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Isolated in the landscape, the Church of Gatão is a building whose construction timeline extends through the 13th and 14th centuries. At the chevet is where the most significant Romanesque elements are found. Besides the split gap in the back wall, a Lombard-style frieze is featured on both sides. This model of the cornice on little arches was particularly welcomed in the Romanesque of the Tâmega and Sousa. The narrow shafts of the nave, the south side portal and the triumphal arch are also from medieval times. Composed of two broken archivolts, but faceted and smooth, it is surrounded by a chequered frieze. Deeper interventions were undertaken in Modern Age, particularly outside the west front, with the addition of the church porch and the bell tower. Both in the nave, beside the triumphal arch, and in the chancel, there are significant frescoes from the 15th and 16th centuries, where depictions of Calvary, the Coronation of the Virgin, the martyrdom of Saint Sebastian, Saint Catherine of Alexandria and Saint Lucia stand out. In the cemetery next to the Church is the burial place of Teixeira de Pascoaes (1877-1952), one of the most important Portuguese poets and writers from the turn of the 19th to the 20th century.

Dedicated to Saint John of Nepomuk, this baroque church was built in 1744. The life of the saint is the subject of the images on the sidewalls of the altar. The latter, made of marbled wood, is the pride of the church. Another distinctive feature of the chapel is the corner tower on the northeast side. The copper onion dome is decorated with a star.

In 1668, Father Reggiani acquired the Chapel of the Assumption of the Virgin Mary in Spissku Stvrtok for his order and the house in the village, which belonged to the robe, for the brothers' residence. According to a document written in the Spis Chapter on March 10, 1668, the nobles donated two plots of land to the monks: one between the cemetery of the church in Spissku Stvrtek and the house of his subject Vavrinec Filek, suitable for building a monastery, the other farmland together with Juraj Sofranek , watercourses, etc.

In a charming village full of character, the Church of Saint Lambert is welcoming, and very often open throughout the year. Inside are the statues of Sainte Anne and Saint Lambert. In the entry porch two long bell cords hang ready for action. Note also the contemporary Way of the Cross where the men arresting Jesus carry guns.

The church was built in 1927 according to plans by the architect Joseph Jentgen in Art Deco style. It is an atypical, very rare architecture for Luxembourg.

The Neo-Classical Church of Saint Laurent was opened to the public in 1834 and is the work of the contractor Jacques-Modeste Guillemard of Longwy. Its imposing portal of four colossal columns with Ionic capitals supports a triangular pediment decorated with a bas-relief. At the end of the 1950s, the interior of the church was redesigned by architect Alexis Bodson from Virton. Four stained glass windows by Louis-Marie Londot also date from this period.

The church of Saint Leonard follows the Latin cross plan and is in the flamboyant gothic style. Entering through a sculptured porch over which can be seen the statue of St. Leonard and the arms and motto of the Tramecourt family 'Virtus et Antiquitas'.

This impressive church was built in 1611, is relatively recent, and its architectural style makes you feel it. Indeed, the façade was redesigned during the Second Empire. It was Marie de Medici who asked Claude Martin to build the church.

The oldest document ever to mention the Church of Saint Mammes of Vila Verde dates back to 1220, by which time it had already integrated the patronage of the Monastery of Saint Mary of Pombeiro. Renovations of the Church probably carried out in the 14th century, are attributed to the brother and sister Martim and Ana Anes, whose tombs may be found inside the Church. The Church was built in the Romanesque style, as can be seen in the plant and the façades. However, the arrangement of the portals and the resort to the clean modillions link this monument to a period in which the Gothic style was already dominant. The chancel exhibits traces of mural painting, dated from the 16th century, featuring botanic and geometric motifs. It is also possible to identify the images of Saint Benedict and Saint Bernard. This painting would have been done by the artisan Arnaus, under the patronage of the abbots of Pombeiro connected to the Melo family, whose coat of arms is still visible today. The construction of a new parish Church in Vila Verde in the second half of the 19th century contributed towards the continuing abandonment and decay of the Church of Saint Mammes. This monument was fully renovated as part of the project Route of the Romanesque.

The Church of St. Margaret of Antioch in Kopčany is the only authentic, almost completely preserved Great Moravian church with its original use and function. The building was originally part of the Slavic hillfort in nearby Mikulčice, where the remains of the foundations of several churches from this period have been found.