There are few dates related to the history of Pontes Castle: the year 1070, read in the remains of a Roman fortification embedded in its foundations, and 1333, the year of its fall into the hands of Catalan-Aragonese. The structure was inhabited until the 15th century. Among the few current material traces there are some parts of a straight wall, which seem to indicate the presence of a lower antemurus fence and a wall circle at a higher level, at the actual castle, and the remains of an angular tower and some underground cisterns. Galtellì is located on the slopes of Mount Tuttavista, in a position dominating a valley that opens to the sea, following the course of the Cedar River. The castle is located outside the village, on a site nestled in vegetation.
The archaeological area is located on an extensive platform of Gerrei, a region of south-eastern Sardinia. The excavations extend into a cork forest. Pranu Mutteddu is one of the most impressive and important funerary areas of prehistoric Sardinia. To the south are the burials, exceptionally surrounded by large groups of menhirs and round buildings of probable sacral character, and the homonymous hypogean necropolis at domus de janas with three tombic circles. Other structures are found in the surrounding area, particularly the remains of the \"allée couverte\" (a particular type of dolmen) of Baccoi. The archaeological site of Pranu Mutteddu includes some 50 menhir specimens: the largest grouping of Sardinia. Distributed differently, in pairs, in alignments, in small groups, sometimes on the same tomb architectures, are made with local sandstone.
The site is geographically located in the Basaltic Highlands of Abbasanta (OR), in central-western Sardinia, at the Santa Cristina country Sanctuary. It is one of the most important sacred areas of nuragic Sardinia. In a part of the area you will find the well-groomed temple, the so-called \"meeting hut\", with attached fence, and a host of other environments. At about 200 meters we find a nuraghe and housing structures of various ages. The nuraghe, with one tower, is built with basalt blocks. The room has three niches arranged in cross and it still retains its vault to the ogiva. Around the nuraghe, there are traces of the inhabited area, in particular three lengthy huts of uncertain history.
The site is in the middle of the countryside, in Santu Stevanu, surrounded by vegetation. Archaeological studies have identified three main units: the building complex composed of the so-called Baldu Palace and its buildings; The church of St. Stephen; The furnace. The largest nucleus (1600 square meters) consists of 16 rectangular planar environments that form a pentagonal fence around a large courtyard (780 square meters) facing the entrances. The south/east part of the inner square is occupied by square-level construction (9.20 meters per side), of which the perimeter walls are kept for about 10 meters high, originally divided into three floors, equipped with a terrace and equipped with an outside staircase to reach main access. The construction technique with which it was built indicates considerable constructive expertise, and recalls the Romanesque granite churches of Gallura and Corsica. A kiln was found with the excavation of the small circular building, located about 25 meters south of the church of Santo Stefano. The structure, about 3 m in diameter, is made of small granite stones and, in some parts, with bricks. The analysis of the artifacts has made it possible to ascertain the import of ceramic products from different areas of the Mediterranean basin.
The archaeological site is located on the \"Taccu\" of Osìni, an impressive natural fortress with steep limestone walls. It offers an exceptional view of Ogliastra and the Barbagie. It includes a nuraghe with an adjacent village, a cave with two entrances, two tombs of giants, and two monotor nuraghi. The complex nuraghe - built on the top of a rock - consists of a main tower and three smaller towers. In the valley there is a tomb of giants. Another one, very damaged, is visible in the east side. The nuraghes Sanu and Orruttu, located on the Troculu plain, with a short distance from each other, have one tower each. At the Orruttu nurague there is a hut with circular compartment and rectangular atrium.
Posada stands on the slopes of a calcareous hill at the top of which is the tower called \"Casteddu de sa Fae\" or Castello della Fava, perhaps of the 13th century. From here you can enjoy a beautiful view of the plain below, perched by the Rio Posada. There are few ruins in the castle. Of untreated cones made of mixed stone, it is articulated in an irregularly shaped rectangular wall, inside which there is a well-preserved square tower tower, with merlot crowns, and a series of cisterns. Remarkable is the old town center, on the slopes of the hill, where buildings with medieval structures are preserved.
The Burgos Castle, is 647 meters high on a granite peak at the foot of the southwest slope of Monte Rasu, a point of crucial importance for controlling the territory. Visibly isolated from the inhabited center, it emanates the suggestion of fortifications linked to historical events and everyday life of the Middle Ages. According to some sources, it was built around 1134. It is made up of a large U-shaped wall, including some slots, a vaulted section in the rock and, above all, the main tower. The two-story tower, square-shaped, is about 16 meters high. There are no bumps or shelves on the top of the structure. Inside the inner courtyard of the fortress is the entrance to an underground environment identified as a cistern. To the north of the tower there are a number of rooms whose use is still unknown.
The nuraghe is built on a short marvelous plain, at the bottom of the Giara di Gesturi, in the Marmilla region. The monument shows a planimetric and architectural layout among the most extraordinary that nuragic culture has produced. In 1997 UNESCO declared it a World Heritage Site. The complex has several constructive phases characterized by the use of local stone: the basalt of the Giara, which prevails largely, and the limestone marl. The first stage, of the late middle bronze age (late 15th to 18th centuries AD) saw the creation of a truncated (or doorman) central tower surrounded by a bastion.
Serbariu is today a hamlet of Carbonia, but it was born in the 18th and 19th centuries by the union of numerous scattered rural settlements (furriadroxius) until 1853, when it was united in a city. Only with the foundation of Carbonia in 1938, its territory with more than 3.000 inhabitants was completely embedded in that of the new city. In 1936 in Serbariu was identified the namesake deposit, which was deeply exploited during the years of the fascist regime, but since 1947 it fell into a crisis that ended in 1964 with the closure of the mining plant. The incurrence led to the ruin of all the mining complex of Serbariu over the years, until the site was included in a project, recognized by UNESCO, for the creation of the Historical and Environmental Geominerary Park of Sardinia. Today, the restored structures hosts cultural events and demonstrations for tourist, educational and scientific purposes. Particularly impressive are the metal castles of Well 1 and Well 2, near office buildings, lampstand and power station. Also interesting is the structure of the cooling system contained in a polygonal base tower that shrinks upward, straight from stand pillars.
Nestled at the bottom of a hill just off Iglesias, lies the town of San Giovanni, which since 1865 houses an important mine opened by the Hungarian engineer Keller. The facility, two years after its opening, was sold to a small English company, which in turn resold it. The new buyer company, Pertusola, created a small mining village called Binda. The excavation of the Idina Gallery, bearing the name of the president of the company\'s wife, led to the discovery of a mining field of large proportions, marking the beginning of the mine\'s development. The mining activity was carried out with alternate events until the 1960s, when they realized the inefficient economy of the field. The mine at the end of the sixties was first sold to the Società Piombo Zincifera Sarda, managed by the Sardinian Mining Authority, and later in the 1980s to Samim, a state-owned company. The property passages did not, however, lead to improvements in the economic situation and over time the mine was forced to close. During the excavation of a stove, the cave of Santa Barbara, the protector of miners, was discovered, considered one of the oldest in Europe. The peculiar feature of the cave is the honeycomb-shaped crystals along the walls and vaults, marked by blue and limestone aragonite columns and by huge stalactites that create fascinating lights games.
Few miles after Nebida, on the SP 83, is the ancient Masua mining village, once intended to accommodate workers employed in the homonymous mine. The area is rich in points of interest related to mining archeology, natural and geological peculiarities, and beaches of incomparable beauty, far from the most popular routes. At the foot of the slope that houses the village, Masua beach opens up to a clear and clean sea, where you can enjoy the spectacular panorama of the Sugar Pan, a limestone rock emerging from the sea for a height of 132 m in front of Is Cicalas\'s tip. Slightly south are the cliffs of S\'Angusteri and Il Morto, which present yellow spots due to the transformation of limestone into dolomies. At the end of a white road starting from Masua Beach, you will find the facilities of the Porto Flavia embarkation mines. The numerous mines in the area (Masua, Montecani, Aquaresi) normally embarked on small boats of carlofortini sailors called galanzè, which had a sufficiently small draft to be able to moor in the small marinas of the area. These boats then carried the minerals on the island of S. Pietro, in whose port they had the opportunity to moor larger sailboats. Within this structure a 15m long conveyor belt moved the mineral from nine large silos excavated into the rock to the peak opening on the sea, from where the product was directly embarked in the holds of anchored ships 16m below. For the silos, however, the product came from the mines with an electric train that dumped it after entering a tunnel. Designed by designer engineer Cesare Vecelli to his eldest daughter, was abandoned around the \'60s. Thanks to the careful restoration it is currently visited as a particularly significant example of the lively mining activity that marked the territories of Iglesias between the ‘800 and ‘900. Between Masua and the beautiful Cala Domestica, along the SP for Buggerru for 8 km, you will meet the Canal Grande mine and, with a 20-minute walk on foot, you reach the cove with the famous Grotto della Spigola, excavated from the sea, making this place very unique.
In the surroundings of the abandoned mining village of Ingurtosu, built by the French company Pertusola, former owner of the mines, there is Laveria Brassey, located in the lower part of the mining settlement. The houses, the church and the town hall of the village are surrounded by the greenery of Mediterranean scrub and pine forests. A dirt road descends between mines, abandoned buildings and gigantic dumps to Naracauli with the ruins of the cavern built in the postwar period. At the time a decauville train carried the material up to the sea where it was loaded on ships. Some stretches of the old rails with the trolleys can be seen on Piscinas Beach near the hotel Le Dune, formerly an old mining building. Behind, a chain of white dunes, formed by the wind and covered by the green of the Mediterranean scrub. The beach stretches for 9 km to the south to Cape Sheep, while to the north it is located on a rocky coastline named after Costa Verde.
The mining village of Montevecchio occupies a vast area that includes residential and executive buildings, facilities, landfills and wooded areas. The mining plants are divided into the areas of Levante and Ponente separated from the Gennaserapis pass, where the central nucleus of the inhabited area is located, which concentrates all the symbolic buildings of the mine (direction, hospital, school, church, workmanship), made in different styles according to the different construction periods. It is therefore possible to observe the architecture of the past, the use of Liberty, especially in decorations, a simple and functional language derived from Rationalism. Of particular interest is the Direction, built on 1877, which houses the chapel of Santa Barbara side by side with a curious combination of different functions. On the outside of the building is a tall, exuberant courtyard with a Doric portico, where the paintings with mining themes, travertine railings, archway or archway openings, the fountain with a masked barbato, anticipate the extraordinary salon of meetings: a vast room turned into a pavilion and decorated with trompe-l\'oeil paintings that repeat floral friezes, shells, bouquet of flowers and gloomy, grotesque, birds.
The mine, visited in 1838 by the Honoré de Balzac writer, was taken over in the middle of the nineteenth century by a Belgian company, to which the Corr\'e boi Society then took over, and dismantled it in 1963. The three major nuclei - Old Mine, Plata and Argentiera - they are close to the sea. The township consists of small houses at the road level. Over time they have undergone a marked deterioration, which is being remedied with a restructuring that affects the entire area. The remains of the extraction facilities are still visible
The Maxia kilns occupy a large area in via Brigata Sassari along the now underground basin of the Mannu River, now reached by urban expansion. The still visible structures, grouped around vast spaces, have an external appearance that refers to a “rustic” architecture. They are large sheds externally ridden from brick slabs and covered with sloping roof. The characterizing feature is the use of the exposed brick, alternately used in the openings of the exterior walls for the necessary ventilation of the interiors due to the plant\'s production needs.
The architecture of the Citadel of the Museums blends the exceptional features of the ancient parts with the needs of a modern multifunctional center. Thanks to a special attention to the relationship between the new constructive interventions with the pre-existing ones and the use of local stone squares (Bonaria limestone) and exposed concrete masonry, it has been able to find a proper architectural equilibrium. Grazie ad una particolare attenzione al rapporto tra i nuovi interventi costruttivi con quelli preesistenti e all\'impiego di conci squadrati di pietra locale (calcare di Bonaria) e murature in calcestruzzo a vista, si è riusciti a trovare un giusto equilibrio architettonico. Come arrivare Dalla stazione ferroviari di Piazza Matteotti, si percorre il Largo Carlo Felice, la strada di fronte al porto. Alla fine della strada e a fianco alla Piazza Jenne, si svolta a destra in Via Manno, la si percorre tutta e si arriva a Piazza Costituzione. Sulla sinistra della piazza si può ammirare il Bastione di San Remy. Si sale su Bastione, si attraversa la piazza sovrastante e si arriva al Teatro Civico. Si supera e si percorre tutta Via Lamarmora. La Cittadella è nella Piazza dell’Arsenale
The Sebastiano Satta Square, which serves as a connection between the historic district of San Pietro and the nineteenth-century expansion zone towards the Gardens and the Cathedral of Santa Maria della Neve, was set up in 1967 by the sculptor Costantino Nivola. Painted white buildings and covered with granite squares slabs, Nivola distributed large granite blocks to the natural state, where he embellished bronze statuettes depicting the young poet at different times of his life. Nivola makes the square a place worth living, in an irregular space, also obtained through the demolition of some houses. Informed stones with protective cavities for the statues contrast with the geometry of the floor, in an almost metaphysical result, accentuated by the white of the buildings. There is no privileged point of view, but in reality the different possibilities of arrival in the square determine as many and changing perspectives.
On May 1, 1977, the old market square became Gramsci Square, in honor of the most illustrious citizen of Ales. The sculptor Giò Pomodoro, invited by the Amici della Casa Gramsci in Milan, chosed to create a community space and not a celebratory monument. At work, local people also participated in the choices of Pietrame (Masullas limestone) and the insertion of Trani stone for the engraved plate and the benches, in a kind of union between different people. The central core is in the square quadrangular hearth compared to the square level, covered with red and black basalt pebbles. Pomodoro\'s intervention aroused a few controversies as well because he lived again as an example of cultural colonization, especially since in 1968 the Ales municipal administration had already commissioned a monument to Constantine Nivola (never realized).
Alghero (38000 ab.) rises in a landline overlooking the sea, along the so-called \"Riviera del Corallo\". It is known for its white sandy beaches as well as for the long pinewood that leaves the town and continues in the direction of Porto Conte. The hinterland is rich in archaeological sites dating back to prehistoric times. The city maintains a strong Catalan linguistic and cultural identity and is a very significant historical center of the fifteenth century. Alghero was erected in the XII century by the Doria family. The historic center is enclosed within the Catalan walls, alternating with towers and walkways. The harbor is close to the Maddalena Bastion, the only survivor of the three original fortifications. The shape of the city followed the lines of the promontory on which it was implanted, as a landing function for ships from Liguria. The Romanesque phase of the fortified settlement has very few traces, embedded in structures erected after the Aragonese conquest between the 14th and 15th centuries.
The only testimony of a significant complex of public works, wanted by the municipal administration at the end of the nineteenth century and started with the dam of the Fluminera rio. The building, realized with a regard to the metal part of the Florentine foundry of the Pignone, has a series of masonry tanks, connected by a water dispenser tube and characterized by a sloped plane to facilitate the washing of the cloths. The roof, with pavilions ornamented with false openings, always metallic, is especially important for the sinuous and enveloping of the supporting decorations, according to the principles of Liberty. The Washer was built in 1893 by the engineer Enrico Pani. The restoration of the eighties in the 20th century saved the last visible parts of the artifact. The stone spring remains one of the masks used as a water cannula, while missing lion figures are disposed symmetrically on the spring.
The scenic building, overlooking the Constitution Square, combines the old quarter of Castello with the lower part of the city and is the result of the scattering and reuse of the ancient bastions of the Sperone and Zecca, built by the Spaniards in the second half of the sixteenth century. The Saint Remy Bastion was built between 1896 and 1902. The main, long, busy staircase winds through the Constitution Square with several ramps that gather at half height on a landing that enters the covered promenade. This is on the side along the Regina Elena avenue with bright and bright environments, painted in bright colors and enclosed by large arcades with fixtures placed only in 1985. Under a large arc that dominates the entire building there is an additional staircase with two circular ramps which lead to the Terrace Umberto I from which you can enjoy a magnificent view of the city and the sea. The large square has two more ramps that lead to the next bastion of Santa Caterina, which overlooks the homonymous elementary school.
The promenade and the square are the nodal points of the Porto Cervo settlement and have a sinuous development that is repeated in the surrounding villas. The buildings are embedded in nature and feature exterior walls left to rustic, deliberately uneven corners, coated granite and natural pigments, unfinished lumber, according to the rules of a seemingly \'spontaneous\' architecture, also based on On the decorative function of irregular pillars. The church of Stella Maris, built between 1968 and 1969 by architect Michele Busiri Vici, is based on a \'Mediterranean\' style, while respecting the traditional division into three naves. The rounded belfry continues the curvilinear pattern, defined from outside the chapels to the façade, preceded by a megalithic portico. Even the use of these stones, which is typical of the island, is completely out of context, according to the \"emerald\" practice of a re-reading of the building born of the mediation of a different culture from the current one. Some details, however, are of great interest, such as irregular granite flooring or Luciano Minguzzi\'s sculptures and furnishings.
The elementary school building, built between 1935 and 1936, the year of the inauguration of the new settlement, recalls precise international architectural experiences and uses the use of volumes with curved lines and ribbon windows with brick strips alternating with plaster bands. In contrast to the other buildings of Fertilia, the school is the result of the first urban plan set up in 1935 by the engineer Arturo Miraglia, based on the pattern of the city spread in the territory, taken up by the English experiences of the garden city. Subsequently, the assignment for a new city plan was entrusted to four architects grouped under the 2PST (Concezio Petrucci, Emanuele Filiberto Paolini, Riccardo Silenzi, Mario Tufaroli Luciano). After the start of the executive project in 1939, the work stalled in 1942 for the increasingly tragic situation of World War II, and it was only resumed in the 1950s, when Fertilia\'s settlement was ready to accommodate refugees from past Italian lands to what had in the meantime become the Federal Republic of Yugoslavia. Among the new cities of Ventennio Fertilia is certainly the one closest to the original rural hamlet.
The City Hall was a villa designed by the engineer Bruno Cipelli for the Colonna family. Built around 1932, the building has a rectangular plan, which on the short side has an entrance overhanged by a balcony enclosed by balustrade, on which opens a window with two arches. Along with all the other panels, there are columns embedded in the walls, windows with all-round or lowered arches, and balconies that resemble the features of the main one. The rich decoration has some Liberty recall, especially in the vertical elements of the closing frame.
The water mill, called \"Su Mulinu Vezzu\", is located at the top of the village, particularly suggestive for its thick vegetation. It is closely linked to the economy of when the country was one of the most active on the island for wheat production and processing of its derivatives. The mill dates back to the eighteenth century and has been restored to operate again. It is a stone-built construction and it develops into two complementary parts: to the right two high walls contain the large water wheel that with its driving force puts in action the stone needed for milling. Above it, embedded in the stone, there is a channel for the water. On the side is the real mill building, with a uniform facade interrupted only by two small windows. Inside, paved with stone, wood gears are visible that, by receiving the power of the water, propel the mechanism by allowing the large grinding wheel to grind the grain.
The sanctuary is located in front of Omodeo Lake, in a natural walled amphitheater called by the local people \"sa corte de Santu Antine\". It is accessed through two arches, one of which was built in the 17th century in reddish volcanic stone, called \"su portale de ferru\". The Gothic-Catalan church dates back to the middle of the 16th century. The present structure is the result of a radical expansion and renovation work begun in the second half of the 18th century. The interior is made up of a single nave with barrel vault and side chapels. Interesting is the accommodation of the complex: the fence with its large portals, the trees, the seats, the long porticoes for the pilgrims and the freighters, the circular area for the penitents along the street where every year between 5 and July 7 the \"Ardia\" takes place, the reckless horse race in honor of St. Constantine.
The pre-Romanesque church of San Sebastiano was built just before the year 1000. The interior features some aspects of the Aragonese era, such as the central aisles, originally two then brought to three around 1600. Some frescoes still visible are a Greek-Byzantine cross and the Monogram of Constantine.
The church is located on a small hill in Santu Miali, an area on the outskirts of Siddi village, not far from the parish church dedicated to the Visitation of the Virgin Mary. The Romanesque building was erected in the second half of the 13th century. It has two naves, divided by octagonal sectional pillars, and a single apse.
VILLAS AND HISTORIC RESIDENCES
Casa Zapata si trova a Barumini, al centro della cosiddetta regione delle "giare", termine con cui sono comunemente chiamati gli squadrati altopiani basaltici dal profilo perfettamente orizzontale e coi fianchi “scarpati”. Prodotte da fenomeni vulcanici durante l'Oligocene, le giare costituiscono una formazione geologica caratteristica della zona nord-est della Marmilla. La sua costruzione venne avviata tra fine Cinquecento e inizi del Seicento. E’ degna di nota per il fatto che costituisce uno dei più precoci e rari esempi di architettura civile ispanica ispirata a tratti caratteristici rinascimentali in ambito sardo. La parte più significativa della dimora è costituita dal prospetto, con delle aperture ispirate a forme classicistiche. Il portale, in pietra vulcanica verdastra, ha stipiti modanati, colonne lisce con basamento a duplice toro, capitello a canestro. E’ presente anche lo stemma araldico della famiglia. I proprietari si erano già orientati verso lo stesso gusto decorativo nel palazzo fatto edificare a Cagliari in via dei Genovesi, ma le aperture della dimora rurale appaiono più massicce e più prossime al modulo quadrato rinascimentale. La loro disposizione sul piano di facciata, piuttosto disordinata e insensibile ai valori di simmetria, tradisce un'assimilazione superficiale delle forme rinascimentali, confermata anche dalla durezza e approssimazione dell'intaglio della pietra legato ancora a schemi arcaizzanti. Come arrivare Partendo dalla SS 131 all’altezza di Sanluri in direzione di Cagliari, si prende la SS 197 che attraversa i paesi di Villamar e Las Plassas e conduce a Barumini. Lungo la statale che taglia il borgo si giunge a un piazzale alberato dove è situata la casa Zapata.
Alghero è su un lembo di terra circondato dal mare, lungo la cosiddetta "Riviera del Corallo". A vocazione turistica, è nota per le spiagge di sabbia bianchissima oltre che per la lunga pineta che parte dall'abitato e prosegue in direzione Porto Conte. Palazzo De Ferrera è nel centro storico di Alghero, nell'odierna Piazza civica, a ridosso del Porto. Prende il nome da Pedro De Ferrera, marchese di Bonvehì, potente feudatario che sconfisse nel 1436 Nicolò Doria. Utilizzata anche come residenza temporanea da Carlo V nel 1541, quando sostò due giorni ad Alghero, successivamente la casa passò alla famiglia Manca Guiso, marchesi D'Albis (da cui il nome Casa D'Albis); nel XIX secolo divenne proprietà del conte Maramaldo, poi dei De Arcayne. Dal 1960 è convertita in un condominio. La facciata della casa, rispondente alla tipologia del "palau" aragonese quattrocentesco, realizzata in conci di arenaria perfettamente squadrati, si sviluppa orizzontalmente in forme nitide e lineari. L’edificio si articola su tre piani. Le aperture del piano terra sono state rifate salvaguardando i resti di due porte con conci disposti a ventaglio; l'ingresso principale immetteva in un patio con scala scoperta e balconi continui ai piani superiori. Nel secondo piano si aprono quattro finestre ciascuna con due aperture con archetti a tutto sesto scolpiti in un solo blocco, sorretto da colonnine; accanto a queste si collocano due finestre ad arco inflesso, impostato su piccoli capitelli decorati, simili a coevi esempi presenti nella vicina città di Sassari. Una cornice marcapiano scandisce lo spazio tra il secondo e il terzo piano; in quest'ultimo si trovano cinque finestre di fattura moderna, come moderno è il disegno del piano terra, con l'ingresso del palazzo affiancato da una serie di esercizi commerciali. Come arrivare Partendo dalla SS 131 all’altezza di Sassari in direzione di Porto Torres, si prende a sinistra la SS 291 e la si percorre per circa 15 km. Si svolta a sinistra e si prosegue prima sulla SP 19 poi sulla SS 127 che porta direttamente ad Alghero.
Il paese sorge sulla costa occidentale del golfo di Cagliari, a circa venti chilometri dalla città. Il territorio ha fortemente risentito degli insediamenti petroliferi che, a partire dagli anni '60, si sono installati lungo la costa e che hanno reso la zona uno dei più importanti poli petrolchimici del Mediterraneo. Il territorio di Sarroch fu abitato fin dal periodo nuragico, come testimoniano diversi nuraghi tra cui "Sa Domu e S'Orku" e "Antigori", nel quale furono rinvenuti frammenti di ceramica micenea databile tra il XIII e l'XI sec. a.C. Durante il Medioevo fece parte del Giudicato di Cagliari. L'origine del nome del paese è ancora incerta, anche se si propende per l'ipotesi che faccia riferimento alla montagna che sovrasta l’abitato, in lingua sarda "Sa Rocca" e in catalano "S'Arroch" che significa roccia. Le tipologie costruttive relative all'habitat rurale del paese sono costituite da case a corte costruite con mattoni di fango e trachite; ampi e bei portali decorano ancora oggi il centro storico. Tra le bellezze del territorio vi è la splendida Villa d'Orri, abitazione e tenuta agricola. Edificata alla fine del XVIII secolo, è stata residenza estiva dei Savoia e conserva dei meravigliosi arredi interni oltre a un bellissimo parco verde che si spinge verso il mare. La principale manifestazione religiosa è la festa dedicata alla patrona del paese, Santa Vittoria. Durante i festeggiamenti, nella terza domenica di settembre, si svolgono, accanto alle celebrazioni religiose, manifestazioni sportive e culturali. Di grande suggestione anche il passaggio dentro il paese del simulacro di Sant'Efisio durante la sagra omonima. Come arrivare Partendo da Cagliari si prende la SS 128 per Pula che porta, dopo aver percorso circa 25 km, direttamente a Sarroch.
Il Palazzo fu impiantato all'epoca della presenza pisana e venne adibito a sede viceregia nel 1337 per volontà di Pietro d'Aragona, sovrano del "Regnum Sardiniae et Corsicae". Nel corso dei secoli subì varie modifiche strutturali volte a migliorare i caratteri di funzionalità richiesti dai sempre nuovi e diversi uffici e istituti disposti dai governatori del Regno. Nei suoi locali, oltre agli appartamenti privati dei componenti la corte viceregia, ebbero sede la Reale Udienza e la direzione della difesa militare dell'isola. Soltanto a partire dal 1720, con il passaggio dalla monarchia asburgica a quella sabauda, ci furono cambiamenti sostanziali, che comportarono sia la ristrutturazione degli interni sia il rifacimento della facciata. Nel 1730, su progetto dell'ingegnere capo De Guibert, furono ricostruiti integralmente il portale, l'atrio e lo scalone d'onore e si avviarono i lavori di abbellimento del salone della Reale Udienza. All'ingegnere Della Vallea (attivo a Cagliari dal 1735 fino alla morte nel 1744) si deve la ristrutturazione del piano nobile con la sistemazione di una serie di saloni sul fronte ovest; mentre la facciata, che un'iscrizione al centro del prospetto in asse col portone principale dice conclusa nel 1769 per volontà del viceré Ludovico De Hallot, si dovrebbe a un disegno di Saverio Belgrano di Famolasco, che progettò anche il prospetto a est, sopra il Terrapieno. Dal 1799 al 1815, in seguito all'occupazione francese del Piemonte, il palazzo divenne la dimora della corte sabauda. In seguito passò all'Amministrazione Provinciale che lo acquistò nel 1885 dal demanio dello Stato. L'atrio introduce alla scalinata che porta al piano nobile; quindi si passa, attraverso la sala con i ritratti dei viceré, nell'aula del consiglio provinciale, realizzata nella sua attuale configurazione alla fine dell'Ottocento e decorata tra il 1893 e il 1896 da Domenico Bruschi. Al secondo piano si accede attraverso due scale di servizio. Come arrivare Piazza Palazzo è facilmente raggiungibile dalla via Roma, salendo per il viale Regina Margherita e il Bastione di Saint Remy.
Il territorio di Sanluri fu intensamente abitato sin dalla preistoria. Nel 1409 si combatté la battaglia che segnò la fine dell'autonomia del giudicato di Arborea. Il castello "di Eleonora", forse eretto tra il XIII e gli inizi del XIV secolo e successivamente ampliato alla metà del Trecento, sorge nel settore nord-est del centro storico ed è l'unico della Sardegna medievale a essere ancora abitabile, per quanto adibito a contenitore museale (Museo Risorgimentale ''Duca d'Aosta'') dopo moderni restauri. Il paese di Sanluri, il cui territorio si estende tra Campidano e Marmilla, si trova a metà strada tra Cagliari e Oristano. Per la sua localizzazione ha sempre rivestito un ruolo strategico per le comunicazioni, soprattutto sul piano politico e militare. Quindi, il castello dei marchesi di Villasanta è stato di grande importanza per il territorio ed è, appunto, anche ben conservato. Come arrivare Sanluri dista 50 km da Cagliari. Si può raggiungere dalla SS 131. Il castello è nell'abitato.