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The Church of Escamarão integrates the set of temples built according to the models of the so-called rural Gothic. Despite the massive aspect of its walls, ripped through by narrow crevices, the portals are bare of columns and tympani and its archivolts are directly grounded at ceiling heights. The chevet of the window, already of Gothic expression, stands out although decorated with pearl motifs, which are typical of the Romanesque. On the other hand, the inscription next to the main entrance (1358) may mark the year of completion of this work, a subsidiary of the powerful Monastery of Alpendorada (Marco de Canaveses). However, the interior was radically changed from the 14th century, as a result of the transformations derived from the Catholic Reformation period, notably by the introduction of the Baroque taste, a style which describes the main altarpiece [main altar]. This also features, at the centre, the arms of the Benedictine order, a symbol of the presence of Alpendorada in Escamarão. A mural painting on the nave of this Church (eliminated in the early 20th century) and the front Mudejar tiles of the side altars of the nave, whose pattern is known as "carpet", would have been from the 16th century.

The Church of Our Lady of Sorrow was built in 1785 and rebuilt in 1860 in the neo-Romanesque style. The walls of the church are plastered and painted in light blue-green and white, maintaining the colour range typical of classicism. In 1780, Emperor Joseph II of the Holy Roman Empire visited Riga. In view of the small size of the Catholic chapel he promised, in a conversation with Catherine II of Russia, to defend and support in every way the Catholic intention to build a new stone church in Riga. This permission was soon granted. In addition, the emperor and his mother, Maria Theresa, made donations for the construction of the church. Construction of the church began in 1784 and was completed in 1785.

The Church of Our Lady of Sorrows and St. Adalbert is a Gothic building with a Baroque interior and a neo-Romanesque façade. A church already existed there in the 10th century and was handed over to the Dominicans in 1304. In 1399 they built a brick church in Gothic style, which was consecrated in 1430. In the 17th century, the temple was destroyed by a fire and then by the Swedish army during the Thirty Years' War. In 1739 the church was rebuilt in Baroque style, leaving the northern nave Gothic. In 1810, the monastic property was secularised; the church became a warehouse and part of the hospital. From 1820, services were resumed and the church became a branch of the Holy Cross parish of Opole. In 1875, the tower was added and the roof was replaced.

The Church of Our Lady of Sorrows was built from 1739 to 1741 in the Baroque style. The church was built to house the brotherhood of Maria SS. dei Sette Dolori which was first based in the church of S. Eligio (from 1711 to 1715), then in the church of Succorpo (from 1715 to 1741) and finally settled in the church of Our Lady of Sorrows.

The church of Our Lady of the Angels is located in the abandoned village of Fradio, between Moroni and Roufas. It was the catholicon of a Franciscan Monastery.

The Church of Nuestra Señora de los Ángeles is a 13th century religious building overlooking the fishing village of San Vicente de la Barquera. Since the Middle Ages, this church has been an important enclave on the Pilgrim's Way to Santiago de Compostela.

The earlest part of the church dates back to the end of the mid- 13th century in a typical mix of Gothic and Romanesque styles. After the earthquake of 1656, the chruch was greatly modified in the restoration. Now it is located on a steep slope overlooking the Ebrón river.

This church has a Latin cross plan with side chapels and a transept of equal depth. It was inspired by the Roman Gesù church by Jacopo Vignola. It has the first baroque bell tower and the largest cupola of the moment in the region. The mannerist façade has nothing to do with the lavish decoration of the interior. It looks like an altarpiece frame, which is made up of four level and three bays. The openings are separated by superimposed semi-columns. The styles are. from bottom to top, Doric, Ionic, Corinthian and the composite. As the facade rises, the violation of the classical canon increases: the columns reduce their height without reducing the distance between them. This, together with the continuity of the cornices, makes the proportions become horizontal and flat.

The 18th century baroque church, also known as the Church of the Assumption in Burbáguena (Province of Teruel, Spain), is a baroque building that forms a prominent and compact volume within the town. It is built in ashlar combined with brick in the upper parts (eaves, dome and tower).

The church of Our Lady of the Angels in Paniza (province of Zaragoza, Spain) is a Mudejar church from the second half of the 16th century with a single nave, side chapels between the buttresses and a polygonal apse in elevation, which in the 17th century suffered a change of orientation, with the consequent construction of a new presbytery. In addition, the interior was redecorated with traditional Mudejar plasterwork and a new façade was opened.