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The construction of the original church of Sorel dates back to the 10th century. In 1113, this church was destroyed during the siege of the fortress of Sorel by the troops of Henry VIII of England coming from Normandy. Its identical reconstruction was unfortunately halted by a fire in 1134. The current church was rebuilt starting in the 13th century, with the chevet completed in the 15th century, and the first two bays of the nave and the northern seigneurial chapel in the 16th century. The bell tower was built in the 17th century by blinding a window. The building is constructed of flint, lime, and white stone on a sandstone base. The upper part is made of Vernon stone. The tiled roof is supported by a beautiful rafter frame whose tie beams are decorated with chimera heads, also called "howling devils." In the choir, the 19th-century altar recalls medieval sculptures. An interesting collection of stained-glass windows dating from 1850. After extensive renovations, masses have been celebrated again since 2007.

The current church was almost entirely rebuilt in 1542 on Gothic foundations. The Gothic church was reportedly destroyed in 1424 by the English. According to legend, Saint Lubin, Bishop of Chartres, came to rest in this place, which housed a recluse inhabited by a monk. A chapel was built there towards the end of the 6th century.

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Built in the 15th century on the foundations of a chapel whose origins can be traced back to a papal bull from Pope Alexander in 1142, Saint Apollonia was worshipped there.

This brick and stone church, located near the castle, was built in two phases, from approximately 1500 to 1540. Construction periods: 4th quarter of the 15th century, first half of the 16th century

The Notre-Dame Priory, founded around 1128 by Rahier de Muzy, was dependent on Coulombs Abbey and housed a community of Benedictines. This community was apparently never very large, as Eudes Rigaud's repeated visits in the 13th century only recorded four monks. In 1255, the monks no longer lived together at the priory due to lack of space. By 1269, the buildings were in too poor condition to accommodate the archbishop. Adjoining the convent buildings, the choir of the parish church of Saint John the Baptist was used by the monks. This 12th-century church, built "in a single heap," underwent several embellishments in the 18th century, but on July 21, 1794, it was probably converted into a saltpeter works, along with the entire priory. The church reopened for worship on March 22, 1795. A campaign of renovations restored the buttresses of the west facade with bricks at the end of the 19th century. The bell tower, damaged in 1944 during the fighting on the Avre, was restored in 1959. The monument was closed for another period from 1939 to 1950. The bells were electrified in 1985. Heating was installed in 1990. A restoration project for the entire building was adopted by the municipality in 2003. The roofing work—repairing the roof box—and the complete restoration of the north facade—raising the apron of the openings by approximately 40 centimeters, repairing all the buttresses and old lime plaster—were completed in 2006. The Church of St. John the Baptist has been listed on the supplementary list of historic monuments since December 2005. A competition to select a master glassmaker was held in April 2009. The winning candidate, Coline Fabre, was entrusted with the task of creating The stained-glass windows throughout the building. Four bays were installed in the spring of 2010 and eight in the summer of 2014, so that all bays on the north, east, and south facades were fitted with stained-glass windows. Rehabilitation work on the east and west facades and the installation of the stained-glass windows on the west facade began on November 20, 2018, and was completed at the end of June 2019. The stained-glass windows were inaugurated on September 13, 2019. Since February 2021, the bells have once again rung daily at 12:00 p.m. and 7:00 p.m.

The Saint-Rémy church in Saint-Rémy-sur-Avre is dedicated to Saint Remi of Reims, Bishop of Reims who baptized Clovis in 496 in the Notre-Dame Cathedral of Reims. In the 12th century, it marked the border between the Duchy of Normandy and the French royal domain on which Saint-Rémy-sur-Avre depends. It is a flamboyant Gothic church from the 15th century, probably rebuilt since we have mention of its existence since the end of the 11th century.

The whole construction is homogeneous: in Vernon limestone, it is punctuated by buttresses using blocks of sandstone and grison in the lower part. The church is largely lit by the four bays with flamboyant tracery that have been pierced to the north and south. The building is covered with a rafter frame forming entirely paneled trusses, whose stencil decoration was taken up in the 19th century by painting companies from Dreux. But it is probably the countryside of the early 16th century that attracts attention. Indeed, on the west facade has been grafted a Renaissance portal, in soft limestone, consisting of two pilasters decorated with candelabras with capitals supporting an entablature, above the arched portal, finely chiseled with a floral scroll. The whole is surmounted by a niche with a canopy framed by two fish and two balusters, and crowned by a motif similar to a dormer window. This remarkable element from the first decade of the 16th century reflects the first introductions of the Renaissance style in religious architecture. We also think of the portal of the church of Pierres sur la vallée de l'Eure. The interior of the church reflects through its furnishings the large orders made from 1759 to renew the decor of rural parish churches. We note in particular the large monumental altarpiece of the choir, but also the work bench and especially the pulpit, in wood and plaster, installed in 1759, by implanting an access staircase in the rear wall. This set of furnishings accompanies the painted decors of the 19th century, whether it be the false-appliance of the walls or the stenciled decoration of the paneled vault. The work campaign that has just ended required two functional phases: the first was devoted to sanitation work, roofing of the nave and bell tower, restoration of the sculptures (west portal), and stained glass windows; the second focused on the exterior coatings, the pillars of the bell tower belfry, lighting, cleaning of the painted vault and the conservation treatment of the furniture. This major project led by chief architect Régis Martin was supported by the Sauvegarde de l’Art français with a donation of €6,000 in 2017.