The chromatic differences highlight the stone textures on the upper part of the walls, testifying at least three different development stages of the nave. Similarly, the hexagonal window in the center of the façade is surrounded by a texture which seems to be inconsistent with the rest of the wall. These details suggest the pre-existence of a circular opening and a small bell-gable on the top of the old monument, that was later replaced by a massive double-gable tower on the left of the façade. Until the last decades of the 20^th century, next to the church there was a cemetery, inaugurated two centuries earlier.

In 1626, Reverend Giovanni Antioco Pilloni, priest of the towns of Morgongiori and Pompu, commissioned the Neapolitan painter Giuseppe Valona (Gallona) to paint Our Lady of Montserrat, for 33 écus. Enclosed by a carved golden frame, the painting showed the Virgin Mary, baby Jesus, and an angel with a saw; however, the fate of such painting is unknown.

The building might reopen the debate on contemporary architecture’s ambitions for religious buildings; the designer adopted a conservative style whilst maintaining some historicized features. A narthex decorated with an architrave leads to the main body of the church, sided by a number of chapels; next to the entrance, an old stone baptismal font is placed.

Inside the church, three statues are located: a 17^th-century Madonna with her child and two 18^th-century statues of a young St. Sebastian and St. George riding his horse. The view from the square is characterized by the juxtaposition of the church, covered with yellow sandstone blocks, and the bell tower, a postmodern compositional experiment. Close to Aldo Rossi’ s architectural poetics, the portico with columns and the bell tower, marked by unusual and repeated angular windows, denote ambitious purist inflections.