It was erected in the 1600s by the inhabitants of Mure. The facade is framed by two pilasters, which support the triangular pediment; above, the metal structure of the bell. The main door is in the shape of a flattened arch and is the only opening of the building, which lacks windows. The altar features a masonry table and a painted altarpiece on the back wall between two pilasters; it depicts a Madonna enthroned with Child with San Marco and San Nicolò, a work by Cataldo Ferrara. San Marco, on the left, shows the Gospel, while on the right San Nicolò holds a basket of gifts. At the time of the Spanish flu, the frescoes were completely covered with lime. During the two world wars, the inhabitants of Mure filled the shrine with sacks of wheat to prevent the Germans from taking them away. At the back, one can still see, although very damaged, Santa Barbara extinguishing the fire.

Near San Marco there is the chapel of Cristo del SS. Crocifisso. The building was constructed at the end of the seventeenth century and probably expanded in the eighteenth century with the addition of the rectangular portico, topped by a pediment that ends with a metal structure serving as a bell tower. The portico features three openings: an access arch and two semicircular side windows. Inside, there are frescoes of the Addolorata, Saints Francis of Assisi and Anthony of Padua, and the Flagellation of Jesus at the column.

-Three kilometers from Sesto, in the locality of Banduzzo (which means a place prohibited by law), stands the 19th-century Church of Sant'Antonio da Padova, built by the local landowners. The facade is enriched by the presence of a rectangular portico bordered at the front by a low wall on which rest two lateral pillars and two central columns, supporting the triangular pediment. The main door with a pointed arch is flanked by two rectangular windows.

The small church is located in the village, now abandoned, of Braida Curti, whose etymology comes from "Braida," meaning small enclosed farm, and Curti, from the Venetian-origin family that owned it. The building dates back to the late seventeenth or early eighteenth century, but it was heavily modified in 1855 by the Loro family and restored between the two world wars in 1920 and 1940. The facade is framed by two corner pilasters with capitals, on which rests an entablature and a triangular pediment. At the top is the belfry with a seventeenth-century style bifora. In the center, two symmetrical windows frame the rectangular entrance door. On the sides, the wall surface is enlivened by blind arches. As for the interior, it houses a wooden altar from the late 1700s, with an altarpiece depicting a Madonna with Child, Saint Francis de Sales, and Saint Margaret Mary Alacoque, later transferred to the Abbey.

The current building was constructed in 1937-39 on a pre-existing core from the 1600s. The church is preceded by a rectangular portico, with an entrance arch and two full-arched side windows, which almost completely covers the façade. The latter features a central rectangular main door, without paneling, surmounted by a blind lunette and two side windows. The belfry with a bifora is located at the top of the façade. The rectangular hall with exposed beams is lit by two full-arched openings on both sides; the presbytery, preceded by a full arch, has a square plan and is covered by a sail vault ceiling. Inside, there are mural decorations from 1937 by the painter Culos, a 17th-century holy water font, and an altarpiece with Sant'Urbano painted in 1893 by A. Pancotto.

Throughout its centuries-old history, it has changed its dedication several times: it went from “Santi Bernardino e Daniele Profeta” to just “San Bernardino”, and then in the 1700s to the title of Church of the Visitation of the Blessed Virgin Mary. This alternation of titles continued until around 1889, when the archpriest Don Antonio Cicuto restored it, dedicating it to the Madonna of Lourdes; a recent devotion, therefore, but one with great emotional impact among the faithful of the Versiola district. The current dedication began following the radical safeguarding and conservation intervention in the mid-1970s, which also saw the removal of the plaster image of the Madonna of Lourdes and the repositioning of the restored oil on canvas altarpiece with the titular saints.