Considered as one of the largest parish churches in Mallorca, the dimensions and the perfection of the construction show the importance that Petra will have in the past. It is the third parish temple that has had the town, its construction began in 1582 and ended in the seventeenth century. Although it was built during the Renaissance and Baroque periods, the architectural style of the temple follows the Gothic tradition, although there are some elements of later styles such as the Baroque chapel of the Rosary or the Renaissance portal of the sacristy. It has a basilica floor plan with a single nave divided into seven sections and covered with ribbed vaults and side chapels. Inside are valuable works of art and religious furnishings such as altarpieces of different styles, from fifteenth-century Gothic (such as the painting of the Holy Doctors in the chapel of the same name) to neo-Gothic (early twentieth century). Also, the baptismal font from 1588, where the most international petrero, Junípero Serra (1713), was baptized, stands out. In addition, in the chapel of Santa Aina a portrait of the missionary and a relic are preserved. The temple has two doorways. The main façade is unfinished and stands out for its large rose window at the top. The side façade, built in 1911, contains the image of the town's patron saint, Saint Praxedis, a work by Guillermo Galmés. The bell tower, with a hexagonal floor plan and 31 meters high, was erected in 1669. In its body, the pointed windows and the pyramidal structure at the top of the bell tower stand out. The bells are from the XVII and XVIII centuries.

The church of Puigpunyent was one of the first to be built in Mallorca, authorized by a bull of Pope Innocent III in 1237. During this occupation the cultivation of olive groves and vineyards intensified.

In 1357 the bishop Antonio Colell created the parish of San Antonio Abad. The current bell tower was built in 1595 and a century later (1696) on the initiative of the parish priest Tomás Serra, the jurors agreed to build the present church. The twelve chapel capitals are the work of the sculptor Pedro Payeras. Around 1702 and 1706 the chapels that are currently dedicated to: * The old chapel of the Baptistery, (today of the relics). * Chapel of Santa Catarina Tomàs * Chapel of Sant Pere * The chapel of the Mare de Déu del Roser * Leaving the chapel of the Roser we have the throne and the chapel of San Sebastián * Chapel of the Purísima made at the end of the XVIII century. * Chapel of the Good Jesus (of the Holy Christ) * Octagonal baptismal font from the 17th century. * The altarpiece of the main altar is from 1868, dedicated to Saint Anthony. * Image of the Virgin of Vialfàs * Chapel of San José (end of the XVIIIth century) * Chapel of the Heart of Jesus, erected in 1940. * Chapel of Sant Francesc * Chapel of the Souls, built between the end of the 16th century and the beginning of the 17th century. * Chapel of the Virgin of Lourdes, dated 1933, although the image was acquired in 1928. * Chapel of St. Joachim and St. Anne

The first news of a chapel in Sant Joan date from 1249, with the name of Sant Joan de Sineu, located in the current sanctuary of Consolació. In 1298 Bishop Ponç de Jardí erected the chapel as a parish. With the consolidation of the urban nucleus from the foundation of the town of Sant Joan, together with the discomfort of climbing the hill where the temple was located, motivated the construction of a new temple in the current location. This second church was under construction in 1541 and in 1597 the bell tower was erected. Between 1645 and 1700 the temple was enlarged with the addition of new sections, and between 1768 and 1788 the roof was rebuilt in the form of a barrel vault. Of this temple remain the Gospel chapels (left), and the façade and lateral portals, as well as part of the bell tower. In 1927, the construction of the present temple began. Work began on the right side, next to the fossar vell, and a year later the Epistle chapels were finished. The new presbytery was begun in 1931, and the following year the sculptor Bartomeu Amorós made the coffered ceiling. In 1935 the structure of the building was finished and the interior in 1939, the year in which the new church was blessed. The coffered ceiling, basically worked by Joan Ginard, was not finished until 1976, while the portal, worked by the master Llabrés and with sculpture by Tomàs Vila, was finished in 1944. The façade has a neo-baroque main portal, a skylight and the headwall, formed by a mixtilinear crowning. The doorway is linteled, with molding, inscribed in a semicircular arch and jambs in the form of Corinthian pilasters, with pyramids with a ball on them. The tympanum houses an image of the patron saint, Saint John, in an attitude of announcing the arrival of the Savior, work of the sculptor Tomàs Vila, from 1944. To the left of the façade is the bell tower, with a square section and seven stories (the sixth and seventh have two openings with pointed arches on each side). The crowning is a pyramidal top, in neo-Gothic style, from 1865. The lateral doorway is one of the oldest elements of the church, since it is a Gothic doorway, from the 16th century, with an ogival arch, with a pointed architrave and two archivolts, and a pointed archivolt; the tympanum is unornamented. On the right, next to the bell tower, a simple monolith commemorates the missionary Fra Lluís Jaume. The interior, in classical style, has a floor plan with three naves, six side chapels and a flat roof with a wooden coffered ceiling, the work of Joan Ginard. The naves are separated by two rows of quadrangular section pillars, joined by semicircular arches. Over the lateral naves there is a gallery with balustrade that surrounds the nave, with statues of the apostles. The presbytery has a barrel vault and has three mural paintings by Pere Barceló, blessed in 1948; they represent the birth, preaching and martyrdom of the Precursor of the Messiah. The large painting of the upper body represents the glorification of Sant Joan, with the coats of arms of the Verí, the Verger and another surname of the town. The lateral chapels of the left or of the Gospel are: the first, under the tribune, houses the portal of the bell tower; that of the Heart of Jesus; the side portal, called the men, with the organ above it, built between 1873 and 1901; that of the Ànimes; that of the Name of Jesus, which houses the Baroque altarpiece (1671), by Pere Joan Pinya, of three streets, the central one with the relief of the Circumcision; and that of Sant Josep, with a Baroque altarpiece of three streets, the central one occupied by an image of the patron saint. Between this chapel and the presbytery is the altar of the Blood of Christ. The chapels on the right or Epistle are: the chapel of the Virgin of Lourdes; the chapel of Sant Antoni; the chapel of Santa Catalina Tomàs; the chapel of the Purísima; the chapel of the Roser; the chapel of the Virgin of Carmen. The apse chapel of the Epistle is that of the Tabernacle; between it and the presbytery, there is the image of Sant Joan Baptista, possibly brought from La Seu in 1541. To the left of the presbytery is the sacristy, of irregular pentagonal plan, with a balcony that looks to the exterior. Inside there is a painting by Fra Lluís Jaume. The parish museum, located in the upper gallery, contains, among other elements, an Assumption, from the early 16th century, attributed to Gabriel Mòger, and the Baroque reliquary of the Virgin of Consolation, made in 1804.

The parish church appears documented for the first time in the bull of Pope Innocent IV with the name of Santa Maria de Bellver. The present church has a royal license since 1360 and since then has undergone successive extensions and renovations, the last one in 1992, when the interior was restored. * The church can be visited on Thursday mornings coinciding with the weekly market.

The church of Sant Miquel is a temple of Catholic worship. Its construction began in 1899, based on plans drawn up by Mn. Antoni María Alcover, revised by Joan Guasp and slightly modified by the notable Catalan architects Antonio Gaudí and Juan Rubió. It was inaugurated in 1907. The most striking features of the church are the neo-Romanesque façade, the balcony with terrace, the fan-shaped rose window and the four-story bell tower. * The church is located in the square and is open on Saturday mornings from 11:00-13:00.

Architecturally, this primitive temple is unknown, but it must have been a simple building, of Gothic tradition and with a wooden and tile roof. Administratively it depended on the parish of Santa Maria and in 1603 it became a vicarage by order of Bishop Joan Vich, with the installation of the reserve of the Holy Sacrament. The primitive gothic oratory became too small due to the increase in population and at the end of the 17th century it became necessary to build a new church, the present church was built between 1699 and 1716, with later additions, such as the Purísima chapel (built between 1839 and 1841), the present bell tower (around 1850), the transept and the chancel, with the presbytery (between 1863 and 1869). In 1913, during the reign of Bishop Pere Campins, the vicarage in capite of Santa Eugènia was converted into a parish church. The main façade has a quadrangular facing with a flat top in the form of a cornice or horizontal molding. The main doorway is linteled, with jambs with linear moldings on the capital and base. Above the portal there is a small semicircular niche, which contains a modern image of Saint Eugenia, and is topped by the relief of a cross. On the upper part of the façade there is a circular rose window with helicoidal molding and a sundial. In front of the façade there is an esplanade, occupied by the town's fossar (cemetery), or es Sagrat, from 1645 until the beginning of the 19th century. The entrance to the temple is made from a wooden door with the date 1870. The interior has a single nave, with a Latin cross plan, with a little marked transept, and four side chapels, in addition to the arms of the transept. The roof of the nave has a barrel vault divided into four bays. The elevation presents an alternation between the openings of the chapels, high and with a semicircular arch, and the plain pilasters that separate the chapels. The center of the transept is occupied by a dome with a circular base on pendentives. In the high part of the arms of the transept there is a skylight in the form of a porthole on each side. The main altarpiece is baroque, with rococo elements, dated 1757 and designed by Fra Albert Borguny. It stands on a modern wooden base or plinth, and forms a vertical wooden structure with rocaille decoration. A central niche stands out, with the cover decorated with reliefs of seraphs, with the image of Saint Eugenia. Around it, the altarpiece distributes nine canvases with the representation of saints.

Within the town center, at the highest point of Santa Margalida is the jewel of the village, the Parish Church of Santa Margalida. The retaining wall of the clay hill on which the temple is situated is one of the most attractive areas of the village. The church was built in the thirteenth century on the land where in Islamic times was located the farmhouse of Hiachat. Tradition says that the church would have taken its name due to the discovery of an image of Santa Margalida in a cave located on the land where the building was built. However, historical data suggest that the dedication to Santa Margalida would have been due to the fact that the first clergymen of the parish came from Santa Margalda de Empúries (Catalonia). With the passage of time, the temple became obsolete to accommodate the entire population and was replaced in 1660 by the current building. The temple is a clear example of Baroque religious architecture of the Part Forana of the island of Mallorca. It highlights its facade only decorated with impost lines and the rose window. The main portal and the figures that accompany it are also striking: Santa Margarita, San Pedro and San Juan Bautista. In its interior is preserved part of the old Gothic altarpiece that must have presided over the former temple, with one of the most important representations of Mallorcan Gothic of Sienese influence that are preserved in Mallorca. On the other hand, there are other altarpieces from later periods also outstanding, such as the main altarpiece of the eighteenth century; the altarpiece of San Francisco from the late sixteenth century or the altarpiece of San Sebastian.

The Parish Church of Santa Maria del Camino (Mallorca) is a temple erected in the eighteenth century on an old church built in the thirteenth century and modified several times, without ever having changed its location coinciding with the current one. The facade follows the tradition of Mallorcan baroque, of smooth furniture, forming a single body. It has two lateral pilasters with scales and topped by green hydrias, a central rose window and two smaller oculi. The front has a mixtilinear pattern, reminiscent of the shape of a copiña, and blue tile decoration.

The construction of this large temple lasted 25 years, from 1786 to 1811. The particularity is that if in many towns such a monumental construction entailed the elimination of the primitive oratory, in this case it was decided to preserve it and build the majestic building next to the historic one, on land with a cemetery. They also had to buy some houses. The old church is an architectural jewel, now known as the Chapel of Roser, with origins in the thirteenth and fourteenth centuries and added side (where the museum is located) in the sixteenth century, next to what was wall. The new temple was blessed by the rector Benet Vadell (a native of Petra), "the last direct relative of Beat Juníper Serra. Another curiosity of the new temple is that when it was blessed all its cost had already been collected, which shows the "interest" and "devotion" of the people.