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The oldest document mentioning the Church of Saint-Martin in Fresnay-le-Comte is the charter of Renaud de Mouçon, Bishop of Chartres, confirming the possessions of the Abbey of Marmoutier, near Tours. This charter dates only from the last years of the 12th century, but the church's foundation may have already existed at that time. The building comprises two parts of roughly equal size and from different periods. The older part, roughly corresponding to the nave, is of a rather undefined style. The west portal, with its pointed arch devoid of any decoration, may date back to the 12th or 13th century, as may the first window of the nave, on the right. In the north wall, there is a small, walled-up doorway, whose lintel, adorned with an accolade, is no earlier than the 15th century, but the relieving arch above it appears older, perhaps from the 12th century. Half of the church, including almost the entire chancel, is from a more recent period and easily recognizable. The polygonal apse and the windows with their flamboyant tracery of late design indicate the very end of the 15th century. An inscription on one of the chancel's tie beams gives a precise date: In the year 1529, this chancel was completely rebuilt. The statue of the Virgin Mary was baptized during the Mass of October 30, 2021, by Father Pierre Paul. This statue, moved from the Chapel of the Three Marys in Mignières, was restored by Mr. Martial Moulin, a sculptor from Chartres.

According to tradition, the church choir covers the remains of an older building, possibly dating back to the 6th century, which was built to house the saint's body. According to current knowledge, the commune of Saint-Piat (Sanctus Piatus in Latin) officially appeared in 1087, mentioned in a charter of the Nottonville Priory (Eure-et-Loir), on which it depended. The current building was rebuilt during the time of Francis I, as suggested by the date 1535 engraved on two buttresses of the apse and the date 1542 engraved on a piece of wood from the vault. This is according to a study by the SAEL (Eure-et-Loir Archaeological Society). The three-sided apses, the dripstone towers (horizontal members projecting from a wall), and the sculpted roof structures are a testament to the importance of the reconstructions carried out in the department during the 16th century. The church of Saint-Piat is one of them. While the church has not been officially recognized, it nevertheless contains objects that have attracted attention both for their antiquity and quality, but not always for good reason. Their artistic value, far from attracting only religious or aesthetic interest, has also aroused a covetousness that, unfortunately, remains for some of them. Fortunately, those still in place are carefully cared for and offer the curious a story to discover, a beauty to slowly ponder as they progress toward the choir.

Before 528, the village of Saint-Prest was called Saint-Jean-sur-Eure. At that time, the Bishop of Chartres, Ethère, had a building built adjoining the southern flank of the parish church, including a "martyrium" to house the remains of holy martyrs (the legend of Saint-Prest), which were placed in ten sarcophagi. The most honored relics were those of a certain Priscus; following numerous miracles, the parish took the name of Saint-Prest. The current church's crypt is the apse of the 9th-century Carolingian church, which replaced a 6th-century sanctuary. Access to the 12th-century nave, on the west side, is through a beautiful Romanesque portal, carved from beautiful limestone, surmounted by a triple saw-tooth archivolt and framed by two small columns with capitals. On the right, a face would be that of Eve, and on the left would appear the tempting serpent.

The church, located in the heart of the village, is originally a Romanesque building composed of a nave from the 11th and 12th centuries, ending with a cul-de-four apse in blocking and pierced by three Romanesque bays with splays. Today, the central bay is hidden. An imposing western massif precedes the nave, it has been modified over the centuries, in particular in the second half of the 18th century, and it has a squat bell tower. The entire tower is treated in local limestone as well as the buttresses, the frame of the portal and the bays. The church was enlarged at the beginning of the 16th century by the addition of a chapel to the south and by the addition, a little later in the century, of an aisle. Its dimensions are approximately 30 m long and 18 m wide. The facade is very sober; It is pierced by a door with a broken profile whose external arch is highlighted by a dripstone. An oculus was opened in the upper part of the gable wall. The church underwent major work between 1880 and 1925 approximately. In 1879-1880, the sacristy was completely redone, then in 1912 the entire roof was redone in slate with the exception of the apse. The interior porch is the most carefully designed element of this architecture. The semicircular portal, giving direct access to the nave, is enhanced by a molded torus with a diamond point pattern falling on small columns. This porch is covered with a ribbed vault which falls on the four corner columns with foliate capitals. The nave and aisle are covered with a paneled framework which suffers from disorders. The vaults of the choir and the apse were restored over the centuries and their stained glass windows were made during a campaign between 1919 and 1924. The chapel of the Virgin and the corbels were decorated with paint at the end of the 19th century. The altar and the canopy of the Virgin are in the neo-Gothic style. Two notable elements of the old statuary remain: a quality statue of the Virgin, probably from the 16th or 17th century and a small Saint Vincent of local manufacture. The condition of the framework and the roof of the choir required work, as did all the timbers which had to be treated. To this end, the Sauvegarde de l’Art français made a contribution of €5,000 in 2011.

The Saint-Germain de Morancez church could date from the 10th century. Its cut stone facade is punctuated by four buttresses framing a portal. This is composed of three concentric arches resting on engaged columns, decorated with capitals. The zigzag decoration of the arches confirms a dating before the 12th century. The occulus surmounting the porch illuminates a semi-circular vaulted nave. This was enlarged with an aisle built much later and where there is an altar dedicated to the Virgin. The furniture remains simple but not without interest with its benches enclosed in painted wood. However, it is worth mentioning a sculpted pulpit from the 18th century. In 1707, the prior-parish priest of Morancez was Nicolas Courvoisier, religious of the Saint-Jean-en-Vallée abbey. A poet, he is notably the author of a Latin ode addressed to the people of Chartres on the death of Paul de Godet des Marais1. He died on May 14, 1742 in Morancez and was buried in the church. (his tombstone remains to be identified.) Although Morancez was a modest parish, in 1851 it benefited from a prestigious gift from Jérôme Bonaparte, brother of Napoleon I, governor of Les Invalides, then in residence at the Château de Gourdez. He offered the church a painting, Moses makes water flow from the rock, painted by Giovanni Francesco Romanelli between 1657 and 1660. This Italian artist had been called to decorate the cabinet called "At the water's edge" of the apartment of Queen Anne of Austria at the Louvre. He created a decor, now dismembered, composed of a set of six paintings devoted to the story of Moses, including the work, classified as a Historic Monument, preserved in our church. Another interesting work which could be attributed to the school of Philippe de Champaigne represents Jesus among the doctors. These two paintings benefited from a restoration in 1998

Bench, greenery, river and shade for a bite to eat or a break.

Very beautiful church and the public toilets next to it are perfect, even for filling water bottles too large for the classic sinks.

Composed of a Romanesque nave with flat buttresses placed symmetrically on each side (typical of the end of the 11th century or the first half of the 12th century), it was completely remodeled in the 16th century and the end of the 20th century. The bays of the nave are from the 15th century, in flamboyant Gothic style, as is the rose window. The span of the bell tower and the choir, with ribbed vaults, date from the end of the 15th or beginning of the 16th century. As early as the 16th century, the bell tower had a clock, quite rare and expensive for the time. The pillars of the central bay are richly molded and crowned with thin bands of foliage serving as capitals. The windows are decorated with flamboyant tracery of varied designs. The Romanesque portal was also remodeled in the 16th century. The powerful central bell tower with buttresses [formerly had three bells named PIC DAN JON. There will only be one left after the Revolution, the other two having been melted down to make cannons and ammunition.