The hermitage already existed in 1536, having been founded by Luísa Rodrigues, widow of Luís de Mira de Sequeira, a member of the local elite.

It was bought, in 1675, by the Fragoso de Barros family and refurbished over the 17th-18th centuries, thus acquiring its present appearance with some barroque details.

The façade, preceded by a gantry of three full arches, is topped by a triangular pediment and bell tower, with two pyramidal pinacles on the sides. 
The interior is composed by nave, main chapel and vestry.

The nave, of rectangular plant, is covered by a barrel vault, divided into three stretches and is decorated with stucco and colorful “escaiolas”.
The nave’s elevations have tromp l'oeil pilasters and consoles on top of them.

On the first stretch, on the side of the Epistle, is the marble holy water basin. On the left strretch, on the side of the Gospel, was the access to the pulpit.

The chancel is preceeded by a triunfal arch, decorated with polichromatic stuccos reflecting the heyday of the “rococó” art (tiara and the keys of St. Peter). It has a quadrangular plant and is covered by a barrel vault. This vault is fully covered in “fresco” style and dry finishings, all illustrating 9 moments  in the life of St. Peter.

The scenes are subtitled in archaic Portuguese and have a backdrop filled in by dark colours. There is a threefold divison of the scenes and three pannels corresponding to each division line. From the interior to the exterior, on the side of the Gospel: “St. Peter giving alms to a poor man”, "St. Peter is crucified by the tirantes". At the center: "Transfiguration of Christ in front of St. Peter ", "Christ saves St. Peter from the waves" and "Christ washes the feet of St. Peter". On the side of the Epistle: "An angel saves St.Peter from being incarcerated ", "St. Peter cries at the macaw " and "St. Peter cuts the ear of Malco. At the end wall of the main chappel, that was also covered by wall paintings, there is a small niche to exhibit and image. The lateral elevation of the chapel has skirting boards covered by mural painting of the type desgnated by “enxaquetado”. The lateral elevations of the chapel have skirtings covered by chequered mural painting,and, at the center of each one of them there are two compositions of figurative wall painting, surrounded by  masonry frames: St. Apolónia,and St. Amaro. In the pavement is he grave of the founder and her heirs.

The vestry, of rectangular shape; is covered by a vault decorated with colorful stucko with symbols that represent the atributes of St.Peter: the papal tiara, the keys the chains, the cock and the fisherman barge, surrounded by barroque ceiling knotwork. The space also has a  cylindrical marble holy water basin, and a wash basin with the intertwined keys of St. Peter. 

This church was also the headoffice of the brotherhood of Nossa Senhora das Brotas. 

REFERENCES:
ALCÂNTARA, Joaquim Pedro de, Breves Memórias da Villa das Alcáçovas, Évora, Minerva Eborense, 1890.
ESPANCA, Túlio, Inventário Artístico de Portugal. Distrito de Évora. Concelhos de Alandroal, Borba, Mourão, Portel, Redondo, Reguengos de Monsaraz, Viana do Alentejo e Vila Viçosa, Lisboa, Academia Nacional de Belas Artes, Tomo IX, Vol. 1, 1978.
SOUSA, Catarina Vilaça de, Roteiro Rota do Fresco, s. l., AMCAL, 2003.