The Chapel of St. Ivan Nepomuk is located in the center of Gospić. It was built by Czech soldiers in 1749, on the place where today is the Cathedral of the Annunciation of the Blessed Virgin Mary. It is named after the Czech saint Ivan Nepomuk. At that time, it was the only church in the town of Gospić and it became too small for so many believers. For this reason, a church of St. Ivan Nepomuk was demolished and a new bigger one was built at the same place, while the Chapel of St. Ivan Nepomuk was built one hundred meters away from the old one in 1883. In the chapel, there is a memorial plaque to the victims of Senj.

This picturesque village on the Lika River is placed only a few kilometres from Gospić. It has rich history filled with wars and battles, the most famous of them being the Battle of Bilaj, that happened in 1809 between the Napoleon's and Austro-Hungarian army. On the hill Gradina, there are the remains of a Turkish tower, since Bilaj was one of the most important settlements in the area during the Ottoman Empire. Every year on 29th Aug, a holy mass is held in a cave/chapel of St. Stephen, next to St. Jacob's church, as a remembrance of the attack on Bilaj during the Croatian War of Independence.

The Church of St. Michael was built in the Baroque style with a high bell tower. Inside church there are three altars, an organ, a frescoed ceiling, a confessional, a baptistery, and a pulpit. There is a tomb in the stone floor in the loggia of the church. People consider it was the resting place of the priest Zduna, but there is no solid evidence to confirm this. On the left side of the entrance, there is a stone Roman urn brought by locals from a nearby Roman cemetery and used as a sprinkler.
The Church of St. Michael was first destroyed during the Croatia War of Independence on 24th September 1991. The reconstruction of the church began in 1998 and was completed in 1999, when it was blessed on September 29, on the day of St. Michael (popular name: Miolja), by Dr. Antun Tamarut, Archbishop of Rijeka and Senj.

The parish of St. Roch was founded in 1790. Saint Roch is the protector of the village Sveti Rok that is named after the saint. In honour and glory of St. Roch, every year on 16thAugust, a great ceremony is held (popularly called: Rokovo)
The church of St. Roch was built in 1763 in the place of a former medieval church with donations from the eminent citizens of the village Sveti Rok, and was additionally arranged in 1824 by baron and general Josip Vrkljan. It was completely destroyed during the Croatian War of Independence and it was renovated in 1999, when it was blessed on 16th August by Mile Bogović, then auxiliary bishop of the Archdiocese of Rijeka-Senj, and later bishop of the Diocese of Gospić-Senj.

Vranik is a village in the Municipality of Lovinac. According to the last list of population, it has only 7 inhabitants. It was formed on the edge of a valley below a fortified town whose remains can still be seen on Gradina hill. There is Kovačević tower - the old Turkish watchtower that is well preserved but not marked and not easily accessible. It is worth to see it as cultural heritage.
There is also a Chapel of Saint Frances (Kapelica svetog Frane).

The inscription in the church of Saint Vitus in Kosinj Bakovac is an important part of the Kosinj Glagolitic heritage. It dates from 1517 and can be found above the entrance door, where the coat of arms of Anž Frankopan and the Glagolitic text are turned upside down. There are different theories about the stone, e.g. that it was moved from the nearby Frankopan town of Ribnik in the Kosinj Valley, which some historians relate to the location of the first Glagolitic printing house in Croatia.

Church of the Holy Trinity is a Gothic building located outside the settlement in Bukovac Perušićki. It is a single-nave building, with a rectangular floor plan with a square sanctuary and a bell tower on a pediment. It was built in the 14th century, renovated in 1771 and 1923 and severely damaged in the Croatian War of Independence. It is one of the rarely preserved buildings of the pre-Turkish period in the area of Lika.

The parish church has existed since 1105, and has been renovated over time. The church has three naves. Left is the oldest Romanesque-style nave with an altar of the Mother of God of the Rosary. The main altar is in Baroque style. The nave on the right is in Gothic style. Among the artistic things in the church are also: canonical pews in the sanctuary from the beginning of the 18th century, organ, chandeliers or eternal light, competition pulpit from the 18th century, the work of A. Michelazzi.

Dedicated to S. Leonard, it was built between the end of the 14th and the end of the 15th Century and subsequently expanded during the second half of the 18th Century. The 16th Century frescos, painted by an artist of Gian Francesco da Tolmezzo's circle, and the 2 baroque wooden altars are the most prominent works still preserved inside the building. The Solari bell-tower clock (19th Century) will soon be moved and placed in a display along the streets of the village.

Chiesa dedicata a San Leonardo, protettore di fabbri ferrai, le cui prime informazioni risalgono al 1391, anno fu concesso il permesso di costruzione. La consacrazione avvenne alla fine del '400. Ad oggi si conservano nell'area absidale affreschi del XVI sec.. Realizzati da Pietro Fuluto, artista facente parte della bottega di Gianfrancesco da Tolmezzo. Nella seconda metà del XVIII sec. fu ampliata. All'interno si conservano due altari lignei barocchi dedicati a San Leonardo e a San Valentino.
La chiesa è dotata di torre campanaria e di orologio. L'orologio da torre Solari risalente al XIX secolo, al termine del restauro in corso, verrà collocato entro una teca in luogo da definirsi in paese (promotori dell'azione l'Associazione Culturale “Amici di Osais”).

Santa Maria Parish Curch has been built between VII and IX Century on the Agrons Hill, the original location, according to the tradition, of the Agrons Castle.
The Church has 3 aisles and hosts rare and fine antiquities, among which a fresco from the XII – XIII Century and a collection of liturgical objects. The Church hill has been used as a war refuge during WW1 and some of the tunnels are still partly visible.
The Parish Curch Museum is hosted in the former dairy of Cella and its collection includes archaeological finds as well as liturgic furniture and several works of art.

Pare che l'attuale Pieve di Santa Maria sia stata eretta tra il secolo VII ed il IX sul colle di Agròns, dove, secondo la tradizione sorgeva il castello di Agrons, con le pietre del quale fu edificata la Pieve.
La Pieve si presenta come una basilica a tre navate e custodisce pregevoli e rare antichità: affreschi risalenti al XII – XIII secolo con la parabola evangelica delle dieci Vergini ed una ricca raccolta di oggetti artistici e liturgici. In un vano della Pieve è ospitato un Lapidarium.
Il colle su cui sorge la Pieve è percorso da gallerie utilizzate come rifugio durante la I Guerra Mondiale e sono in minima parte ancora percorribili.

Il Museo della Pieve è ospitato nei locali dell'Ex latteria a Cella: in esso sono conservati reperti archeologici, arredi sacri ed opere d'arte sacra.

The old San Martino Parish Church is also an archaeological site which is visible both outside and inside the church (in this case, through a glass floor). The archaeological findings confirm that the building existing before the church was a house dating back to the IV-V Century, upon the remainings of which the church with a exagonal baptisimal font was built. Fore approximately 500 years the font has not been used but then, around the X Century it started being employed again. In the nearby area archaeologists have discovered finds which are a clear testimony of the presence of people of slavic origins (following their own specific funeral rituals) before the X Century.

From the Church, in 15 minutes on foot one can get to the village of Luint.

L'antica Pieve di San Martino è stata interessata da uno scavo archeologico che è visitabile sia in un'area esterna alla chiesa che all'interno della chiesa, perché ha interessato l'area pavimentale della navata (ora lo scavo è reso visibile da una copertura in vetro). Edificio antecedente a quello ecclesiastico risulta essere una abitazione di epoca tardo antica (IV-V sec.), sulle cui rovine fu edificato il complesso basilicale dotato di fonte battesimale esagonale (V sec.). Questo tra fine VI ed inizio VII sec. Fu abbandonato e utilizzato a scopo abitativo e sepolcrale. Il ripristino del complesso basilicale alla forma originaria risale al X sec.. L'area ha restituito necropoli altomedievali che testimoniano la presenza di abitanti autoctoni e appartenenti ad un gruppo slavo, che seguiva rituali funerari propri della cultura d'origine.
Di fronte alla Pieve sull'altro lato della strada si imbocca un percorso in acciottolato nel bosco che collega la Pieve all'abitato di Luint (15 minuti di percorso a piedi).

The building is situated on a small hill that dominates the Corno valley. The little church of San Giorgio still retains its original appearance, as it was at the end of the fifteenth century, despite the remodeling work done during a later period. Consacrate in 1505, it has a rectangular main hall with exposed beams and a polygonal presbytery with a tracery vault with architectural elements; in front of the facade, there is a porch supported by stone pillars. Above the facade there is a seventeenth-century double lancet bell window. The sacristy was added at a later date, presumably during the 17th century.
The stone entrance portal is the work of Giovanni Antonio Pilacorte and is dated 1515: on it, there are carvings of Saint George and the Dragon, the heads of cherubs and floral patterns. The latin wording recites LIMINA COSURGUNT MERIT TIBI IMMANIA GEORGI (great spaces are opened to you thanks to saint George). Inside, there are two altars dedicated to Saint George and Saint John the Baptist. Since 1700, the little church has been a place for rogations, according to stages fixed by tradition: the crosses of the various participating churches (Rodeano, Coseano, Rive) were made to touch each other in sign of peace and brotherhood, as still happens today in san Pietro in Carnia on the day of the Ascension.

The church was built on a little pre-exesting church that was constructed between 1880 and 1883 thanks to a bequest of Giovanni Mecchia and also the work of various Rive d’Arcano’s citizens who contributed to the construction. From the previous building two wooden statues from the altar of San Giuseppe were conserved, the frescoes of the central nave and the chore were executed in the 1925 by Ugo Brollo. In the 1932 was completed the monumental staircase.

The little church of San Mauro is located on the fluvial terrace of the Corno river and is surrounded by a wall made from pebbles that once contained the old cemetery. The present-day sixteenth-century building is the result of remodeling and extension of an earlier church that dates back to the 12th and 13th centuries, as testified by the frescoes found inside. However, the first information relative to the church goes back to 1380, when it was erected as a chaplaincy. The building was destroyed by the Turks at the end of the 15th century and it was rebuilt shortly afterwards. Already the seat of the Parish church of Rive, the church has a rectangular main hall with an exposed trussed roof and a presbytery with a ribbed cross vault. The entrance hallway with a depressed arch and sacristy are from a later period. Inside, on the right-band wall, there is the most ancient fresco, dating back around the 12th-13th centuries, depicting Young Christ; while on the walls and on the counter-facade there are frescoes of the Las Judgment, History of the life of christ, Virgin and Child, Saints, Coronation of the Virgin, dating back tot he end of the 14th century or the beginning of the next and can be attributed to the Friulanian post-Vitale da Bologna school.

The church, as we see it today, is the result of a massive restoration that took place at the end of the 18th century. Inside there are three altars, the first one it’s a stone altar with the statue of Saint Nicholas and Saint John Baptist made by Sebastiano Chieu from Pinzano, the other two are wooden altars and are dedicated to St. John Evangelist and the Virgin of the Rosary. Among the various decorations and furnishings we find the baptistery and the holy water stack.

The church has undergone two radical transformations over time. The first major renovation took place in 1736 when the bell tower was rebuilt, at the top of which a big bronze statue was placed. The second major restoration took place in 1832 by the bricklayer Gio Batta Federicis. In the 1854, Archbishop Trevisanato on a pastoral visit, decided to demolish the church. Ten years later works began and ended in 1958. Inside there is the altar of Sant’Antonio with its wooden statue and the baptistery.

The Parish Church of San Martino Vescono has undergone numerous renovations and extensions over time. The Plebem des Ripis is mentioned in a bull issued by the patriarch Gottifredo, according to which in 1184 the church was donated to Liuptrando, king of the Longobards. The first structures of the church probably date back to this period. The church’s appearance is is of the eighteenth century, the same period in which the bell tower was built. The church has a rectangular main hall and a polygonal apse with a ribbed vault. Inside there is an eighteenth-century main altar (1717) with statues of the Annunciation, the altar of the Rosary (1845), the work of Pietro Fantoni di Gemona, a baptismal font delated 1541, created during the rule of the priest Zaccaria, and a Holy water font of 1504 by Giovanni Antonio Pilacorte.
Particularly interesting is the altar in painted stone, created in 1530 by Carlo da Carona with statues of saints, the Annunciation and the Eternal Father.

Romanesque church with attached secular buildings

Church of the historic village

It is certainly the most important church of Pennabilli linked to numerous miraculous events, including the tearing of the Madonna which gives rise to the religious feast of the third Friday of March, called the "Beautiful Friday"