Together with the Aiamans palace and the Plaza de España, it forms part of a beautiful architectural ensemble in the center of the town. The parish church, in neoclassical style, consists of a single nave covered with a half-barrel vault, with lunettes and supported by stone pilasters, on which are supported semicircular arches, and walls topped with an airy and bright cornice. It has four chapels on each side. In the altarpiece of the main altar is venerated the image of Our Lady of Lloseta, a carving of the Roman-Byzantine iconography, from the late twelfth century and early thirteenth century. Added to the temple, to the right of the main altar, is located the chapel and crypt of the Counts of Aiamans, where the mortal remains of the family are kept.

In 1561, the Society of Jesus settled in Mallorca. The Jesuits occupied the place that until then had been the site of the first Estudio General Luliano, formerly the site of the old Jewish synagogue. In 1571, work began on the new church. The enormous cultural and socio-economic influence of the Jesuits was not looked upon favorably by the royal power, which suppressed the order between 1767 and 1815. The doorway of the church has a complex system of uprights alternating pilasters and Solomonic columns decorated with floral motifs and composite capitals. Above the voussoir portal we find the frieze and the profusely decorated archivolts. The tympanum frames a large shield, supported by two angels. It is the coat of arms of the sponsor of the works, Ramon de Verí. On both sides are statues of the first Jesuit saints, Ignatius of Loyola on the left and Francis Xavier on the right. The portal is crowned by an image of the Immaculate Conception, above the crescent moon, and a representation of the devil in the form of a beast and, above, the coat of arms of Saint Ignatius. A semicircular dripstone protects the whole. In the upper part there is a rose window with smooth moldings and a triangular pediment. The interior of the temple has a single nave with quadrangular chancel and six rectangular chapels on each side. The roof of the nave has a half-barrel vault with lunettes, supported by pilasters with grooved shafts. The chapels and the presbytery have a cross vault. The main altarpiece was begun in 1607, designed by Camilo Silvestre Perino. On the left side of the presbytery we find the tomb of Ramon de Verí. The first chapel on the left side contains the tomb of Saint Alonso Rodríguez, who was for many years the doorkeeper of Monti-sion, until his death in 1617. This chapel was begun in 1635. It has a cross-shaped floor plan and the elevation is covered with marble slabs. The mausoleum with the body of the saint dates from 1825. In other rooms are remarkable the cell of Saint Alonso, set in the time of the saint, and the Gothic altarpiece of Monti-sion, erected in a chapel separated from the big church. Portal. It presents a complex system of pillars that alternate pilasters and Solomonic columns decorated with floral motifs and with capitals of composite order. The portal is crowned by an image of the Immaculate Conception

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 construction of the current church began in 1691. The works lasted until 1864 and included successive reforms and extensions. The parish church is devoted to Saint Peter. A double flight of stairs leads to the main door. The door is furnished with an architrave, fluted jambs and an entablature bearing the date 1738. The pediment above the entablature has a medallion holding a relief of Saint Peter. The church has a side door that opens to the square. The door is furnished with jambs in the shape of round pilasters with rings on the lower section. It has a pointed arch. The tympanum has the coat of arms of Sencelles bearing the date of 1707 on the right and a coat of arms with the relief of a tree on the left. A square bell tower stands on the right of the side door. The cornice is surmounted by a balustrade. From this the tower rises octagonal and is crowned by a pinnacle or pyramid spire. Inside, the church is formed by a single nave covered by a barrel vault with smaller vaults giving light to the church. It is divided into three sections. It has six side chapels on each side, a choir and a trapezoidal apse.

Symbol of the ancient splendor of the town: the palace was commissioned by the King of Mallorca Jaime II, in 1309. He had it built on a base of Islamic origin that was possibly the fortress of the emir Mubaxir, who died in 1114. Between 1319 and 1523 it was the residence of the veguer de fuera and, with the disappearance of the Kingdom of Mallorca, it suffered serious damages. In 1583, Philip II transferred it to the Conceptionist nuns and a major reform was carried out (especially intense in the seventeenth century) to adapt it to the conventual use. Not long ago, in 1987, the keep was renovated. The ensemble that has come down to us has elements of both a fortified palace and a strictly enclosed convent. It is a very heterogeneous ensemble and the church, of traditional typology, stands out.

The Betlem hermitage was built over the ruins of a former Muslim farmstead, Binialgorfa. Between 1302 and 1344 this estate was under the domination of the Devesa (pastureland) of Ferrutx, important hunting grounds for the kings of Mallorca. Once the pastureland ceased to serve its original purpose, Jaume Ferrer purchased Binialgorfa. In 1409, Joan Morei purchased it from the heirs of the Ferrer family. Olive oil production and apiculture were its main activities. Over time, the possession was abandoned. In 1805 this spot, known for years by the telling name of the Binialgorfa desert, was occupied by five hermits from Sant Honorat in Randa and La Trinitat in Valldemossa. They were able to found the hermitage thanks to the donation of two quarterades (and old land measurement on Mallorca) and the remains of the homes built by Jaume Morei Andreu de Sant Martí, the owner of the possession. The first hermits found little more than the remains of an ancient defence tower and the oil mill. But construction soon got underway on the ruins, and the hermits’ cells were built, while the ancient tower was refurbished as a chapel. The sponsors of these projects were Cardinal Despuig and Canon Joan Dameto. The name of Betlem (Bethlehem) comes from a petition from the donor: that the new hermitage be devoted to the mystery of Christ’s birth. Currently, the hermitage measures 60 quarterades (around 426,18 km2), and hermits who are members of the Congregation of Saint Paul and Saint Anthony still live there.

Only the two keystones remain of the former 14th-century parish church, which was probably a single-nave construction with a ribbed vault. That building was demolished in the mid-15th century to make way for a second church. The elements of this second building that have survived to our times are the main portal – with very austere lines – and the side portal, where the arms of the Pacs family, important parishioners and patrons of the construction, appear. Currently, the inside corresponds to a Baroque building. The artistic heritage preserved from the medieval buildings include the table painting of the patron, Saint Nicholas – which presides over the main Baroque altarpiece -, and another painting representing an unidentified hermit saint. Both are late 15th-century works. The old chapel of Sant Nicolauet used to stand not far from the parish church, in what is now Plaça del Rosari, but it was demolished in 1836. When the parish circumscription was created it was used as a church by parishioners until work on the new building had finished on the current site in the 14th century. Adjoining the outside wall of the church’s apse is the stone where, according to tradition, Saint Catalina Tomàs used to sit whilst waiting to be accepted into the Convent of Santa Magdalena

On its way through the old road of Palma - Inca we find the church of Consell right next to the town hall of this municipality. * In this church a weekly mass is celebrated.

This small parish church is found in the Colònia de Sant Pere. The birth of this centre of population in 1880 was the fruit of an initiative of the Homar brothers to create an agricultural community in the area. The first families that populated the Colònia built a small oratory dedicated to Saint Peter. Due to an important population growth a larger parish church was built, which came to substitute the old oratory for the present parish church. It is a church with a single nave and attached belfry. The main facade exceeds the nave dimensions and features a portal with a marble stone lintel decorated in its sides with pilasters of ionic style. An ornamental highlight is the fresco of the main altar that represents Saint Peter and the Colònia on the background.