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This chapel was founded between 1932 and 1933. The architect was Albert-Victor Faubert who designed the building in an expressionist style.

The chapel of Saint-Barthélémy is the oldest chapel in Nendaz. The exact date of its construction is not known, but a document from 1447 attests to its existence. Before the construction of the nearby Cleuson dam, it was located in the valley. Built in wood, it was renovated several times, the last time in 1888. In 1951, the dam workers built a new stone chapel on the present site.

The Saint-Colomban chapel is located in the hamlet of the same name, in Carnac . The chapel of st Colomban was built or started at the end of the 16th century, perhaps by the will of René de Larlan, rector of Carnac from 1585 to 1600, from a large seigniorial family of Erdeven (Kercadio) and Ploëmel (Coetquintin). This building is in flamboyant gothic style. An octagonal turret, with a spiral staircase, gives access to a short conical-shaped bell tower, erected on a cornice platform. This bell tower is pierced with bays and flanked by 4 small pinnacles.

The Chapel of Saint-Hubert was built and sculpted between 1491 and 1496 by Flemish artists in the pure flamboyant gothic style in white tuff on the initiative of Charles VIII (1483-1498). The chapel was later used as an oratory for Anne of Brittany, before becoming the presumed final resting place of the body of Leonardo da Vinci, who died in Amboise in 1519.

The Saint-Jean-Baptiste Chapel is a legacy of the "Confrérie toulousaine des Pénitents Gris", dating back to 11th April 1577. After the dissolution of the latter during the Revolution, the Brotherhood bought a piece of land in 1825 and the new chapel was blessed on August 7, 1827. It adopts an internal and external architecture as simple as it is intimate, and still continues to receive worship there thanks to the priests of the Institute of Christ the King Sovereign Priest.

The Capuchin Chapel, completed in 1613, was part of a large Capuchin convent. On its grounds rise the old town hall, the Charcot College and private houses as far as rue Godard. These brothers of Saint-François were very popular. They preached parish missions, were chaplains on ships or missionaries in New France (in Canada). In other words, they had work in Saint-Malo and their convent was flourishing. The Revolution drove them out in October 1792. Part of the convent became the town hall of Port Solidor, another part became the women's prison. The chapel was used for ten-day worship and then became a court of law. All this was not without many successive transformations and renovations.

Located at the entrance of the village of Fontanges, the Chapel of Saint-Michel, inaugurated in 1901, has the peculiarity of having been dug into an enormous volcanic rock surmounted by a statue of the Virgin Mary.

The Cradle of Saint-Vincent-de-Paul is located in a private sanctuary and site. The foundation of the chapel and the sanctuary were recognized as being of public utility in 1865. Since the 19th century, the site has worked to implement and make known the message of Saint Vincent: to serve the most needy in a spirit of simplicity, humility and charity, to go out to meet others, to welcome, care for, educate, form and evangelize. Thus, a hospice, an orphanage and a hostel were built.

According to available sources, a chapel has existed since 925. The most recent reconstruction of the chapel took place in 1731 and it was extensively restored in 1860.

On the western slope of the Ellé valley, the site dominates a difference in height of about 80 metres. This particular topography, deliberately chosen, has resulted in some unusual developments: a shortened plan for the Sainte-Barbe chapel, a separate bell tower and caretaker's house arranged at a break in the slope of the plateau. This first ensemble was completed around 1700-1708 by a second chapel dedicated to Saint Michael, a bridge and stairs distributing the various terraces, and a path leading to the devotional fountain located below. This exceptional composition is related to the Baroque achievements of site development for the promenade. Here it was not only a question of discovering the landscape of the valley - which was much less wooded at the time - but also of facilitating the reception of pilgrims and the processions of the pardons.