The church of the Nativity of the Virgin is located in the small town of Durro, in the valley of Bohí (Alta Ribagorza, Lérida), and is one of the most representative examples of Catalan rural Romanesque architecture. Built in the 12th century, it is contemporary with the churches of Taüll, Boí and Erill la Vall, and it is believed to have been erected by the same workshops or master builders who worked on the monumental ensemble of the valley.

The architectural and historical relevance of this church was recognized in 1992, when it was declared an Asset of Cultural Interest, and later, in 2000, it was included in the declaration of the group of Catalan Romanesque churches of the Boí Valley as a World Heritage Site by UNESCO.

During its early years, the parish of Durro belonged to the bishopric of Roda, like many other churches in the Aragonese and Catalan Pyrenees. However, around 1140, after the incorporation of the Bohí valley into the county of Pallars, a general agreement was formalized by which all the parishes of the valley passed under the jurisdiction of the bishopric of Urgel. This ecclesiastical reorganization is well documented in the parish archives and in the documentary collection of the cathedral of La Seu d'Urgell.

Documents from the end of the 14th century, specifically from 1399, mention clerical structures that also appear in other churches in the valley, such as the existence of co-rectors, vicars and beneficiaries. This form of organization guaranteed a close relationship between the clergy and the local communities, reflecting the spiritual and territorial autonomy of the valley.

The church has a single nave, elongated and divided into four bays, covered with a continuous barrel vault supported by transverse arches. The construction of the building, composed of well-squared ashlars arranged in regular courses, reveals the intervention of experienced stonemasons.

Originally it had a semicircular apse decorated externally with the characteristic Lombard elements: blind arches and corner bands. However, this apse collapsed in an undetermined period, being replaced by the present sacristy, which occupies its site.

One of the most outstanding elements of the building is the porch on the south side, attached to the southern wall, which shelters the access door. This porch, added in the second half of the 12th century, opens with semicircular arches facing south and west. The Romanesque doorway, also semicircular, has two archivolts supported by columns with decorated capitals, although quite deteriorated, showing plant and animal motifs. A checkerboard dust cap surrounds the archivolts, and in the keystone of the arch there is a chrism inside a square, flanked by two birds facing each other and two animal figures -possibly a lion and an ox- between vegetal elements. This iconography follows the canons of Romanesque symbolism.

The bell tower rises in the northeast corner of the building and responds to the typical proportions of the valley: height equal to the perimeter, following a canon derived from oriental models, such as the minarets. The square tower consists of five floors separated by imposts decorated with blind arches and corners, and sits on an unadorned plinth. Although many of its windows are currently bricked up or modified, it is believed that they were originally twinned, in the style of other towers in the area. The top level is covered by a slate roof.

Over the centuries, the temple was enlarged and modified on several occasions. In the 13th century a new vault was built and part of the original apse was replaced by a transversal nave that protrudes on the south side, modifying the volume of the building. Later, in the Gothic period, two chapels were added on the north wall, both with pointed vaults. In one of these chapels an altarpiece of the Rosary from the 17th century is preserved, and in the other, the altarpiece of the Holy Christ, dated in the 18th century.

Likewise, the chapel of San Juan was covered with a dome and enriched with an altarpiece also from the 18th century. The main altarpiece, of a more modern style, corresponds to the 19th century and houses images of the Virgin Mary, St. Joseph and St. Joachim, reinforcing the continuity of worship throughout the centuries.

The church once housed a wooden sculpture representing the Descent from the Cross, stylistically very close to the one preserved in the church of Erill la Vall, a masterpiece of 12th century Romanesque art. Unfortunately, the set was largely destroyed during the riots prior to the Spanish Civil War in 1936. Only the figure of the Virgin remains, currently on display at the National Art Museum of Catalonia (MNAC), along with a photograph of the missing Christ. Inside the church, the image of Nicodemus, testimony of the original ensemble, is exhibited.