If there is a building in Bunyola that can stand up to the nearby Alfabia mountain range, it is the church of Sant Mateu. The monumental facade of this baroque temple impresses by force among the low houses around. Its large rose window looks like an eye on the future of the village, the clock on it shows the times, and its bell tower marks from the top the roof of Bunyola. There is no doubt that its elegant silhouette is the hallmark of the town when viewed from a distance, and it is normal that this is so, because inside it is also guarded another marvel of religious art: the Mare de Deu de la Neu, the Virgin of the Snows. It is a marble image weighing 700 kilos and almost a meter and a half high, representing the virgin with the child in her arms. It is believed that this regal image was carved in the 15th century and Bunyola keeps it in the place it deserves: in the center of the main altar of its parish church.

Small chapel of the late eighteenth century dedicated to the Mare de Deu d'Agost. It can be reached by two roads, the main and most recent, is the one we found immediately we arrived at the llogaret and is where the bus stop is. But if we continue along the road, a little further up on the left hand side is the old road, beautiful and paved. This is where there is space to park at least 4 or 5 cars as the parking inside is reserved only for residents of Deià. Parking is the most complicated part of this visit. The two roads end at the main street where in a few seconds we see the oratory.

The construction of the temple began in the second half of the 18th century and was completed in 1786. Between 1856 and 1881 important enlargement works were carried out, according to a project by Antoni Sureda Villalonga. The church was converted into a parish church in 1913. The façade is a plain façade, with a linteled main doorway, on five steps. In the doorway there is a niche containing an image of the Virgin, the work of Marc Llinàs, with the relief of a cross on it and an inscription from 1876: "Nom est hic aliud ince Domini Deus Porta Coeli".

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.

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.

Type of construction Baroque (1667-1702) Important aspects Monks of Saint Jerome have lived there in closed order since 1534. Sister Clara Andreu i Malferit’s mortal remains (distinguished nun of the community) have been preserved in this place. Distinguished elements Front door with semicircular arch to enter the courtyard, patio with an old hackberry tree and a well. The church has a single nave with four sections and tiny lateral chapels. Half vaulted ceiling. Important works of art preserved Saint Christ of Blood (C14 or C15); baroque altarpieces of the Virgin of Candlestick and of the Holy Family (C17); two Gothic panels by Pere Terrencs (C15) and valuable paintings by Llopis and son (C16). Direcció: Carrer de les Monges, 129, 07300 Inca, T:971 50 00 95

The origins of the monastery of Augustinian canonesses of Santa María Magdalena lie in the hospital we already hear news of in the early 14th century. The incorporation of the nuns was the work of King Pere the Ceremonious, who convened the transfer to Mallorca of some nuns from the convent in Barcelona. The surviving documents offer little information on life in the convent of old or the Gothic construction of the church. The surviving medieval heritage consists of three singular manifestations of Gothic art, evidence of the growth of the community in the second half of the 14th century. The oldest, most important work is the altarpiece dedicated to Santa Magdalena, which must have presided over the Gothic church: the central table, with an external figure of the saint, is the work of Francesc Comes; the side tables are attributable to the so-called Master of Bishop Galiana, and the central pinnacle is considered to be the work of Joan Daurer, all of them great 14th century Mallorcan Gothic painters. The monumental table of Santa Helena, attributed to Rafel Mòger is also of interest. And a third work is the small altarpiece dedicated to the Virgin Mary, Saint Michael and Saint John the Baptist, the work of Joan Rosado or Rosetó. All these paintings are in the Chapterhouse Room of the monastery, and the artists responsible for them are some of the most reputed Mallorcan Gothic painters. With the presence in the 16th century of the nun Catalina Tomàs, who later became a saint, a new era of splendour commenced in the monastery, under the patronage of Cardinal Despuig.

This is one of the last Gothic churches to be built in Ciutat de Mallorca (Palma), constructed in the late 15th century. It served the General Hospital, and today we know it as the church of the Anunciación or ‘de la Sang’ – a popular name denoting the devotion to the ‘Santo Cristo de la Sangre’ image inside it. The master builder who directed construction on the church was Amador, a famous stonemason who belonged to the Creix family. It is a spacious building with a single nave, very broad, and chapels between buttresses with ribbed vaulting. On the keystones one can see the arms of the city and the hospital itself, as well as those of the Pacs de Cunilleres family and the Tomàs family, important patrons of the building work. Of its medieval past it still retains the Davallament triptych, an early 16th-century work attributed to Joan Desí, and two tables of Saint Peter and Saint Antony, attributable to Gabriel Mòger senior. Also on display are the carvings of a 15th-century nativity scene of Italian origin, from the convent of Jesus, declared an Asset of Cultural Interest and considered to be the oldest in Spain. One can also see two magnificent marble Italian sculptures here. The most famous and popular chapel is that of the ‘Cristo de la Sang’, constituted in 1552 by the Sangre brotherhood. This is where the tabernacle and sculpture of the ‘Cristo de la Sang’ are, the latter in cork oak, lighter than others so that the image can be taken out in processions.

This cross is known as the cross of S'Abeurador (watering place) due to the existence of a public well, a small chapel and a watering place at its feet, which make up a unique and documented set since the sixteenth century. The cross has a baroque style capital and an upper cross of neo-gothic style that presents the Virgin Mary on the south side and Jesus crucified on the north side.