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The church, recently rebuilt, has a reinforced concrete framed structure with a sober façade punctuated by four pilasters in exposed local stone ashlars. Reachable via a long ramp, the facade has a simple slightly projecting portal surmounted by a rectangular window, both in local stone. In the rear part, the structure of the apse area is visible, which survived the earthquake, with a low bell tower adjacent to it and behind it is the new bell tower, higher than the previous one.

The Sanctuary, located in Contrada Montagna, is a modern elliptical building in reinforced concrete built in 1980 based on a design by the architect Baldassare Antonimi. It stands on the ruins of the nineteenth-century church dedicated to the Madonna della Libera, which collapsed following the earthquake of January 1968. The dedication is due to the "ficarara", families who dedicated themselves to the preparation of dried figs in the summer and who gathered in prayer in this small rock church, originally born as a vow to the Virgin and as a hope for liberation from evil spirits. The architectural structure of the Sanctuary proposes in the curved lines of the structure the shape of two arms which, resting on the ground, join their hands towards the sky as a sign of prayer.

The Church of the Madonna del Carmelo and adjacent to the convent of the Carmelite Order, the structure is impressive.

The Church of the Most Holy Savior or Mother Church or Cathedral is the main place of worship in the municipality of Partanna. Built starting from the 16th century it was seriously damaged by the 1968 Belice earthquake, subsequently rebuilt and reopened for worship towards the end of the 70s. Since the end of the post-earthquake reconstruction, no more interventions have been carried out. Only in 2013 were started further conservative restoration works on the building which concerned in particular the roof, the central nave and the presbytery area. The works were completed in 2019.

The Church of Maria SS. della Salute was built in 1622 by the Augustinian fathers.

ulcro of the origins of Santa Ninfa is the castle of Rampinzeri, on the slopes of a hill where the remains of an ancient Sican necropolis have been found [3]. Santa Ninfa was founded in 1606 by Luigi Arias Giardina, who, with the approval of King Philip III, began to urbanize the town with roads and civil and religious buildings. The town was built with concentric road axes that converge in the central square (Piazza della Libertà). Over the following years, buildings were built such as: the Baronial Palace, the Hospital, the Church of Sant'Orsola, the Church of Sant'Anna and the convent of the third order of San Francesco, the Mother Church (the Cathedral of country) and the Prisons. In 1770, after the foundation of the archpriesthood of Santa Ninfa, the town was declared a baronial fief. From that moment on, and in the following centuries, the fiefdom passed from family to family, enriching the town more and more with new buildings.

The Church of the Purgatory was built between 1642 and 1664 on the site of a previous church. It has a spectacular eighteenth-century façade with late-mannerist and baroque elements. The interior, with three naves divided by columns, is adorned with stuccos and frescoes: the ornament of the apse is the work of Nicola and Gaspare Curti from Castelvetro and dates back to 1746. Olivio Sozzi is credited with the imposing painting intended for the main altar, depicting the Trinity, the Virgin and the Holy Souls of Purgatory, now located in the Mother Church. In the internal part of the church, during the Christmas period, it is possible to admire the magnificent mechanical nativity scene, made with natural materials such as cork, stones, trunks, succulents, moss and grass. Through the use of mechanical devices, the event of the birth of Jesus Christ is recreated.

The construction of the church began in 1520 by the will of the first count of Castelvetrano. It has a basilica with three naves and the portal is decorated with arabesques of medieval style. The wooden trussed roof is enriched by a central beam richly decorated with coats of arms, musical instruments and weapons. The cross vault is bordered by two triumphal arches, the first dating back to the early 18th century and attributed to Vincenzo Messina, the second built by Serpotta in the second half of the 17th century. In the background stands the altarpiece of the Assumption made by Orazio Ferraro in 1619. During the seventeenth and eighteenth centuries the building was enriched with numerous works of art and stucco figures in the round. The current appearance is the result of the restorations carried out in 1849 by architects Cavallari and Viviani who eliminated most of the baroque decorations.