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Exceptionally important reconstruction church with tower. Domed choir. Designated a national monument in 2015.

Roman Catholic Church, originally church of the noble women's convent of St. Gerlach. Three-sided hall church from around 1725, with a turret on the west facade, wall pilasters and segmental arch windows. Interior wall paintings by Joh. Adam Schopfs 1751; Main altar 18th century. Tomb of St. Gerlach 1783 with carved wooden altar placed against it; communion rail, 18th century A; confessional, 18th century B; organ case 18th century; pulpit 19th century A. 1 tombstone of Ursula Grobendoncq (18th century), 1 tombstone (18th century) and 3 altar stones, all made of sandstone and found under the floor during the restoration in 1978. Marlstone garden wall, 17th-18th century. Several tombstones in the churchyard. Originally a single manual organ, made in 1784 by J. Binvignat. Enlarged in 1894 by PJ Vermeulen. In 1957 extended with a rugpositief and free pedal by L. Verschueren. During the last restoration in 1988 by Verschueren, the rugwerk and the free pedal were retained in a modified form. Mechanical tower clock, B. Eijsbouts, 1910.

Replaces the church from 1935 that was destroyed during the war. Like the pre-war church, the current church is built in traditionalist forms, influenced by Romanesque and early Christian architecture. Tower from 1954.

The predecessor of this church was a late Gothic building from around 1450. However, this church was demolished in 1911 to make way for a new church. This church was designed by L. de Vries and is in neo-Romanesque style. A church designed by Caspar Franssen in Einighausen from 1906 served as a source of inspiration. It is a three-aisled brick cruciform church. The front facade is flanked by two almost identical towers, characterized by gables. There is also a gable between the two towers.

Neo-Gothic village church with older tower. One of the earliest works of PJH Cuypers (1827-1921). Cuypers also provided the 15th-century tower with a new bell floor and spire.

Large post-war village church with high tower in late neo-Gothic style.

When the local neo-Gothic Roman Catholic church , designed by architect Weber, became too small for the growing parish, they wanted to build a new church. After more than forty years of consideration and planning, they were ready in 1962 to start building a new church on the Venestraat. In anticipation of a new building, a temporary church , dedicated to Saint Amandus, was built because of the high church attendance in the polder. This was in service from 1958 to 1968.

There are plans to partly turn the Gertrudiskerk in Beesel into a ceramics museum. It will house works of art from the Stichting Draaksteken and the Stichting Beesels Keramisch Erfgoed, among others. The church will not be withdrawn from worship. Masses will continue to be celebrated there. The diocese of Roermond is aware of the plans and is not opposed to them per se. "It is a relatively new phenomenon, but it is becoming increasingly common in Limburg for churches to be used for more than just mass," says Matheu Bemelmans of the diocese of Roermond. The diocese does not mind sharing church buildings. It ensures that parishes receive extra money and that often allows a church to be preserved by a village. Bemelmans does say that the second user should not do crazy things in the church that do not match the character of the building. A ceramics museum like Beesel wants is something that is open to discussion. For example, the Hubertuskerk in Genhout currently serves as an arts centre. In the future, the church of Vredepeel will be partly used as a community centre.

Romanesque church. Single-nave for Romanesque nave extended 1888; Choir XV A; tower 1888. In the churchyard some tombstones and grave crosses. Single-manual organ, made by Pereboom (2nd half of the 19th century).

This church is listed as a National Monument of the Netherlands.