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The church of SS Cosmas and Damianus was built between 1887-88 by architect A. Tepe. It has a three-aisled neo-Gothic cruciform nave with a west tower and polygonal closed transept arms. It is listed as a National Monument of the Netherlands.

Three-aisled in neo-Renaissance forms. Symmetrically arranged, obliquely positioned facade on the axis. Entrance portal with segmental pediment, crowned by cross. Statue of a saint under canopy on pier. Large, horizontally divided central window in Renaissance forms, flanked by similar blind niches under gable with palmette. The flanking towers, built in three sections, have a door with divided fanlight in the lower floor with rusticated work, a Renaissance window with central column and a round light in the second section, which, by means of bevelled corners, transitions into the polygonal third section on a balustrade decorated with palmettes and obelisks, in which blind niches and sound holes. Dome-shaped covering with slates. Stairwells with straight moulding at the side and slate roofs running up to the towers. Light openings in Renaissance forms.

Roman Catholic parish church of the Guardian Angels in Badhoevedorp. Interesting interbellum church. The current church building was consecrated in 1937. It is a three-aisled basilica church with a front tower, covered by a saddle roof. The church was built in the Delft School style and inspired by Romanesque architecture. The chancel contains murals by Lambert Simon, with scenes from the Revelation of John, which were restored in 2011.

Small church, replacing the large HH Engelbewaarderskerk , which was demolished in 1981. It contains several stained glass windows, as well as the foundation stone, from the large church. In this church there is a beautiful, small neo-Gothic organ from England, made in 1860 by JW Walker. Out of use as a Roman Catholic parish church in the early 2000s, later used by the African Roman Catholic community. The Walker organ has been moved to the H. Marthakerk on the Hoefkade in The Hague, where it serves as a choir organ.

The church, built on a polygonal, more or less star-shaped ground plan, is almost symmetrical in composition on all sides. The building is composed of a large number of building parts of very different volumes, the facades of which are terminated by recessed edges of plastered brick and gutters resting on blocks. The high-rising central part, the actual church space, is twelve-sided. The other building parts are three-, four- or five-sided. The roofs, which vary greatly in shape, are all covered with slates (Maas covering), provided with pirons on the ridge corners and small, triangular dormers with round-arched windows. The windows, which are rectangular or herringbone-shaped, have deep-set windows and terracotta tiles, the facades a transom window of approximately 1.5 metres high.

Sober, single-nave church in neo-Gothic and neo-Romanesque styles, with a three-sided closed choir and a slender, half-recessed tower with a constricted spire, built 1879-1881. Designed by Th. Asseler, executed after his death by AC Bleijs.

Important neo-Gothic church with tower. The current Ewaldenkerk replaced a church from 1822. The Ewaldenkerk in Druten is one of the most beautiful neo-Gothic churches in the Netherlands. The church is dedicated to Saint Ewalden, missionaries from England or Ireland who worked in the area of ​​the Cologne diocese in the 8th century, to which Druten then belonged. The church was built in 1877, during the boom in church construction that characterized Catholic Netherlands after the restoration of the episcopal hierarchy in 1853. 'Village cathedrals' from that period can be found throughout Maas en Waal, such as the Ewaldenkerk. They are enormous, stately buildings, often with richly decorated facades and interiors.

Tower from 1514. Church in neo-Gothic style renovated and expanded to a design by PJH Cuypers, 1877 until renovation in 1880. On October 21, 1944, the first grenades hit, hitting the leaning spire and creating a large hole. On Wednesday, November 22, 1944, the occupiers blew up the church tower. The tower fell on the old town hall and completely destroyed it. The tower was completely destroyed, the vaults of the church had collapsed, several pillars were completely destroyed, the outer walls were crooked, two-thirds of the roof had disappeared and the rest was badly damaged. The beautiful new organ, the confessionals, pews, Stations of the Cross and statues were crushed. After the war, it was decided to demolish the remains of the church.

The Raamstraatkerk in the city of Delft , in the Dutch province of South Holland , is officially called the HH Franciscus en Clarakerk , but is also known by its old name, the HH Nicolaas en Gezellenkerk . Since 2009, this church is one of the four Roman Catholic parish churches in the city and is part of the Sint Ursulaparochie .

Built in 1925 in Chalet style to a design by B. Buurman and decorated with murals by Chris Lebeau and the main part of the church complex. The first stone was laid on 23 September 1925. After initially receiving an order from the church council of the Old Catholic Church for the altar niche, Lebeau was asked to paint the entire church in 1926. The fresco painting of a large standing Christ in the altar niche was ready when the church was consecrated on 3 May 1926. The painting was removed shortly afterwards due to moisture problems. The rose window above the altar niche was also removed, because Lebeau could not paint against it when the sun was shining and the window leaked. In April 1928, Lebeau started painting the apse and the other empty spaces in the church for the second time. This time he painted a seated Christ in the altar niche. This would dominate the four evangelists on the western wall more than a standing figure. At the request of the pastor, Lebeau kept the paintings around the figure of Christ calm. The decoration program was devised by Lebeau himself. Given his political preference and his unfamiliarity with Christian doctrine, this is very exceptional. He interpreted the Bible according to his own ideas. Traces of his preference for anarchists can therefore be found in the paintings, including portraits of Gandhi, Lenin, Vanzetti and Sacco. Lebeau has predominantly used realistic figures. The people in the crowds are also taken from everyday life and dressed neutrally in the fashion of the twenties of the twentieth century, instead of the oriental clothing that was customary in church or the symbolic emphasis that Lebeau previously placed on his people.