Built in the first quarter of the 14th century, the Church of the Saviour of Real left very few testimonies of those times when, despite already announcing Gothic art, Romanesque solutions were still used in the construction of religious spaces.
The portal bears witness: features no tympanum, the columns are headed by capitals with small-sized sculpture and attached to the echinus and the two archivolts that give body, in addition to being broken, are round-shaped. The decorative motifs on the capitals focus on phytomorphic and botanic themes, and on a mask in the corner of one of the capitals. Note that this decorative scheme is very similar to the one in the neighbouring church of Mancelos.
From the times of the Romanesque edification remain, in south side façade, an arcosolium with sarcophagus, whose cover boasts an engraved sword, which denounces the social status of those buried there and, in the massive stone perpendicular to the southeast point of the chevet, attached to it, a bell tower of clear Romanesque flavour.
But, above all, the 18th century is currently the most perceived in the Church, evident in the lighting opening spans in the nave and chancel, in the design of the three crosses that align in the gables and terminals of the nave's corners.
Once inside and resting directly on the wall, the triumphal arch is formed by two broken archivolts.
Noteworthy is the bare nature of this Church accented by stucco coating that covers it in its entirety, bringing out, much to the chiaroscuro effect, the crosses of consecration, Romanesque, pattées and inscribed in a circle.
The construction of a new parish church in the 1930s and the transfer to a new space of the altarpiece that belonged to this temple is another reason for its bare nature.
Although stucco covered its entire inside, in the beginning of the 50s of the 20th century, witnesses report the existence of a painting depicting Christ being baptized by his cousin John, in River Jordan. This painting served as a background to the baptistery, at the entrance of the Church, on the left, and dates back to the 18th century or early 19th century.
The font seems to be of Romanesque times, with its circular granite bowl, much to the taste of such artistic style, sitting on a cylindrical foot and this on a cubic plinth.