Kovászna megye egyik legértékesebb, az UNESCO által nyilvántartott kultikus műemléke a 13. századi eredetű, román, gótikus, reneszánsz és barokk stílusjegyeket őrző gelencei római katolikus Szent Imre templom. Toronnyal megerősített kerítőfal veszi körül a templom egyszerű épületét, északnyugatról és délkeletről nyíló bejáratokkal. A hajó és a szentély együtteséből álló keletelt templomhoz három toldaléképület csatlakozik: a nyugati és a déli kapuhoz négyszögletes előépítmény csatlakozik, északról a szentélyhez sekrestyét építettek.
A téglalap alaprajzú hajó nyugati falát a sarkain elhelyezett támpillérek erősítik és hasonló támpillér található a hajó délkeleti sarkánál is. A hajó falait összesen négy ablak töri át.
A két négyszögletes szakaszból álló szentély a hatszög három oldalával záródik, sarkain karcsú támpillérek állnak. A déli és a délkeleti oldalon egy-egy csúcsíves, kőrácsos ablak töri át a falat. A déli ablak mérműve két halhólyagból áll, a délkeleti ablaké egyszerűbb, kört formáz.
Bent a hajóban a déli kapubejárattól nézve a jobb oldalon a falba kis szenteltvíztartó van vájva. A nyugati kapu bal oldalán kőből faragott szenteltvíztartó van. A déli fal előtt, a kaputól keletre, faragott keresztelőmedence áll, melynek két oldalát reliefszerűen faragott kereszt díszíti. Az északi és a déli fal alsó részében egy-egy kisméretű, felül csúcsosan záródó fülke mélyed. A hajót 8 oszlopba és 13 sorba csoportosítható festett fa kazettás síkmennyezet fedi. A 103 táblát kitevő, mintegy 125 négyzetméternyi, késő reneszánsz jegyeket viselő mennyezet 1628-ban készült. A feliratos táblákból megtudhatjuk, hogy a mennyezet Bethlen Gábor idejében, Felföldi Ferenc esperes-plébános szolgálata alatt, továbbá Mihálcz Pál és István, Dok Mátyás, Finta Lőrinc, Biroga István és Miklós, valamint Pakó István nemes falubírák gondoskodása alatt készült.
A szentélyt nagy kövekből rakott félköríves diadalív választja el a hajótól. A diadalív északi oldalához kőszószék csatlakozik, feljárata a szentély felől indul. A keresztboltozattal fedett szentély hornyolt téglabordái faragott gyámkövekből indulnak ki. Nyolc gyámkő van a szentélyben, melyek páronként hasonlóak, a szentélyzáródás előtti pár emberfejes. A szentély északi falának második szakaszában található szentségtartó fülke valószínűleg helyi kőfaragó alkotása.

Gelence temploma értékes, 14. századi falfestményeket rejt. A hajó nyugati falának felső sorában megkopott állapotban látható Szent Jakab legendája. Alatt a krisztológiai ciklus két képe – Menekülés Egyiptomba és a Betlehemi gyermekgyilkosság -, az ajtótól északra Mária koronázása és halála kapott helyet. Az északi fal felső részén a Szent László-legenda látható, alatta pedig a Passió képei, melynek utolsó jelenete -Krisztus feltámadása- a déli falon helyezkedik el. A déli fal felső részét nagyméretű, többsávos Utolsó ítélet kompozíció tölti ki, középen Mária és Keresztelő Szent János között az ítélkező Krisztussal. Az ítélőtől jobbra a Paradicsom, balra a Pokol ábrázolása kapott helyet. Az alsó regiszterben Alexandriai Szent Katalin legendája elevenedik meg.
A hajó külső falfelületein és a déli kapu timpanonján is falfestmény töredékek kerültek napvilágra.

Unul dintre cele mai valoroase monumente ale judeţului Covasna este biserica Sfântul Emeric din Ghelinţa, construită în secolul al XIII-lea, purtând caracteristici stilistice aparţinând stilului romanesc, gotic, renascentist si baroc. Biserica este considerată un monument cultic de către UNESCO. Clădirea simplă a bisericii este îmconjurată de un zid prevăzut cu un turn ale cărui pasaje de ieşire şi intrare se deschid înspre nord-vest şi sud-est. Biserica are trei clădiri anexe.

Naosul bisericii are o bază dreptunghiulară, el este susţinut de piloane aşezate în colţurile zidului vestic, precum şi în partea sud-estică a bazei. Există în total patru geamuri în pereţii bisericii.

În interiorul naosului, privind dinspre intrarea sudică spre dreapta, există un mic rezervor pentru apă sfinţită, făcută din piatră. În faţa pereţii sudice există un bazin de piatră folosit în cursul ceremoniei religioase a botezului, ale cărui părţi sunt decorate cu cruci cioplite din piatră. Tavanul naosului este făcut din casete ce pot fi grupate în 8 coloane şi 13 rânduri. Mai mult ca sigur, el datează din anul 1628, purtând elemente stilistice ale Renascentismului târziu.Din inscripţii putem afla numele ilustre care au constibuit la construirea acestei biserici: în primul rând prinţul Bethlen Gábor, pastorul Felföldi Ferenc şi alte personalităţi importante: Mihálcz Pál şi István, Dok Mátyás, Finta Lőrinc, Biroga István şi Miklós, precum şi Pakó István.

Sanctuarul este despărţit de naos de un arc de triumf făcut din pietre mari, prevăzut cu un semicerc. Pe partea stângă a arcului de triumf se găseşte un amvon din piatră.

Biserica din Ghelinţa ascunde picturi valoroase, care datează din secolul al XIV-lea, precum şi secvenţele Legendei Sfântului Iacob, care se află în partea vestică a bisericii. Dedesubt se găsesc două picturi ale ciclului cristologic – Evadare în Egipt precum şi Infanticidul din Bethleem. Înspre nord, vizitatorii pot vedea două secvenţe, care reprezintă încoronarea Mariei, precum şi moartea sa. În partea superioară a peretelui nordic se văd secvenţele Legendei Sfântului Ladislău, iar dedesubt au fost pictate secvenţele din Passio. Secvenţa intitulată Învierea lui Isus Christos a fost aşezată în partea nordică. Peretele sudic este decorat cu compoziţia intitulată Ultima Judecată, înfăţişându-i pe Maria şi Ioan Botezătorul, iar între ei se află figura lui Isus judecând. În dreptul său se află imaginea paradisului, în timp ce partea dreaptă este ocupată de cea a infernului. Legenda Sfântei Ecaterina se află în partea de jos a acestui perete.
Specialiştii au adus la lumina zilei rămăşiţe ale unor picturi în partea externă a naosului, precum şi la nivelul pereţilor exteriori ai bisericii.

It is one of the most valuable religious monuments in Kovászna County that dates back to the 13th century. The Szent Imre church preserves Romanesque, Gothic, Baroque and Renaissance stylistic devices that date back to the 13th century. The simple building is surrounded by a stone wall reinforced with a tower, having entrances at northwest and southeast. The church has got three annexes: there is another rectangular building constructed in the foreground of the western and southern gates, whereas in the northern part a sacristy was attached to the sanctuary.

The western wall of the nave, which has a rectangular design, is reinforced by buttresses. Such a buttress is placed in the southwestern corner of the nave. The walls of the nave have four windows altogether.

The corners of the sanctuary that is formed of two rectangular sequences are decorated by slender buttresses. On the southern and southeastern walls there are stone-framed lancet windows.

Looking from the southern entrance of the nave, there is a small urn with holy water carved in the wall, and there is another one on the left side of the western gate. In front of the southern wall, eastward off the gate, there is a carved baptising basin, the two walls of which are decorated with two carved crosses. In the lower part of the northern and southern walls there are two small pointed compartments.

The ceiling of the nave, made in 1628, is covered with panels that are organised into 8 columns and 13 rows (there is a total of 103 panels). The panels are distributed on a surface of 125 square metres, and they present late Renaissance characteristics. Charts with inscriptions inform us that the ceiling was made and redecorated in several different periods: during Prince Bethlen Gábor`s reign, then during Mihálcz Pál and István, Dok Mátyás, Finta Lőrinc, Biroga István and Miklós, as well as Pakó István`s country deputies`provision.

The sanctuary is separated from the nave by a triumphal arch made of big blocks of stone. There is a stone pulpit attached to the northern side of the triumphal arch, the way leading to it starts from the sanctuary. The small tabernacle located in the second sequence of the northern wall of the sanctuary is supposed to be the work of a local craftsman.

The church of Gelence gives home to several valuable wall paintings dating back to the 14th century.
In the upper row of the western wall of the nave there is the sequence of the Legend of Saint Jacob in a faded condition. Under it visitors can see two paintings of the Christological cycle - the Escape to Egypt and The Infanticide in Bethlehem - , whereas the sequence presenting Mary’s coronation and death is located north off the door. In the upper part of the northern wall one can see the Legend of Szent László, under it there are the pictures of the Passio, the last scene of which –Christ’s Resurrection – was painted on the southern wall. The upper part of the southern wall is decorated with the composition named Doomsday, in the middle of which one can see Mary and John the Baptiser with Jesus sitting in judgment between the two. On his right there is the image of Paradise while the illustration of the Inferno was painted on the wall onto his left side. In the lower part of the wall one can see the Legend of Saint Catherine of Alexandria. But it is not only the inside of the church that hides so many valuable sequences of wall paintings. Specialists have opened up sequences of other wall paintings on the external walls of the nave as well as in the tympanum of the southern gate.