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This Chapel was built from 1478 onwards by Pierre de Bourbon, Count of Marche and Castres, in a single campaign, on a Languedoc plan. It was restored in 1882.

Rising 78 metres towards the sky, the bell tower of the Notre Dame du Kreisker chapel is the highest in Brittany. Its foundation dates back to the 6th century. A young linen maid who had worked on a non-working feast day in honour of the Virgin, despite the admonitions of Saint Kirec (or Guévroc), was suddenly paralysed from all her limbs. After his repentance, the saint was healed and she gave him her house to make a chapel. It was named "Kreis- ker" because it was situated in the middle of a village, a suburb of the city. The first wooden chapel did not resist the ravages of the Normans in the 9th century. Tradition reports that the English, after having burnt the town in 1375, rebuilt the Kreisker, certain architectural elements such as the "perpendicular style" to the tower's stump being clearly influenced from across the Channel.

According to tradition, a humble sanctuary dedicated to Mary was built around the year 1000 by the ploughmen and fishermen living in the neighbouring hamlets of Cancaven and Portz Pican. Since that time, the "Chapel of the Sea" has been destroyed, but it has been rebuilt over and over again on the foundations of the previous ones. The present chapel is in fact the fourth or fifth chapel of the Orchard.

The chapel of Our Lady in Clairefontaine is a religious building located four kilometres from Arlon town and built by the Jesuits in 1875.

The empire choleric chapel of the Virgin Mary, built in 1832 by Florian Lang, the provost of Křížovnice, in gratitude for the fact that Hradiště escaped the cholera epidemic plaguing Znojmo. In the vicinity of the chapel, the emblem of the Teutonic Order was built of white stones. Over the decades, however, the emblem was dismantled, and from the remaining scattered stones, folk creativity created a legend of petrified grazing sheep.

Now known as the Chapel of Our Lady of Livração, the ancient Church of Saint Martin of Fandinhães stands as a veritable enigma. As visitors approach the building, they see what appears to be a church in ruins. Tradition narrates its dismantling and the documentation does not contradict it. The archaeological excavations (2016) confirm it by having identified the foundations of the north and south walls of the ship, in the continuation of the one currently visible to the surface. Here several Romanesque influences intersect. The figures standing against sheets protruding in the portal can also be found in the Churches of Travanca (Amarante) and of Abragão (Penafiel). In the churchyard, it is possible to see traces of a cornice on little arches, a common motif of the Romanesque in the basin of the river Sousa, who came to the latter via Coimbra. The dihedral logs in the crevices show the influence of city of Porto, from the French region of Limousin. The beak-heads [animal head with a prominent beak] on the south side crevice remind us of the influence of the Benedictine Romanesque on the Braga-Rates axis. While most corbels feature geometric motifs, one of them presents an exhibitionist, male figure depicted naked and with his right hand on the genitals, a motif also found in the Church of Tarouquela (Cinfães).In the churchyard, two burial covers: one with the depiction of a sword and another with an inscribed cross.

The Chapel of Our Lady of Fatima, simply known in the region as Capela das Hortas do Tabual, is located at the entrance to the village of Hortas do Tabual.

The chapel of the Chapel of Our Lady of Lourdes, or "little church of Grava", was completed in 1907 and is the destination of frequent pilgrimages by the local population. Simple on the outside, the church houses inside a painting depicting St. Joseph with the Child Jesus, enclosed in a beautiful inlaid frame, a total of fourteen paintings, two statues, dating from 1907, are the work of the Val Gardena artist Corrado Pitscheider.

The Chapel of Our Lady of Monserrate an 18th century built beneath one of the arches of the Aqueduct of Sao Bento Street in Lisbon.

Two designations resulting from two Marian invocations born in the Medieval Ages are given to this Chapel, built in the place of Quintã: Lady of Piety and/or Lady of Quintã. Both invocations, however, had the same mission: to defend the agricultural area of the now extinct "Honra de Baltar" [territory], where the Chapel was integrated, as it is referred to in the Memórias Paroquiais [Parish Memorandum] of 1758. In the chancel, the top corbels announce the Gothic and allow dating its construction between the 13th and 14th centuries. Inside, the careful gilding of the ashlars [stones] stands out, highlighting their good framing, including those that comprise the triumphal arch and denounced the intervention of the Modern Era. In this Age, this small medieval Chapel would already have been expanded, by adding a nave. This expansion is easily visible on the exterior layout of ashlars, of a more vernacular [traditional] aspect than the one in the chevet (the primitive chapel), and reveals itself in the main portal with voussoirs [stones forming the arch] of an irregular profile. The agricultural area that surrounds the Chapel recalls the protective importance of the invocation and spiritual reference of the small temple.