Without documentary evidence, the building can date back to the early days of the borough (nothing of its original design was detected). In the middle of the 13th century, we know this from the Aphonsine inquiries - the parish of Sta. Maria, most likely based in the church of the same name, was among the four in the cluster. The most significant changes occurred during the 16th, 17th and 18th centuries: Erected in the third quarter of five hundred, the body of the monument has an interior divided into three naves by polygonal columns (built in brick) that support half-point arches, modeling the space of this church-hall; the chancel (must date from 1580) and the chapel of Figueiredos (dedicated to N. Sra. dos Prazeres) was ordered to be executed in 1585 by Pero de Figueiredo (mayor of Bragança); of the century. XVII, the altarpiece dedicated to Sto. Estevão and the precious and expressive image of Sta. Maria Madalena (main altar), a 17th century work by master Gregório Fernandez or Pedro de Mena, from the Valladolid workshops; of the century. XVIII come many decorative elements and some architectural additions, such as the baroque altarpiece of the chancel and the ceiling of the central nave, which presents a painting with scenography with a beautiful effect, in a language that is close to that expressed in the churches of S. Clara, S. Bento, S. Francisco (chapel of N. Sra. Da Conceição) and in the chapel of the old Paço Episcopal (today the Abade de Baçal Museum); the "retable type" facade is animated by a baroque-style portal (1690-1715), in which the pseudo-Solomonic columns and the windings of the pediments play an important role. By the hand of the beds, the carving of the altars materialized in stone, to solemnize the entrance of the holy space.