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The Church of the Sacred Heart of Jesus was built from 1886 to 1934 by the architect Porta di Torino as a new parish towards the railway station. With the allied bombings in 1943, the bell tower was damaged, the bells requisitioned by the Germans, but soon the tower was recovered and a new bell tower was rebuilt. The church was built in a neo-Romanesque style with some neo-Gothic elements such as the rose window.

The Church of the Sacred Heart of Jesus is a Catholic church built between 1912 and 1919, the construction having been interrupted during the First World War. This neo-gothic church project by the architect Karl Salkovics is reminiscent of the Vienna Votivkirche.

The Church of the Sacred Heart is a Roman Catholic church dating from the end of the 19th century. As the Jakobuskirche in Kissingen, built in the 14th century, was not designed for the ever increasing number of spa guests, a new church building became necessary in the 19th century. The foundation stone was laid on Saturday, 25th March 1882. The construction of the church, under the direction of the master builder Andreas Lohrey, was based on the plans of the Munich architect Karl von Leimbach in the neo-gothic style.

The Church of the Sacred Heart is a Catholic church that dates back to the end of the 19th century. At the initiative of Napoleon, a Catholic parish was founded in the area in 1806, initially based in Jena. In 1817 it was moved to Weimar. However, it was not until the second half of the 19th century that the congregation had so many members that a new church was planned.

The church of the Santissima Annunziata was built from 1566 to the 17th century as part of the nearby convent of the Friars Minor. The original church of the convent of the Santissima Annunziata was built in 1546 to make way for military structures. The Mannerist building consists of a central body with an elliptical plan with ten apses (five on each side) arranged in a radial pattern around the sacred hall: the building is accessed through a monumental entrance arch located in Via d'Azeglio, formerly the main road of Santa Croce, and the portal is dominated by a large stucco relief, a Madonna Annunciata, located above the tympanum of the central door and built in 1681 by Giovan Battista Barberini.

The church of the Santissima Annunziata was the cathedral of the diocese of Vico Equense until 1818, when it was suppressed and incorporated into the church of Sorrento. The first cathedral of Vico Equense was located on the beach, in the lower part of the city, but subject to pirate raids it was moved and rebuilt to a higher area. The new church was built probably between 1320 and 1330, and major restoration work was carried out between 1773 and 1792, including a reconstruction of its façade.

The foundations of the Church of the Saviour of Aveleda date back to the 11th or 12th century. In 1177, Vela Rodrigues donated the Church to the Monastery of Paço de Sousa. The architecture and ornamentation of the current building, dating from the end of the 13th century or the beginning of the 14th century, are evocative of the long persistence of the Romanesque shapes which characterise Portuguese medieval architecture. The main portal preserves the most evident, though very late, Romanesque elements in the columns [botanical capitals, circular shafts, bulb-like bases] and clean tympanum.The lateral portals without columns and the modillions stripped from decoration also reflect the late character of the construction. A typically Romanesque drip-course runs along the exterior walls of the nave. The bell-tower, the chancel and the sacristy are most likely 17th and 18th century. The collateral altars, the pulpit, the painting of the nave ceilings and the crossing arch, as well as the coffered ceiling of the chancel with symbols of the Litanies to the Virgin, are Modern Age works which also deserve a mention. The presence of a decorated piece, which may be found in one of the steps inside the Church, may point to the former existence of an ancient Visigoth or Mozarabic construction [5th-8th centuries].

The Church of Cabeça Santa dates back to the first half of the 13th century and is an excellent example of Portuguese Romanesque architecture. The constant displacement of artisans [masons, sculptures, carpenters] in medieval times promoted the repetition of constructive and ornamental models in several territories. The portals and sculptures in the capitals of Cabeça Santa are very similar to those in the Church of Saint Martin of Cedofeita in Porto, which is decorated in a very similar way to the Romanesque Cathedral of Porto and other examples of the Romanesque style in the region of Coimbra. The main portal presents a tympanum with heads of cows, built to symbolically protect the entrance to the Church. A representation of a street performer [acrobat] stands out in the south portal for its originality. The artistic set of the Chapel of Our Lady of the Rosary, from the Modern Era [17th-18th centuries], deserves special attention. Inside the Church are the remains of three graves excavated in the stone and three medieval tombs.

Church of Romanesque nature, from whose period and style only the vaulted chancel remains. This presents a décor with an unusual quality for the region. In fact, a comparison can be drawn between the ornamentation of the capitals of the triumphal arch, composed of botanic and phytomorphic motifs, with the ones from the Church of the Monastery of Ferreira (Paços Ferreira).In the chapel, various influences are blended, some from the buildings constructed on the left bank of the River Minho, with influence from the construction site of the Cathedral of Tui, while others originated from the Romanesque found on the Braga-Rates axis, which had the biggest impact on the basins of Tâmega and Douro. The existing evidence points to the second quarter of the 13th century. Outside, it is still possible to observe the buttresses that support the now broken barrel vault. In its side façades, the cornices are supported by corbels, of geometric decoration, and among which we point out a cask, the rolls motif or a composition made with volutes.The nave of the Church is the result of a reconstruction carried out in the 1970s and may have even used part of the original Romanesque building.

The temple of Lufrei, located in a valley near the confluence of two small water creeks, was once the seat of a small female monastic institute of which no traces remain.The Church, secularized in 1455, integrates the category of late Romanesque, witness of the vernacularity and popularity that such style had among rural communities in northern Portugal.Without any carved decoration, the Church is lit by narrow crevices positioned at key points of the building. The quadrangular corbels and the arrangement of the portals attest for its late execution.The interior was radically changed in Modern Age. The altarpiece [main altar] of Mannerist nature stands out, where paintings, "painted old style" are found preserved, as described in 1726 by the memoirist Craesbeeck.Also the two altarpieces [altars] of the nave feature traits from this period. However, what most arouses our curiosity are mural paintings hidden under the bed of plaster that covers the entire Church, though some traces are already visible both in the chancel and in the nave.