarpieces, placed in the ends of the arms of the transept, are dedicated to Saint Benedict and the Virgen Inglesa, which receives that name because tradition says that the carving of the Virgin and Child presiding over the ensemble, dating from ha.

1500, was brought to Compostela by Catholics exiled from England at the time of Henry VIII; Are distributed in three streets and attic, with salomonic columns of giant order on a bank very developed.

The crossing was covered by Bartolomé Fernández Lechuga with an impressive dome ribbed on pechinas without drum and with twelve windows at the start that give the sensation that it is floating in the air, conforming the favorite field for burials.

The nave has a balcony flown running from the high choir to the cruise supported by corbels with vegetal and anthropomorphic decoration of questioned authorship, as some authors relate it to Friar Tomás Alonso, since the corbels are very similar to those made in the facade of the Hostal dos Reis Católicos, and others say that it is the work of Friar Gabriel de las Casas, who is known to be working in San Martín in 1685.

The most significant is the Chapel of the Virgin of Socorro, second to the right, design attributed to Fernando de Casas y Novoa, the architect of the Obradoiro facade of the cathedral, a centralized space decorated with polychrome materials and jaspes of sumptuous appearance Covered with dome casetonada on pechinas.

As part of the complex has been set up as a museum, here you can see a series of figures of the monument of Holy Thursday located on the pillars and the start of the entablature on which the vaults support: the Four Evangelists and the Cardinal and Theological Virtues.

It houses the Renaissance choir of the Cathedral of Santiago, dismantled from its location in the center of the main nave and moved here in the 1945s, once again transferred to A Coruñan Church of Santa María de Sobrado dos Monxes in the 1970s and again in San Martiño since 2004, after a restoration process.