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Church of Saint-Pierre. Auvers, a large village located 8 kilometers from Sablé and the Abbey of Solesmes, is mentioned as early as the 11th century as a priory dependent on the Abbey of La Couture in Mans. The texts seem to establish that its foundation was favored by Guy de Laval and later by his son, Hamon. The original chapel was replaced in the 12th century by a church consecrated by Guillaume Passavent, Bishop of Le Mans, which allows us to date its construction between 1154 and 1187. The priory, after a period of relative prosperity in the 13th century, no longer housed a prior from the 15th century onward. The church served as the parish church, while the priory under its control was transformed and enlarged: part of the 17th-century dwelling still survives in the extension of the south arm of the transept. From the 12th-century church Only the nave remains, as the transept and choir were rebuilt in 1866. The overall silhouette of the building is strongly marked by the contrast between the modest volume of the old nave and the substantial eastern block. The plan is that of a Latin cross with a single nave and transept. The 19th-century alterations consisted of building this transept on the site of the two former chapels of Saint Anne and Saint Michael, creating two apsidal chapels opening onto the arms of this transept, and rebuilding the choir and apse. As a reminder, the chapel of Saint Anne served as a burial place for the lords of Le Plessis, and that of Saint Michael for the lords of La Panne. The bell tower of the old building has been preserved to the north, as has the chapel of Saint Peter to the south, which, attached to the priory, was reserved for religious orders. In plan, the base of the bell tower and the chapel of Saint Peter form, with the new transept, a sort of double transept. The western facade is adorned with a portal that dates back to the early 19th century, surmounted by a window that is likely contemporary. The nave is relatively narrow and elongated, its masonry constructed of small, cubic rubble stones, with roussard sandstone quoins. It is lit to the south by three semicircular bays and two to the north, which were modified in the 19th century. Some of the upper Romanesque openings, which were blocked, are still recognizable on the exterior of the north wall. It is covered with a paneled vault with exposed tie beams. The base of the bell tower has a ribbed vault, with a rather heavy profile. The interest of this building lies in the large collection of mural paintings dating from the 16th century that cover the walls of the nave. These paintings were partially discovered as early as 1903 and the painter Yperman was then commissioned to make copies for the Museum of Comparative Sculpture. In 1948, they were the subject of a classification order, then, in 1973, a study by the Champs-sur-Marne Laboratory. Several cycles can be recognized, notably: on the south wall, the Nativity and the Flight into Egypt, as well as the life of Saint Martin; on the north wall, the Last Judgment and the Sacrifice of Abraham, as well as Saint James the Greater and the legend of Saint Hubert. They also feature numerous miracle-working saints: Saint Europa, who cured dropsy, Saint Apollonia for toothaches, Saint Avertinus of Tours, for headaches, Saint Generated, the object of a popular cult in the region. Some forty years ago, Saint Opportune, Saint Julian of Brioude, Saint Mammès, the "Tale of the Three Dead and the Three Living," and numerous other scenes were still being identified. The poor condition of the framework and roofing led to deterioration of the building's walls, particularly those of the nave: the Sauvegarde de l'Art Français (French Art Protection Agency) awarded a grant of 60,000 francs for this work in 1997.

The Church of Our Lady of Sablé-sur-Sarthe is believed to have been built in the 15th century. Extensively restored over the centuries, it now boasts a late 18th-century neo-Gothic style, which has helped to highlight its medieval architecture. During the third quarter of the 17th century, the church's high altar was restored, and at the end of the first quarter of the 18th century, three new bells were cast by workshops in Le Mans. Finally, in the mid-18th century, the bell tower was rebuilt, as we can still see it today.

The nave and bell tower were built in the 12th century. The choir and its ribbed vault decorated with painted sculptures were built in the following century, while the south chapel dates from the 16th century. The church underwent extensive renovations in the 19th century, when the nave and transept were rebuilt. A fire struck the church in 1900, leading to a further reconstruction of the nave, transept, sacristy, and the upper part of the bell tower. The choir of the building has been listed as a historic monument since December 9, 1926.

Notre-Dame-du-Pé shared its history with Anjou. Today, it is part of the Angevin Maine. In the Middle Ages, the parish was part of the Angevin seneschalship of La Flèche. Under the Ancien Régime, the commune was attached to the elected territory of La Flèche. During the French Revolution, the commune, like all those in the seneschalship of La Flèche, was attached to the new department of Sarthe. In 1801, during the Concordat, the parish was separated from the Diocese of Angers and transferred to that of Le Mans.

The work of an artist

At the beginning of the 11th century it was a Benedictine abbey. It is worth visiting, but also crossing the river to admire it from its elevated position.

This Gothic mansion was started in earnest in 1490. It then gave up its military function and, like many other buildings of its type in the region, it became a manor house in the new style of Louis XII.

Built in the 13th century, the Manoir de la Cour is one of the rare examples of a civil building from this period that is still well preserved. It has been restored and now houses a permanent exhibition on the history of the building in the Middle Ages.