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Mentioned as early as the 13th century as a dependency of the abbey of Saint-Père, near Chartres, the Notre-Dame des Étilleux church comprises three disparate parts, the most surprising of which is the four-level bell tower, topped by a belfry covered in slate and a lanternon. Protestants are said to have held a sermon there in 1577. Since its foundation, the church has undergone many transformations, notably the rather recent decoration of the choir, an intertwining of fair-weather cumulus clouds in stucco that allows one to guess the original stone wall and a pointed arch opening. A beautiful flamboyant door opens to the west onto a parvis renovated in 1995, and the eastern part, on the sacristy side, has retained its row of gargoyles adorning the choir's slopes. This church is renowned for the very beautiful statue it houses: a Virgin and Child whose pronounced hip sway, facial expression, and the drapery of the mantle are characteristic of a 14th-century representation.

The construction of the church of Coudray en Perche dates back to the 12th century, but the 16th century saw its enlargement by the addition of a higher choir with a stone vault. The interior is distinguished by the nave's inverted ship-hull structure with its painted ceiling and four equally painted beautiful beams. Also noteworthy are the stone baptismal fonts with their scaly wooden lid, which bears a sculpted angel's head. All the windows were remodeled as was often the custom in the Renaissance. In the 19th century, a gallery was built for the children of the sisters' school. Above, admire the stained glass window "Let the little children come to me." The opening of the chancel window led to the modification of the main altarpiece, due to the generosity of the Prince of Henin, owner of the Château de Montgraham. The pretty stained glass window, which thus descends into the middle of the altarpiece, relates to the story of the church's patron saint: it is a depiction of Jesus handing the keys to Saint Peter.

The church of Saint-Georges de Souancé is a vast edifice 34 m long. Built in the 16th century, perhaps on an older edifice, it was remodelled several times in the 19th century: notably in 1862 with the addition of a sacristy and a small chapel, while in 1894 the openings in the nave were enlarged and the choir vault was redone. The plan of the church consists of a nave of four bays, a choir bay of the same width, and a pentagonal apse. The bell tower, of square plan, is connected by a narrow passage to the nave. The sacristy, built in the 19th century, communicates with the choir bay; finally, the adjoining chapel opens onto the right part of the apse. The exterior silhouette of the edifice, situated on a steep slope, is dominated by the pointed gable of the apse. The bell tower, 21 m high, is topped by a four-sided roof. The first two levels could date from the 13th century, as suggested by the thickness of its walls, the arrangement of the slightly projecting buttresses, the narrow arched windows, long since blocked up. A strongly projecting band externally marks the separation of these two levels. Only the last storey, which houses the bells, is pierced by high windows; it is built slightly set back from the base of the tower, the setback being highlighted by a stone chamfer. The gable of the west facade, slightly less high than that of the choir, has, like it, a very pointed profile. It is finished with a rondel and crochets. The flamboyant-style portal is of a fairly common design: the depressed arch, flanked by two pilasters, is surmounted by a volute with acanthus leaves. A pointed arch window with two lancets opens in the gable wall, in the same axis as the portal. Two thick corner buttresses were probably built in the 16th century. The Count of Souancé states that the windows opened in the side walls last century replaced older semi-circular windows. Inside the edifice, the nave is covered with a wooden ceiling, referred to as "bardeaux" at the beginning of the century, while the 16th-century choir is vaulted with ogival cross vaults. The study of the stained glass windows and the coats of arms of the Le Breton, lords of Vilandry, the Souancé and Montdoucet, which appear on the keystones of the first two bays of the choir, seem to establish that the construction, begun around 1520, was completed before 1542. The stained glass windows of the choir tell the life of Saint George, patron saint of the church. After being subjected to poorly documented dismantling, they were reassembled in disorder during the 19th century. However, classified in 1907, they were re-leaded in 1923, a restoration that justified the award in 1926 of a prize of 5,000 F granted by the Académie des Inscriptions et Belles-Lettres from the Pellechot legacy. The Count of Souancé, a correspondent of this Academy, requested and obtained, in 1930, the inscription of the choir and bell tower of the church in the supplementary inventory, then, in 1935, the protection of the facade and of the wooden ceiling covering the nave. This protection was justified by the desire to prevent ill-conceived restorations from compromising the work that had just been completed by the architect of the Historical Monuments, Maunoury. The Count of Souancé recalled the unfortunate interventions that had previously been carried out in the edifice: widening of the nave windows, opening of reinforced concrete dormer windows in the tower roof, and, even more serious, the removal of the wall paintings uncovered in 1874, during the change of the altar. La Sauvegarde de l'Art français granted in 2002 a contribution of €7,000 for the sanitation works of the edifice and for the restoration of the bell tower. These works had been deferred for six years.

Under the Ancien Régime, the lordship of Béthonvilliers, located in Perche Gouët, depended on the lord of Authon. The parish belonged to the diocese of Chartres. The Saint-Martin church is built on a slight elevation, with the cemetery to the north. The very simple building consists of a single nave ending in a semi-circular apse. To the south stand a chapel with an almost square plan and a sacristy that communicates with the choir. The nave probably dates from the 16th century, the apse, rebuilt several times, dates from 1873-1875. The chapel predates the end of the 17th century, and the sacristy dates from the end of the 18th or the beginning of the 19th century; it seems that on the north side there was another chapel whose layout was symmetrical to that of the current sacristy. The west facade is devoid of any ornamentation: it is supported by two buttresses and surmounted by a bell tower, both late; the pointed arch entrance door is also from the 19th century. The north side facade bears the traces of the numerous modifications that took place over three centuries. On the wall of the first bay, we can still see the outline of the old door, arched and molded, opening onto the cemetery. On the choir wall, we can guess the frame of an old blocked-up door that opened onto the vanished chapel. In the upper part of the wall appears the outline of the oculus which was sealed up, when the windows of the new chevet were opened: it has its counterpart to the south, both obliquely illuminating the altar. This north facade is pierced by unequal openings, two of them, in pointed arch, have a tracery that dates from the work of the late 19th century. In the central bay opens a narrower window, undoubtedly old. The openings on the south facade correspond to those on the north facade and seem to be of the same date. The chapel is lit by a round-arched window on the east side. Internally, the nave is covered with paneling, in poor condition. The walls bear old plasterwork which has been covered with several layers of whitewash; traces of polychromy are noted on the intrados of the main arch and in several places in the nave. A Christ in Glory stands at the entrance to the choir. The Sauvegarde de l’Art français granted, for the 2003 financial year, a sum of €7,000 for significant waterproofing work: masonry, carpentry, roofing.

The building's foundations date back to the 12th century, when it was dependent on the abbey of Thiron-Gardais. The interior houses a remarkable set of three Baroque altarpieces from the 17th century (around 1650), recently restored.

This ancient fortified castle dominates the Huisne Valley at 360° with its imposing keep. The building, with its troubled history, has undergone numerous modifications in its architecture and functions. A visit is essential to understand the complexity of its history and to observe the architectural evolutions.

The Church of Saint-Pierre, under the Ancien Régime, part of the deanery of Bellême, in the diocese of Sées, is located in the heart of the village of Saint-Pierre-la-Bruyère, in the Perche region. This building features a relatively high nave, surmounted by a slate bell tower, extending into a square-plan choir, much lower, flanked by a rectangular chapel to the south. The façade is supported by four powerful buttresses that appear to date from the late Middle Ages. It features a basket-handle lintel entrance door, dating from the late Gothic period. This door replaced a Romanesque doorway whose semicircular arch appears above the Gothic opening. It is surmounted by a pointed window. The northern drip wall is flanked, where it meets the western façade, by a brick staircase turret leading to the attic. The nave was built in the Romanesque period, as evidenced by the small round-arched windows in the upper part of the north drip wall. The bell tower is supported by four posts set within the nave's volume behind the façade wall. The three bays delimited by these posts are covered by a plastered wooden vault, lower than the nave vault, built in the 18th century. The triumphal arch is quite small. It is flanked by two finely crafted stone altarpieces. The choir is adorned with a large stone altarpiece with three sides delimited by four columns, surmounted by a richly decorated cornice crowned with fire pots. The high altar and side altars, in the same style, were built after the episcopal visit of 1706. They are a representative example of the quality of the renovations carried out in Percheron churches in the 17th and 18th centuries. A seigneurial chapel, built in the late 15th or early 16th centuries to the south of the choir, was converted into a sacristy between 1701 and 1706, to satisfy the observations made during the episcopal visitations. The arch opening onto the choir was walled up for this purpose. Aside from the altarpieces, the church contains few furnishings: an 18th-century stone Virgin Mary and a 16th-century baptismal font. The Sauvegarde de l'Art Français (French Art Protection Agency) granted €4,000 in grants in 2005 for the restoration of the roof.

The Saint-Hilaire church is of Romanesque origin and was built in the 11th century by the monks of Saint-Gratien de Tours. It was remodeled in the 16th century, and disfigured in the 19th.