southern facades are several granite slabs of sepulchres from the historical cemetery, as well as a millennium marker. Although not located along the banks of the Minho River, it was situated stylistically within a regional focus overlooking the valley, in line with the Galician perspective at the time (as seen in the location of the Cathedral of Tui and other churches in the province of Pontevedra). 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. An important part of the church is this axial portico, which represents theAnnunciation. The central columns include sculpted forms; on the left is a representation of an angel with long hair, beard and parchment (likely the Angel Gabriel), while the right form is the Virign with veil and raised hands. 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. 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. The lintel is inscribed with the presumed date of its construction, while in the tympanum is the figure of Christ surrounded by aureola. 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. The tympanum although "a bad reconstitution, relatively modern, of the older piece" is part of the a restrictive number of representations of the Christ in aureola for the period, and is here treated summarily with de-contextualized flowers flanking the aureola. Even by the 1980s, there still existed fragments of the original tympanum in the area that confirmed that a copy was installed in the portal. Carlos Alberto Ferreira de Almeida dated the epigraph to 1257, although it seems late given the architectural elements of the Church, raising debate due to the difference stylistically in age of the elements. Almeida interpreted later writings, and assumed a late Galician influence on the temple,