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A small Church, whose primitive Romanesque style appears in good condition.Built in the second half of the 13th century on a small plateau, it was dedicated to bishop Saint Isidore. In its structure, the elaborate main portal stands out. The logs of the archivolts connect it to the Romanesque of the city of Porto, the prismatic and cylindrical shafts that support them resemble the Romanesque scattered through the basin of the Sousa and the palmettes in the lines of ashlars connect it to the Braga-Rates axis. Inside, the light passes through narrow crevices that accentuate the divestment stipulated by the restoration carried out in 1977. The triumphal arch that separates the chancel from the nave, is slightly broken and devoid of any ornament. The fresco that covers part of the back wall of the chancel stands out. Dated 1536 and signed by painter Moraes, the pictorial set is presented as a triptych which, read from left to right, shows the Virgin and Child, Saint Isidore and Saint Catherine of Alexandria. On the side walls, one can still observe, on the left side, Saint Michael weighing souls and, on the right, Saint James, the Apostle, dressed as a pilgrim.

The new village church of Roodt an der Syr is one of the youngest sacral buildings in Luxembourg. The foundation stone was laid in 1976 on the garden grounds of the Schmit siblings, and the completed church was consecrated on October 8, 1978. The bell tower stands separate from the church building and seems to go to the visitors by a few steps.

Built in the late 13th century, perhaps on a previous building of which the ashlar [stone] headed with the date of the Era 1226 (the year 1188) bears witness, the Church consecrated to the Apostle Saint James, the Greater, has a single nave and quadrangular chancel, which is narrower and lower. The façade is topped by a bell tower and the portal features a slightly broken exterior archivolt. The south side portal is of similar design. On the north side, the early corbels of the Church stand out, while featuring a decoration typical of the Romanesque of the Tâmega and Sousa. The interior, entirely redefined by Baroque interventions, features the traditional scenography of gilding, which joins the painting in the vaulted ceiling of the nave and the work in the chancel Here lies one of the most original findings of art historiography: a set of mural paintings featuring hagiographic scenes [the life of the saints] and from the life of Christ. These 15th-century paintings were most probably commissioned by one of the abbots of this Church, D. João Camelo de Sousa.

The church of Saint James the Less, the Apostle, was probably founded in the 14th century. The church was renovated (1780/1813/1990) and moved (1945). The oldest preserved element of the church's equipment is the bell from 1615.

This small 18th century church is as amazing as it is impressive. Indeed, due to its geographical location (at the corner of two streets from the city centre) and its size, it could go unnoticed. However, its astonishing facade and its simple, impressive interior make it a very singular church.

This church dates from the first half of the 17th century. It is built in a "Corsican baroque" style, which shows its particularity. It is astonishing by its shape, but also by its interior, since it is very richly decorated with numerous works of art.

This astonishing church was built in the 19th century on the foundations of an old church. Its bell tower, placed at the level of the chevet, brings a new aspect to the beauty of the building. Its magnificent stained glass windows date from the 1990s. The impressive frescoes inside also date from the 20th century, although they were restored in 2004.

Isolated in the landscape, the Church of Gatão is a building whose construction timeline extends through the 13th and 14th centuries. At the chevet is where the most significant Romanesque elements are found. Besides the split gap in the back wall, a Lombard-style frieze is featured on both sides. This model of the cornice on little arches was particularly welcomed in the Romanesque of the Tâmega and Sousa. The narrow shafts of the nave, the south side portal and the triumphal arch are also from medieval times. Composed of two broken archivolts, but faceted and smooth, it is surrounded by a chequered frieze. Deeper interventions were undertaken in Modern Age, particularly outside the west front, with the addition of the church porch and the bell tower. Both in the nave, beside the triumphal arch, and in the chancel, there are significant frescoes from the 15th and 16th centuries, where depictions of Calvary, the Coronation of the Virgin, the martyrdom of Saint Sebastian, Saint Catherine of Alexandria and Saint Lucia stand out. In the cemetery next to the Church is the burial place of Teixeira de Pascoaes (1877-1952), one of the most important Portuguese poets and writers from the turn of the 19th to the 20th century.

Dedicated to Saint John of Nepomuk, this baroque church was built in 1744. The life of the saint is the subject of the images on the sidewalls of the altar. The latter, made of marbled wood, is the pride of the church. Another distinctive feature of the chapel is the corner tower on the northeast side. The copper onion dome is decorated with a star.

In 1668, Father Reggiani acquired the Chapel of the Assumption of the Virgin Mary in Spissku Stvrtok for his order and the house in the village, which belonged to the robe, for the brothers' residence. According to a document written in the Spis Chapter on March 10, 1668, the nobles donated two plots of land to the monks: one between the cemetery of the church in Spissku Stvrtek and the house of his subject Vavrinec Filek, suitable for building a monastery, the other farmland together with Juraj Sofranek , watercourses, etc.