The church is on a hill that dominates the surrounding plain. The site, a short distance from the Roman road connecting the North and South of the island, has returned Byzantine tombs, with rich funeral equipment. In the Middle Ages it was the seat of the diocese of Sorres, suppressed at the beginning of the 16th century. The Church of St. Peter the Apostle performed the functions of a cathedral. Today, a Benedictine monastery has been planted on the remains of the ancient episcope.
Along with the Holy Trinity of Saccargia, the church of San Pietro di Sorres is among the best known in Sardinia, especially because of the easy attraction exerted by the pleasantness and variety of ornamental motifs.
Documentary evidence is lacking, but on the basis of formal analysis, two construction phases can be established, one from the second half of the eleventh century, the other from the second half of the twelfth century. In the E and S sections, the rows of the smooth masonry, pertaining to the system, are visible. The reconstruction structures are in two-tone work, characterized by pilasters and arches, which define fake loggias on the façade, and by an exuberant decoration.
The large dimensions of the church (m 33 x 13, high m 11 about) are motivated by the function of cathedral of the diocese of Sorres, documented from 1112 to 1503, when it was incorporated into the Turritan archbishopric. In 1953-54, with the installation of a Benedictine monastic monastery, Neo-Romanesque buildings were added.
The medieval building is made of limestone ashlars and volcanic stone from the nearby Torralba quarries. The classroom has three aisles, all facing a cruise. Inside, the supporting elements are in bichrome work (limestone and volcanic stone), while the cross vaults are made of volcanic stone. A plutaeum with inlaid wheels (end of the 12th to the beginning of the 13th century) is preserved there.
Outside, the façade and the apse area are in two-color. The building has no vertical members except in the façade. The restoration interventions of the late nineteenth century changed its original appearance, with the restoration or arbitrary invention of a wide range of decorations on peducci. In both pediments, a cruciform light illuminates the room.

History of studies
It was Dionigi Scano (1907) who undertook studies on the church, while the mention in the work of Pietro Toesca (1907) imposes it to the national interest. Raffaello Delogu (1953) analyzes it in his study of Sardinian Romanesque architecture, paving the way for the research of Piero Sanpaolesi (1975). Roberto Caprara (1988) delves into its archaeological context, while a summary sheet can be found in the work of Roberto Coroneo (1993).

Bibliography
D. Scano, History of Art in Sardinia from the 11th to the 14th Century, Cagliari-Sassari, Montorsi, 1907, pp. 177-191;
P. Toesca, The Middle Ages, Turin, UTET, 1927, p. 558;
R. Delogu, The Architecture of the Middle Ages in Sardinia, Rome, The State Library, 1953, pp. 76-77; P. Sanpaolesi, The Cathedral of Pisa and the Tuscan Romanesque Architecture of the Origins, Pisa, Nistri-Lischi, 1975, p. 57; R. Caprara, “The Pisa Cathedral and the Tuscan Romanesque Architecture of the Origins, Pisa, Nistri-Lischi, 1975, p. 57; R. Caprara, “The Pisa Cathedral and the Tuscan Romanesque Architecture of its Origins, Pisa, Nistri-Lischi, 1975,
p. 57; R. Caprara, “The Pisa Cathedral and the Tuscan Romanesque Architecture of the Origins early medieval period in the territory of the Logudoro-Meilogu”, in The
nuraghe S. Antine in the Logudoro-Meilogu, Sassari, Carlo Delfino, 1988, pp. 398-400;
R. Serra, Sardinia, series “Romanesque Italy”, Milan, Jaca Book, 1989, pp. 301-310; R. Coroneo, Romanesque Architecture from the mid-1000 to the early '300, Nuoro, Ilisso, 1993, sheet 20;
R. Coroneo-R.
Serra, Pre-Romanesque and Romanesque Sardinia, series “Italian Artistic Heritage”, Milan, Jaca Book, 2004, pp. 169-179; R. Coroneo, Romanesque Churches of Sardinia.
Cultural tourist itineraries, Cagliari, AV, 2005, pp. 46-49.

How
to get There 1 km from the center of Borutta, in the direction of the SS 131, turn for the SP 130. After 2 km of hairpin bends, you reach the church of San Pietro di Sorres