The parish church of Sant'Eulalia is located in the center of the Marina district, a short distance from the port. Its elevated position compared to the surrounding building is due to the fact that it was built on a small artificial hill, created with the underground of an important multi-layered archaeological site, brought to light in recent years. Its architectural size stands out as the visual and urban fulcrum of the fourteenth-century district, reorganized after the Catalan conquest of the city in 1326. Dedicated to the patron saint of Barcelona, the church is mentioned for the first time in 1365, but it has no obvious structures from the 14th century building phase. As it stands today, the building is the complex sum of a series of renovations and restorations that took place over the centuries, up to recent times. The interior of the church is strongly characterized by the impressive roof of the central nave, built through the succession of three large late-Gothic star vaults, which date back to a total renovation dating back to the last decades of the 16th century. In the 16th and 17th centuries, the single nave saw the opening, on the north and south sides, of a series of chapels, later modified. In 1612-13, the construction of the elegant domed choir behind the presbytery and the square-barreled bell tower that flanks the main façade was documented. In 1622 the church was elevated to the rank of Collegiate Church. A further impressive intervention dates back to the eighth decade of the 18th century: this phase of work gave the building its current dimensions and architectural forms, for the most part still appreciable, with the opening of the side naves and the reconstruction of the chapels in modern forms; in the same part of the century, the bell tower was raised and the main façade remodeled with a double-inflected crown that is no longer visible today because it was modified by twentieth-century restorations. The latter in particular, completed in 1919 and executed under the direction of engineer Riccardo Simonetti, substantially modified the exterior of the church and, in part, also the interior space. Outside, the main façade was redesigned according to a late-Gothic model that recalled the original lines of the sixteenth-century façade, with the reopening of the large central rose window and the recovery of parts of the portal. The crowning of the bell tower, the entire south side and the outer cover of the choir dome were then modified. Inside, the new profile of the arches of the chapels and side naves and the decorative elements of capitals and pilasters are due to the same intervention.
The chapels preserve fine baroque marble furnishings from the 18th century and paintings and sculptures of great interest, dating from the 17th to the 19th century. Many works of art that over the centuries enriched the parish's liturgical supplies are now visible in the attached Treasure Museum.

Bibliography
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