The Church of the Saviour of Ribas presents itself as a space that preserves several principles and particularities of its Romanesque building, despite the architectural solutions that were adopted in later centuries, which are visible, for example, in the bell tower, from the second half of the 18th century.
Surrounded by private and community support buildings and decorated with a front garden - where the bust of Father Magalhães Costa and a stone cross commemorating the Centennial stand -, this Church, dedicated to the Saviour, features a longitudinal plant consisting of a rectangular nave and chancel, a bell tower, a parish hall, a side chapel and a sacristy.
We should highlight that its Romanesque plan is well preserved, in terms of its exterior and homogeneity, expressed in its walls that do not display any marks which may indicate interruptions or changes in the primitive design; therefore, this Church was likely built in a single phase.
Another Romanesque feature becomes apparent in the decorative coherence shown by the pearls in relief that appear in the two main portal archivolts, in the crevice at its top, in the cornices of the main façade's gable, of the triumphal arch and of the chevet's back wall, as well as along the side cornices of the nave and the apse. This same decorative motif is also visible in its few corbels.
The composition of the gables' terminal crosses, the presence of narrow crevices, the layout given to the south side portal, the corbels that suggest the prior existence of a sheltering porch, are other elements which lead us to consider that this space was built in the mid-13th century.
In the Church's walled churchyard, close to the back façade, and despite its poor condition, we can still see another Romanesque trace: the old font, with its bowl, foot and circular and smooth design.
Despite the fact that its exterior takes us to a Romanesque context, the same cannot be said about its interior. The only exception is its triumphal arch, in which the capitals are almost repeating the decorative scheme found on the main portal: foliage in relief is clinging from these, showing a reduced volume and matching a composition made by small aligned pearls in the ensemble of the Church's exterior.
Otherwise, the Modern period is especially prevailing in its interior, with the use of the Mannerist and Baroque styles. From this new environment, we may highlight the presence of frames, on the Epistle side, leading us to assume that there were changes during the Modern period, perhaps during the campaign that opened a rectangular window on the same side of the chancel's wall.
In terms of gilded woodwork, we highlight the main altarpiece, of Mannerist inspiration, though deeply marked by later additions that sought their model in the Baroque style. In fact, the remaining ornamentation of the altarpieces shows the presence of artistic styles that marked both the 19th and the following centuries.
Of the imagery ensemble that enriches the interior of this Church, we highlight the 17th-century image of the Lady of the Valley, in upholstered wood, and the 18th-century sculptures of the Most Holy Saviour and of the Virgin of the Rosary.
We should note that the main altar restoration works, carried out in the 1940's, uncovered reasonably well-preserved wall paintings, which are located in the chevet, behind the aforementioned altarpiece: at the centre, there is a large-sized image of the Saviour; to its right there is a figuration of Saint Catherine of Alexandria, and to its left, there is what may be a part of the Annunciation scene.