It is located in the centre of the riverside town of Rejas de San Esteban.

The church has two naves separated by two semicircular arches supported by pilasters. The main nave is roofed with a pair-and-row ceiling in the Mudejar tradition, with heraldry, typical of the 16th century, which was reused in the complete transformation that the church underwent in the 18th century. A Baroque belfry was built over the western gable. In 1814, the interior of the building was completely rebuilt. Of the primitive Romanesque structure, only the porticoed gallery, the doorway and the cornice of the southern wall remain. In fact, the portico has been visible since 2001, when its arches were opened, until then hidden, as can be seen in the photographs. The blinded ashlar portico had been used as a storeroom. Today we can see five arches and the start of a sixth arch that must have been destroyed during one of the alterations to the church. From this we can deduce that the southern side of the portico has six arches, three on each side of the doorway, although one of them has been lost, and another one closing on the western side. It is possible that there were also two arches closing the eastern side of the gallery, as some traces can be seen. The decoration on the capitals, which is now perfectly visible, depicts animal and figurative motifs. From left to right on the southern front: in the first, a pair of long-necked birds entwined next to a tree with spherical fruit, in the second, a centaur-sagittarius with its arrow pointing at a two-headed canid and a quadruped biting the legs of another, in the third, three figures in a boat and Samson fighting the lion, in the fourth, two large quadrupeds, in the fifth, a historical scene of martyrdom in which a naked figure with his hands tied on a rack is being tortured by three figures. One of them tries to whip him but is prevented from doing so by a woman. The last one depicts the lamb attacked by wolves. The capital on the western side shows two naked figures before a huge quadruped and an evil figure.

The semicircular doorway has three archivolts: the inner one with four-petalled rosettes inside circles, the central one with a roundel and pyramidal points, and the outer one with a roundel, interlacing and inscribed crosses and balls.

The church was a parish church until 1842.

The similarity of the façade of San Ginés with that of San Martín leads us to believe that both churches are contemporary and date from the mid-12th century.