[1][2] Soares reformulate the style first introduced to Porto by Nasoni, basing his interpretations on French-German sketches, "one of the expressions more distinct and powerful of the European Rococo".

[1] The group was responsible for repairing the wood frames, cleaning of the stone from damage caused by humidity, completing moulds, installation of artificial stoneworks, reinforcing the structure with cement and reintegration of many of the sculptures.

[1][2] On the landing, the azulejos were likely executed by Bartolomeu Antunes, owing to the different interpretations of the Rococo: one more traditional, from a workshop in Lisbon; and another, which predominates a northern agitation, from Braga.

[2][8] This residence is considered one of the most important public works of André Soares, presenting a facade that is profusely decorated, where the general symmetry contrasts with the asymmetries introduced by the windows.

[2] The window over the main doorway connects a curved pediment, which reminds the viewer of the Church of Santa Maria Madalena, although highly projected from the rest of the facade.

"[2][12] In the interior, is the noble staircase, with three arches and sculpture of a Turk, comparable to the four statues in the esplanade of the Church of Bom Jesus, who Smith attributes to André Soares (even if they were executed by masons José and António de Sousa.