Non ci sono documenti sulla sua edificazione, ma l’analisi stilistica strutturale la colloca all’inizio del XIV secolo.

Rappresenta un raffinato esempio di fusione tra il gotico isolano emergente e il romanico persistente nel XIV secolo sardo.

L’aula a navata unica ha un’abside con un compromesso tra la tradizione romanica e il nuovo stile gotico italiano.

La facciata presenta un profilo “a capanna” con un portale architravato e un rosone gotico.

Il campanile a vela e un secondo portale con archi acuti completano l’esterno.


There are places where the sacred finds a way of making itself manifest in the enduring continuity of a faith cult, which defies time and cultures.

This is the case of the church of San Gregorio. Located in the historic centre of Sardara, not far from the Nuragic sanctuary with a sacred well temple, near the church of Sant’Anastasia, a building of Byzantine origin, although its current layout dates back to the 15th century.

The encounter with the church of San Gregorio gives us the opportunity to grasp one of the most refined manifestations of the dialogue between an emerging island Gothic, and Romanesque persistences, which marked the 14th century in Sardinia.

We have no documentary evidence relating to the building of this church: its attribution to the first quarter of the 14th century is therefore the result of a purely stylistic analysis of the structure.

The façade has a “gabled” profile, and is divided into three mirrors by bundled pilasters and two strong corner pilasters.

The architraved portal, surmounted by an ogival arch and equipped with moulded jambs, is positioned in the central mirror.

On the axis of the portal is the Gothic rose window surmounted by a series of small arches on corbels.

Completing the façade is the bell gable with two narrow lights.

A second portal with a pointed arch, opens on the northern side.

The hall has a single nave with a wooden roof.

The south-eastern apse has a semicircular profile on the inside and a square one on the outside: it is one of the manifestations of the architectural compromise between the strong Romanesque tradition, and the new Italian Gothic forms, which marks this church. In the apse, the presence of an archiacute double lancet window, in which traces of extensive restoration are legible, is worthy of note.

We leave this church with our eyes still enwrapped in its harmonious charm.

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