Made of river boulders alternating with rows of brick, it followed the prevalent Byzantine style and was divided into narthex, nave and altar.

This inscription, originally for the patriarchal houses and located in the church portico, mentions Dositheus II of Jerusalem, High Aga Ianache Văcărescu as Ispravnic, and prominent local merchants.

The architect, possibly Italian, directed a stonemason, a head of builders, a woodworker, and the painter, Pârvu Mutu.

The lavish consecration, held on the Feast of Saints Peter and Paul in 1707, featured Brâncoveanu and his court, a large assembly of priests and hierarchs, headed by Jerusalem Patriarch Chrysanthus, to whose church the complex (inn included) was dedicated, more precisely to the Church of the Holy Sepulchre.

[1] In the 18th century, the monastery encompassed the church in the center; the bell tower at the entrance, featuring a massive bell designed to ring Bran-co van; patriarchal houses and a further row of well-designed houses for the abbot; large basements for warehouses; a row of arched ceilings, with trade carried out below; a similar row above, for cells and lodging rooms, in all some 200; several rooms in which a printing press functioned for a time; and several other structures, including a kitchen, a refectory and a 1715 chapel, which still existed in 1818.

A 1718 fire severely damaged the monastery and inn, with Prince John Mavrocordatos leading the reconstruction; when he died the following year, Brâncoveanu's widow Marica, as recompense for his kindly deeds for the family, allowed his burial inside.

The church was repaired between 1851 and 1855 under the supervision of architect Xavier Villacrosse; Constantin Lecca and Mișu Popp painted the interior.

A restoration led by Ștefan Balș, with the participation of Henrieta Delavrancea, began in 1968 and was largely completed by 1987; it sought to revive the church's original appearance, but was not without its critics.

The portico features seven arches in front and three on each side, resting on twelve columns with flowery capitals; the whole sits on a sculpted, fretted parapet.

Initially, the prince's name was inscribed by his widow and daughter only on the silver candelabrum hanging above the grave; a 1720 inscription on the latter was only brought to light in 1914, by Iorga.