The Jesuits ordered the church of Saint Ignazio, and it took over a century to build, from the latter half of the ’600 till 1758. Domenico Spotorno from Genova did the initial project and he gave the church peculiarities of his city. The final result is more in line with the canons of the ’700s tough.
The dome of the church tower is made following the French style.
The clergy has a saint statue, and an altar made according to Spotorno’s indications, very late Baroque, with festoons, shells, leaves and polychrome columns.
Several ancient and modern works of art can be appreciated among the aisles, including valuable wooden sculptures, silverware, sacred vestments, and ancient volumes.

The oldest church in Oliena was built between the XIII and XIV centuries, and it was the main church until 1791. The building was formerly outside the town, next to the cemetery area, and it has been altered many times, radically changing its appearance. Restorations made in the 90s brought back many original elements, like pointed arches outside, which were the access to the side chapels, while inside, they tried to recover the original walls.

The eight chapels would have each wooden altarpiece, now lost. Some parts of them were recovered from a private collection in Rome, while the church of Sant’Ignazio holds the altarpiece of Saint Christopher (1530/1535) by the Master of Oliena. Today, the church hosts a giant painting of Liliana Cano on its leading portal, depicting the christening of John the Baptist.

The church of Santa Croce probably dates back to the XVI century, and it overlaps an already existing building which is now partially lost.
It has a simple facade with a crowing wavy section with four crosses, a fifth one on the bell tower, and a sixth one where the roof slopes converge-a single nave with spans divided by round arches.
The ceiling is made with wooden reeds. There is a 1700s wooden cross and a Statue of Christ laid shown only during the rites of the holy week.
There is also a temple shaped wooden tabernacle dating to the 1600s, enriched with small columns and the Agnus Dei.
Recent recovering efforts brought back to light some frescoes with the four evangelists in the clergy.
The fount at the entrance seems to be quite old, made from a coarse basalt cylinder.
The church used to host the oratory of the Santa Croce confraternity, founded in 1588 upon order of the archbishop of Cagliari.

Along the road leading to the Lanaitho Valley, near the Church of St. John, lay the impressive ruins of the country Church of St. Lucy, an ancient religious building, the earliest evidence of which dates back to 1495.

The structure is made of stone cantons of different colors and sizes, supported by lateral and oblique buttresses. The single nave is divided into four irregular bays separated by pointed arches and ends in a cross-vaulted presbytery. A masonry altar still stands on the end wall.

Although the building is now in ruins, lacking its original wooden roofing, the remains still restore the elegance and charm that the building had in the past.

Situated in a picturesque setting at the foot of a hill, the Church of Our Lady of Montserrat boasts origins dating back to 1543, as evidenced by the tuff inscription at the entrance. The current layout, built in 1856 on the ruins of the 16th-century building, preserves the sacristy and probably the semicircular shape of the apse from the original structure. The facade, characterized by a bell gable with two pinnacles and a small central arch, leads into the single nave divided into three bays by pointed arches, while the presbytery, with a semi-circular apse, is covered by a semi-dome.

The interior houses the statue of the Black Madonna, inspired by the famous one from the sanctuary of Montserrat in Catalonia. The sacristy, accessible from the presbytery, has a Gothic-Aragonese cross vault whose recent restoration revealed trachyte ribs and ancient frescoes with floral decorations as well as a sun symbol.

The Church is part of a sanctuary dedicated to the Virgin Mary, surrounded by cumbessias, the traditional housing structures that housed pilgrims during the novena for the festivities that culminate on September 8th with the feast day dedicated to the Virgin of Montserrat.

The Church of Our Lady of Buoncammino stands near the ancient district of Sa Tiria on an elevated position that gives the structure a distinctive presence.

The facade of the Church is distinguished by its very simple lines and a bell gable with three openings.

The interior is characterized by a single nave divided into three bays, leading to the simple altar located at the back. The latter is embellished by a niche housing the statue of the Virgin Mary, a central element of the worship and devotion of the faithful. However, the church has undergone restoration works over time that have altered part of its original appearance and raised doubts as to their appropriateness.

These alterations have partly compromised the aesthetic integrity of the building, though not undermining its spiritual value and religious function within the community.

The Church of Our Lady of Buoncammino remains an important place of faith for the inhabitants of Oliena, a symbol of Marian devotion and a spiritual reference point despite the challenges of preserving its architectural heritage.

The Church of Our Lady of Itria, located next to the parish Church of Saint Ignatius, probably dates back to the late 16th century and may have originally been dedicated to Saint Bernardine. The presence of a confraternity dedicated to the Virgin of Itria, established on May 28th, 1613, underlines the historical and spiritual value of this church within the community.

The Baroque building features a facade with double volutes and an ornate bell gable. Baroque decorative elements are also visible on the Aragonese architrave above the entrance door and on the frame of a window on the left side.

The interior has a single nave with two bays separated by pointed arches and a ceiling of wooden beams and reeds. The presbytery is divided into two barrel-vaulted rooms with stucco decorations, cherubs and a 17th-century fresco depicting the descent of the Holy Spirit on the Virgin and the twelve apostles.

The interior houses the statue of the Madonna venerated in the Easter Day procession, dressed in elegant brocade garments, and the statue of St. Bernadine, accompanied by Franciscan and Jesuit symbols.

Built in the 16th century together with the convent, it was the venue of the Order of the Minims of St Francis of Paola until the suppression decreed by Charles Emmanuel III in 1767. The church was initially located on the outskirts of the town while today it is fully integrated into the urban fabric.

The facade, characterized by great simplicity, is surmounted by a large bell gable with three holes. The interior consists of a single nave, covered by a corbelled ceiling of wooden beams, divided into four bays by pointed arches. Two arched openings lead to the presbytery giving access to a side room.

At the height of the last bay on the right is a chapel with a hipped barrel vault, embellished with 18th-century frescoes.

A Latin inscription on the altar of the chapel recalls the restoration work carried out in the first half of the 18th century, following the wishes of the priest Giovanni Bernardino Sanna Manca.

The rooms of the small monastery are an integral part of the structure and bear witness to the rich religious and community history of the place. Even today, the church continues to witness important moments in the community and spiritual life of the village: on Easter Day, the procession with the simulacrum of the Virgin Mary leaves from here to meet the simulacrum of the risen Christ, coming from the Church of Santa Croce, to meet in the evocative rite of s’Incontru in Piazza Santa Maria.

Father John Anthony Solinas was born in this ancient building in 1643 and spent his entire childhood here before entering the Society of Jesus in 1663.
The Christian martyr is still revered by his fellow citizens as a model of holiness and dedication.
The birthplace in which Father Solinas lived with his family, well-to-do and of noble extraction, was larger and included several small buildings, traces of which remain in the southwest wall of adjacent buildings.
Of the original building, dating back to at least the first half of the 17th century, small renovated rooms are now preserved, owned by the municipality, spread over two floors and used for exhibitions and displays.
The present building has a rectangular plan and is characterized by an exterior granite staircase ramp that provides access to the upper floor while the ground floor is configured as a low arched loggia.
The main facade, treated in smooth white plaster, has sparse, small openings. The pitched roof is made with tiles that protrude from the masonry to allow rainwater to drain away and thus avoid wetting the walls.