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The text of the hermitage's factory dowry deed, dated January 9, 1686, signed by Ensign André Fernandes de Almada and his wife, Leonor de Andrade, states that the original hermitage, under the invocation of the saint, had no "patron saint nor factory", was "lacking ornaments" and threatening ruin. They thus perpetually endowed it with fifteen bushels of land in Malbusca, which yielded fifteen bushels of wheat each year, with the condition that they were "endorsed administrators" of the said hermitage, a benefit extending to their descendants.

The church of Rogne is an octagonal wooden church dating from 1857. The interior is relatively well preserved, but it was somewhat modified in 1907 and by restoration in 1957. The altarpiece dates from 1791 and comes from an old church on the site.

The church of St Sophie is a Gothic building from the first half of the 14th century. It is a single-nave building with a rectangular plan with an attached sacristy and an imagined tower. According to historical materials from the Nitra Bishopric, it is stated that the brothers Melicher and Baltazár Šeffranovics had a chapel built on the site of today's church as early as in the 14th century.

The church of Saint Adrien was built from 1938 to 1941, to replace the chapel of Boondael as a place of Catholic worship, it is a parish church for the Catholic community of Ixelles. The church of Saint-Adrien is also a place of worship for the Maronite community (Eastern Catholics of Lebanon). The chapel of Boondael was desecrated and saved from demolition in 1927 by the intervention of the Royal Commission of Monuments and Sites.

Located at the foot of Cointe hill not far from the station of Guillemins, the Russian Orthodox Church has architecture typical of its home country with its 6 blue bulbous bell turrets. The building, inaugurated in 1953, was built by Russian emigrants who had fled after the Bolshevik takeover. The previous place of worship - rue Mère-Dieu - had been destroyed by a flying bomb in 1944. It preserves beautiful icons in its interior.

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The current Church of Saint Andreas was built at the beginning of the 20th century due to the lack of space in the earlier chapel to accommodate worshipers. The interior decoration dates back to the renovation works of 1978. In the choir there is a net vault. The floor is covered with tiles from the construction period (1910), which are monochrome or polychrome and have floral or geometric patterns.

In the 14th century, Telões already emerged as a parish church, raised to the category of a monastic seat, which has disappeared in the meantime. Profoundly changed over the centuries in response to new tastes and new liturgies, we must situate its Romanesque construction at the turn of the 12th to the 13th century. The subsequent transformations (denounced by several scars along the walls of the nave), the edification of the church porch and vestry, or even the opening of large rectangular windows in the sidewalls, produced a profound modification of the medieval spatiality. However, one of the most significant transformations to this Church occurred in the 16th century, resulting in a widespread campaign of mural painting, although today we can only appreciate the one on the back wall of the nave, depicting the Nativity scene. In the 17th and 18th centuries, the Church of Telões was endowed with new altars and altarpieces (main, two collateral and two lateral), which combine the Mannerist and Baroque styles with contemporary interventions.

The Church of Vila Boa de Quires was built in the second quarter of the 13th century, as part of a monastic complex. It seems to have been secularized already in the 14th century and was linked to the lineage of the Portocarreiros, with particular local and regional importance throughout the Middle Ages. The main façade stands out as one of the most elaborate in the Baixo Tâmega, similar to the Church of Barrô (Resende). The portal resembles the one in the Church of the Monastery of Paço de Sousa (Penafiel), featuring decorated capitals with symmetrical motifs of botanic nature. The corbels [salient support stones] feature the shape of bovine heads. The entire façade was displaced in 1881 when the nave was expanded and the bell tower was added. The interior contrasts with the sobriety of the façade and the detachment imposed by the granite ornaments. The most noticeable artistic differences may be found in the chancel. The Neoclassical altarpiece [main altar] features a large canvas alluding to the Adoration of the Blessed Sacrament. In the vault of the chancel, a set of 18th-century paintings narrate scenes of the Trial and Passion of Christ, whose journey ends in the mural painting on the triumphal arch, in the nave.

This beautiful church adjoins the ruins of the Abbey of Alet. Its area dominates the adjoining cemetery and the main street of the village. It is of southern Gothic style. The interior is remarkable, notably with its beautiful frescoes from the 14th century, in the north side chapel, known as Saint Benoit chapel. The building was built by order of the first Bishop of Alet, in the 14th century. A restoration took place in the 17th century, and an extension in the 18th century.