The façade presents a double-pitched-roof and is crowned by a bell tower. Despite its size, this church is ideally divided into overlapping decorative tiers: in the first, the portal and a semicircular lunette can be identified; the second tier, instead, presents a set of Lombard bands arches with a double ring supported by corbels; finally, the third tier is marked by a central mullioned window. The overall harmony of the façade is due to its fine proportional algorithms, well evidenced by the choice not to conceal the wall behind thick layers of plaster once laid on the body of the church. Archaeological excavations have brought to light an earlier, probably bi-nave structure.

Made of a mix of sandstone pebbles, the lateral walls are reinforced northwards by a group of buttresses. On the same side two doors open, whereas there is one on the opposite side. The main façade is characterized by the amazing size of the bell tower, out of proportion if compared to the underlying tier and to the semicircular portal. The lower wall texture is made up of square blocks, whereas the upper portions present the same mixed technique as the side walls.

This convent adopted the general monasteries’ recurrent model, and especially that of Capuchin monasteries of 17^th-century Sardinia: a single nave culminating in a square apse and covered with a groin vault, sided by a single sequence of chapels on the right side of the main entrance; on the opposite side, the cloister communicating with the church and with the rooms connected to the every-day convent life is located. The side walls of the church are reinforced by a group of buttresses, among which the cloister bays are stuck.

The main façade is topped by a pitched-roof and bears the only openings in the middle: the portal architrave and the central oculus intended to illuminate the nave.

The building betrays its 18^th century origin as evidenced by the small rococo wrought-iron balconies, supported by shelves and decorated with frames around the windows. Last existing element of a larger architectural complex, Palazzo Salis is divided into three tiers: the noble floor occupies the second tier and is characterized by the balconies and larger windows. The courtyard is raised compared to the road that separates Palazzo Salis from the church dedicated to the Blessed Virgin Mary, on the other side of the street. The walls of brown stone, which are typical of the Parte Montis, are covered with thick layers of plaster that only show the cornerstones of the building.

After recent restoration works, Palazzo Salis now houses the town hall of Masullas.

The original structure dates to an uncertain period and was transformed during the 17^th century due to the construction of the chapels on both sides of the nave and of the barrel vault above the liturgical hall.

In 1676, the artist Mattia Canopia painted the retable for the chapel dedicated to Our Lady of the Rosary, whereas the wooden pulpit carved by the artisan Giovanni Domenico Manca dates to the early 18^th century. Between 1718 and 1722, the bricklayer Salvatore Pilloni created the original façade in front of the church’s square: the church is amazingly enriched with creative plant motifs carved on sandstone blocks, which give the monument a quaint appearance thanks to a mixture of vernacular models not far from the artistic expressions of distant colonial scenarios.

Two junction volutes connect the finial to the body of the church. The entrance is highlighted by a tetrastyle pseudo-colonnade, which is a motif taken from the 17^th century architecture of Cagliari and is common to other churches in the district, such as the parish church of Gonnoscodina.

The reconstruction of the sacristy by the bricklayer Giuseppe Loy dates between 1778 and 1781. In the last years of the 18^th century, some organs realized by the Neapolitan master Antonio Priante were donated to the church. The church’s bell tower was built in the second decade of the 1800s and is, by height, the second in Sardinia.