Attractions and Places To See around Bànari/Banari - Top 20

An adventurous approach, barking dogs, thorny undergrowth. The dolmens were great, but unfortunately the hiking trail was not well maintained, so we turned back with our son.

Plains with a primordial appearance, large green spaces bordered by imposing rock formations, isolated or in rows, with caves dug by nature and inhabited by man over the millennia

The caves are accessible from the road across a meadow. However, there are no paths, despite other claims to the contrary. We didn't find one, and the thistles and thorns make hiking less enjoyable. The area and the view are, of course, wonderful.

A place of great historical value. Well worth a visit!

The path passes through the Domus de Janas of S'Ena de Cannuja, ancient pre-Nuragic tombs carved into the rock, dating back to the 3rd millennium BC. This necropolis includes six tombs dug into a trachytic ridge. The tombs were presumably reached using carvings dug into the rock face similar to those still preserved in the Domus de Janas Sos Furrighesos necropolis in Anela.

One of the most beautiful nuraghi on the island.

Santissima Trinità di Saccargia is undoubtedly the most famous and spectacular of the island's medieval churches. Its tall bell tower stands out against the surrounding landscape as you approach the site, surrounded by greenery but easily accessible from the state road. The importance of the monument lies not only in the important dimensions, but also in the frescoes that decorate the apse, among the few Romanesque paintings preserved in Sardinia. Since 1112 the Abbey of Saccargia has been one of the Sardinian possessions of the Camaldolese monks. AS of the building you can see the few surviving structures of the cloister and monastery that are currently being excavated. The church (21 x 7 m, approx. 14 m high) has a "commissa" cross plan with a three-apsed transept in the northeast. The walls are made of limestone and volcanic stone blocks. A portico is in front of the facade. AS bell tower and sacristy lean against each other. Two construction phases can be distinguished in relation to different masonry techniques. The floor plan included a three-apse transept with cross vaults and a shorter hall than the current one. The use of rough-hewn calcareous and volcanic cornerstones is typical of the workers who worked in the Giudicato di Torres between the late 20th and 20th centuries Later the hall was raised and extended to the west, with a new facade in three orders. The portico with cross vaults, the bell tower and the sacristy date from this second phase. The regular two-tone work is characteristic of the workers trained in Pisa and Pistoia in the second half of the 12th century. The restoration interventions at the beginning of the last century have spoiled the original physiognomy of the church. The porch was demolished and rebuilt, the raised bell tower fully compensating for the ornamentation of the facade. Source and information on opening hours: http://www.sardegnacultura.it/j/v/253?v=2&c=2488&t=1&s=17842

The nuraghe of the monumental complex of Santu Antine di Torralba (15th century BC), cornerstone of the entire settlement system of the Valle dei Nuraghi, represents the synthesis and culmination of the architecture of the Nuragic period. At the foot of the nuraghe lies the nuragic village, only partially brought to light by the excavations. The huts were built in Roman times as early as the 2nd century BC. and after a short period of neglect (middle of the 1st century BC) a rustic villa was built on the southern village structures. The virtual reconstruction of the Nuraghe Santu Antine represents an equilateral triangle centered on the central tower – or mastio – whose original height exceeded 25 meters. At the corners are three side towers that are almost identically spaced from each other, about 42 meters. The exterior brickwork follows a curvilinear pattern, with rows arranged in horizontal courses. Inside, there are long corridors, simple and spiral staircases to reach the upper rooms, silos for storing food, and a fountain system. The constant regularity of dimensions and symmetries suggest a unified project in which the desire to create large voids within the walls is clearly felt. The main entrance overlooks the courtyard in which stands the mastio, of which only the first and second chambers are complete; On the wall there are 7 monumental entrances, arranged symmetrically, from which you can reach the different rooms also on the first and second floor. At the two ends of the courtyard are the entrances to the west and east towers: in each of these chambers another passageway connects them to the north tower through monumental corridors. From the ground floor of the mastio, going up the spiral staircase, you reach the room on the first floor, which, like the lower one, has a tholos roof. The geometric lines of the planimetric scheme of the basement are also proposed on the upper floor: only the central tower had an additional level, now reduced to a few lines. Source: https://www.nuraghesantuantine.it/nuraghe.html