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The Church of Real is situated on a small hill in a secluded location. Built-in the first quarter of the 14th century, it falls into the category of late Romanesque, as shown by the main portal, with no tympanum, with columns headed by capitals deployed of voluminous sculpture. This is an adaptation of the influence of the Romanesque from the city of Porto may have arrived here through Travanca (Amarante) since the Church of Real belonged to the patronage of that Monastery. On the south side façade, one can still enjoy an arcosolium with sarcophagus, whose lid bears an engraved sword, which demonstrates the social status of those who are buried there. Close to this stands a bell tower clearly showing Romanesque traits. The 18th century and the Baroque changes have left deep marks in this Church. Large windows for lighting were opened, three aligned crosses were placed in the gables and the cressets in the corners of the nave. Furthermore, the variations at the level of the structure are also evidence that this building was modified enough throughout its history. Inside, even today, one may appreciate the consecration crosses, of Romanesque nature, pattée and inscribed in a circle. In 1938, Real was no longer a mother church.

Tradition credits the Canons Regular of Saint Augustine for having founded a small monastery in Ribas. It would be up to D. João Peculiar, archbishop of Braga, to protect the monastery marked by the presence of father D. Mendo, whose body would provide miracles long after his death in 1170, although this has not been proved by documents. We should point out the homogeneity of the Church of Ribas, which must have been built in one go. The decoration shows great consistency in its preference for pearl motif, which appears both inside and outside the Church. Inside, as with most Romanesque churches, another spirit prevails, marked by the counter-reformation and by liturgical renewal following the Council of Trent (1545-1563). Examples of this include the exuberance of the gilding in altarpieces [altars] and valance that crowns and covers the triumphal arch, the sectioned box ceiling and the choir balustrade. Noteworthy from this set are images of the Holy Savior, the Virgin of the Valley and the Virgin of the Rosary. In the back wall of the chancel, behind the altarpiece [altar], a major campaign of mural paintings was identified, where the patron saint of the Church is depicted.

While sources attest the existence, in the 12th century, of two temples in Tabuado, one dedicated to Saint Mary and another one to the Saviour, the latter seems to have won out as the leading patron. This was, however, erected later on, probably in mid 13th century, according to the proto-Gothic rosette in the main façade and other ornamental elements of the building. The main portal stands out for its quality: tympanum supported on corbels [salient support stones] in the form of bovine heads (such as the ones in the Monastery of Paço de Sousa, Penafiel) and capitals carved with botanic motifs. Also featured here is the pearls motif, recurrent in the Romanesque of the basins of the Tâmega and Sousa. The belfry stands as a defensive tower. In the body of the nave, and at the level of the cross arch, two buttresses remain, which accentuate the volumetrics of the Church. Inside, the most evident trace of the Romanesque is the triumphal arch, whose archivolts sit on two columns, with the lines of ashlars decorated with saw teeth and chained circles. Their capitals result from a contemporary arrangement. Vibrant is the 16th-century mural painting that covers the back wall of the chancel, depicting Christ as a judge, flanked by Saint John the Baptist and Saint James, the Greater.

The Church of the Saviour of Unhão is an excellent example of Portuguese Romanesque architecture and sculpture, highlighting the main portal with its botanic decorated capitals. Despite the transformations it has undergone throughout the years, the inscription that marks the Dedication of the Church [consecration and beginning of services at the church] on 28th January 1165, celebrated by the archbishop of Braga, D. João Peculiar, has been preserved. The reference to "Magister Sisaldis" and the existence of a series of initials (marks of the mason) with a big "S" seem to indicate the name of the master artisan who oversaw the work, a rare element in the panorama of Portuguese Romanesque architecture. The Church of Unhão maintains its Romanesque nave, built in the first half of the 13th century. Inside, the image of Our Lady of the Milk, a sculpture in polychromatic limestone of unknown origin, stands out. The absence of movement in the image, the size of the head and hands and her fixed, blank stare suggest that this is a Romanesque sculpture. However, the fact that the Son is represented as a child, naked and gazing at the Madonna, is a feature more common of the Gothic style.

The Church of the Saviour is a Gothic church that was built in the 14th century on the site of an old Romanesque church. It is the most historically and architecturally important religious building in the town of Duisburg and, together with the Willibrordi Cathedral in Wesel, is one of the most significant late Gothic religious buildings in the Lower Rhine region. In the middle of the 19th century, it was extensively revised to its original late Gothic appearance. At the end of the Second World War, Allied bombing caused severe damage to the church, destroying part of the tower and almost the entire vault. Restoration was completed in 1960, but the tower spire remained unfinished.

The Church of the Saviour is a stone church built in 1785. The church is a hall church with ships and a choir in one. The builder was the Scotsman George Johnstone. In 1901, the church burned down and only the walls remained. The church was rebuilt in 1905 with the old walls, but with a completely new interior.

The church of the Taxiarches (Holy Archangels) is a Byzantine church near the village of Sofiko.

The Church of the Taxiarches (Greatest Builders) in Lagkadia was completed in 1808. The church's clock tower is detached from the church building. It was built in 1910 in a Neoclassical style.

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The Church of the Ten Saints (Agioi Deka) is a templep built in the 12th century in the village of the same name.