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The name of Moriers appears as early as the Romanesque period with various variants: Morioecium, Moreherium, Moereriae. Placed under the invocation of Notre-Dame, the current church has retained its 13th-century nave extended by a flat-ended apse. In the 16th century, a collateral with three gables was built to the south in the style of the church of Alluyes. A timber-framed bell tower crowns the eastern part of the roof. The vault was designed in a basket-handle shape in the 19th century; it forms a homogeneous ensemble with the building. It integrates perfectly with the painted tie beams of the 18th-century timber frame with rafters forming trusses. Some painted panels of the panelled vault still remain under the roof space, now 90% destroyed. Two of the capitals in the side aisle are decorated with human heads. Charles Roscoët, a Breton sculptor, and Louis Duict, a carpenter, worked twice in Moriers: a first time (contract of July 10, 1666) for a high altar adorned with statues of Saint Peter and Saint Paul, a second time for a disappeared altarpiece (contract of September 17, 1685). For the restoration of the last two bays of the vault, the Sauvegarde de l’Art français granted a subsidy of €12,000 in 2002.

The parish church of Baignolet, under the invocation of Saint Sebastian, was a simple priory dependent on the Benedictine abbey of Saint-Florentin de Bonneval, in the diocese of Chartres. The foundation of this priory is said to date back before 870. For their protection, the monks were under the authority of the vidame of Chartres. From the Romanesque period, the three-bay nave, the choir area, and the semi-circular apse vaulted in a cul-de-four (11th-12th centuries) remain. This part of the building has retained its small rubble masonry. The numerous endowments the priory received in the 13th century made it very prosperous and were likely the origin of a new construction phase; it is from this period, it seems, that the imposing, particularly tall bell tower dates, built in dressed stone, supported by massive corner buttresses. It was likely rebuilt on an earlier foundation. In the 15th century, a three-bay side aisle was added to the nave on the north side. Forming a sequence of three gables externally, this side aisle in dressed stone harmonizes with the bell tower. Also in the 15th century, a large flamboyant tracery window with two mullions was pierced in the east wall of the bell tower, in the same style as the windows of the side aisle. The 19th-century work consisted of building a three-sided apse within the volume of the Romanesque choir. The dividing wall between the third bay of the side aisle and the base of the bell tower was then demolished, opening up the perspective of the side aisle, as evidenced by a plan by the departmental surveyor dated July 25, 1852. This same report, which mentions the ribbed vaults of the aisle and the choir area, states, "the vaults of the choir and those of the low nave are in rubble masonry, they are decorated with diagonal ribs and ogives in 'pierre de caille' stone"; it specifies that the nave was then covered with an "oak paneling"; it is currently covered by a brick vault plastered over. The gable wall of the facade also bears the trace of the former roof slope, which was redone at that time. The facade of the church is particularly striking: the door is surmounted by four rows of torus moldings in the center; it is flanked by two powerful buttresses that support the gable wall and between which is a rose window whose design appears late. For the repair of the 'pierre de caille' stone facings of the south and west facades of the bell tower, the renovation of the roof structure and covering of the choir and the north chapel, the Sauvegarde de l’Art Français granted aid of 100,000 F in 1994 to this unprotected church.

It was at the request of the parishioners of Orgères that the decision was made to demolish the old church. Typically, this type of partial or total destruction comes from the religious hierarchy. The current church was rebuilt at the end of the 19th century. The reconstruction is quite successful, judging by the choice of materials and the proportions of the building. The stained-glass windows created by the master glazier Loire are perfectly integrated into this new ensemble.

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The Saint-André church burned down in the middle of the 19th century. The priest, forced to celebrate mass in a barn, opened a subscription in 1864, the church was rebuilt in 1865, according to the original plan, plus a transept. Bell tower-porch.

Saint-Pierre-et-Saint-Paul Church is a Romanesque building that underwent some modifications following the partial destruction of the village during the war of 1870. The oriented nave ends with a semi-circular apse and adjoins, to the north, a side aisle. Access is located in the southwest part of the nave, protected by a long canopy. A sacristy was built outside the work and communicates directly, to the south, with the apse. The aisle opens onto the nave by two large arcades. At the entrance to the choir, stand two columns with primitive capitals intended to receive an arch that was probably never built. The nave and the choir are covered with a paneled vault. Two pointed arch bays light the nave to the south. The windows of the apse and the aisle are semicircular. The west gable also includes a semicircular bay. On this side of the church, the arch of the old portal, now walled up, is still visible. An oculus has been pierced in its upper part. The roof is made of slate, as is the bell tower, erected on the western part of the roof. Inside, the decor is especially remarkable for the wall paintings from the 12th and 13th centuries that were discovered in 1939, behind the altarpiece of the sanctuary, by Father Moriceau, the parish priest. Some of them are illegible, others have been perfectly identified. These are the scenes depicting the Descent from the Cross, the Holy Women at the Tomb, the Baptism of Christ, and the Meal at Herod's. Like those in the church of Lutz-en-Dunois and the chapel of Yron in Cloyes, these wall paintings are characteristic of the artistic creation of the upper Loir Valley in the Romanesque period. For the restoration of the plaster and the renovation of the south facade of the church and the porch, the Sauvegarde de l’Art français granted a subsidy of 35,000 F in 1998.

Porte de Boisville Its ogival portal opens into a thick quadrangular massif where there was a room for operating the portcullis. We can still see the groove in the thickness of the walls. On the left and right two small funnel-shaped spaces allowed the defenders to observe and repel the enemies who appeared on the bridge. The gate was topped by a building serving as a guardhouse which was demolished in 1761. The guarding of these doors and their keys was in the troubled times of the Hundred Years' War the subject of concern for the inhabitants and also a source of quarrels and trials between the city and the abbey. This gate is preceded by a bridge of 5 stone arches, the one adjoining the gate was built in 1774 and replaced a drawbridge which defended the entrance.

Bonneval, nicknamed the little Venice of Beauce