The hermitage of San Quirce, in Catalan Sant Quirc, is located near the village of Durro, in the Boí valley, at an altitude of 1498 meters. Located in a mountain environment of great beauty, its access is easy through a forest track that ascends gently from the village. From its location there is a wide panoramic view of the valley, closed in the background by the peaks of the Coma-lo-Formo massif and the peaks of Besiberri North and South. A marked path leads to the small lake of Durro, at an altitude of 2250 meters, crossing the Freixa ravine and the Mulleres stream.

The hermitage was recognized as an Asset of Cultural Interest in 1992 and, like the other churches in the valley, was inscribed in 2000 on the UNESCO World Heritage list, as part of the group of Catalan Romanesque churches of the Bohí Valley.

The building has a simple structure, characteristic of the rural hermitages of the Romanesque period. It has a single nave covered with a barrel vault, which ends in a semicircular apse covered with a quarter sphere vault. The building is of small dimensions and very sober, with a rustic constructive apparatus, although of solid invoice. There are only three openings: an arrow slit window in the center of the apse, an oculus above it and another small window on the western façade. The entrance is located in the south wall, by means of a door in semicircular arch, built with irregular and roughly worked voussoirs. In a later restoration a belfry was added, an element that was not part of the original structure.

The interior preserves traces of the original Romanesque altar, now disappeared, whose decoration is known thanks to the painted frontal on panel that covered it. This work, dedicated to Saint Julita and her son Saint Quirce, is one of the best examples of Catalan Romanesque panel painting and is currently in the National Art Museum of Catalonia.

The frontal is completely decorated with tempera painting on wood, and stylistically it is related to the pictorial ensembles of Sant Climent de Taüll and Santa Eulalia de Bohí. It also shows analogies with the frescoes of Santa Maria de València d'Àneu, especially in the expressiveness and stylization of the figures.

The main scene represents Santa Julita, arranged in a central position inside a mandorla, with her son San Quirce in her arms. Both appear nimbed, underlining their sanctity. On the sides of the mandorla, four scenes narrating the martyrdom of the saint are displayed. In the upper left quadrant, two executioners saw the body of Saint Juliet, naked from the waist up. In the upper right, the executioners attempt to drive nails into her head with hammers, drawn with great attention to detail. The scene continues to the lower right, where the same executioners strike the saint with swords, while she remains standing, wounded but firm. Finally, in the lower left frame, Saint Julita and her son appear inside a cauldron of boiling water, while the executioners try to restrain them with their swords. The frame surrounding the frontal is decorated with geometric and vegetal motifs, completing a work of great dramatic intensity and artistic quality.