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Placed under the patronage of Saint Hilaire, this parish was given by Gannelon de Montigny, lord of the place, to the abbey of Marmoutier around 1042. Its reconstruction probably dates from this period; it then became a priory. The church has a rectangular nave ending in a choir with a flat chevet. An examination of the masonry easily reveals two distinct periods of construction: the Romanesque period and the Renaissance. Built of flint rubble with rendering, the western part of the building appears to date from the 11th or 12th century. A limestone cornice supported by rather crude corbels underlines the base of the roof. To the south, two narrow Romanesque windows flared inwards light the nave. To the north, the bays were later reworked and enlarged. On this same side, a Romanesque doorway was walled up; It allowed the church to connect with a building whose traces of detachment remain. The bell tower was built to the north of the Romanesque nave, extending the western façade. The absence of a connection between the east and west walls of the bell tower and the north wall of the nave clearly indicates that it is an entirely later construction. However, its crowning is much later, as evidenced by its cornice, whose molding is in the classical style. Flanked by obliquely angled buttresses, it is covered with a saddleback roof. The eastern half of the church appears to be an extension built during the Renaissance period. Its ogee-shaped cornice and the decoration of the eastern gable, as well as the moldings of the buttress bands, attest to this dating. A vast rectangular choir then appears to have replaced a semicircular Romanesque apse; the eastern gable and the southern and northern façades were then pierced with networked bays. In the lower part of the north façade, projecting ashlars appear to have supported the roof of a lean-to building. To the south, a sacristy was built in the 19th century. Inside, the entire building is covered with a paneled vault with exposed tie beams and kingposts. The 18th-century high altar is surmounted by an Assumption of the Virgin inspired by Murillo's. For the restoration of the roofs and façades, the Sauvegarde de l'Art Français (French National Art Protection Agency) awarded a grant of €30,490 in 2001.

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Building from the 12th, 15th and 17th centuries, remarkable from a distance with its bell tower whose spire soars 52 m high. The vault of the vast nave is paneled in Norwegian fir. The Renaissance entrance door is topped with a double pediment. The church has 17th century furniture of Breton inspiration, the sculptures of which are the work of the Breton Charles Roscouët. The baptismal font and the furniture of the sacristy are also worthy of interest. Relics of Saint-Constance, given to the church of Yèvres in 1678 by Lord Cyprien Besnard de Rezey, Advisor to the King and Intendant of Finances, with the approval of Mgr Ferdinand de Neufville de Villeroy, Bishop of Chartres, whose portrait is prominently placed in the nave of the church. The visit ends with the "chapier", a piece of furniture with semi-circular drawers, which contains, "flat", an exceptional collection of priestly vestments and accessories. Recent work on the south porch has revealed exterior fonts and attractive moldings on the pillars.

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The 12th century church of Saint Jean-Baptiste de Courtalain, already repaired in 1592, was rebuilt in 1809, increased by an aisle in 1838, then by a remarkable porch bell tower topped with a twelve meter spire. height, thanks to the generosity of the Montmorency family, owner of the castle. It is to Guillaume Davaugour and Perette de Baïf, his wife, that we attribute the erection of the Courtalain chapel into a parish church; The church is located in the immediate perimeter of the castle. The entire building is partly covered with flat tiles for the roof of the nave, the bell tower, the staircase turret; the three cut sides of the apse and the lower north side are covered in natural slate. Inside the nave is a Mutin Cavaillé Coll organ dating from 1936. It contains several interesting paintings.

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The parish church dedicated to Saint Anne, perhaps more anciently to the Virgin, depended on the diocese of Chartres. This former possession of Ganelon, treasurer of Saint-Martin de Tours in the 11th century, was undoubtedly part of the important donation made by his descendants Eudes and Rahier de Montigny for the benefit of the chapter of Chartres Cathedral around 1160. This Romanesque building, 35 m long, with a single nave and flat apse, reinforced with buttresses and lit by round-arched windows splayed internally and simply chamfered towards the outside, was never vaulted in stone: it is covered with 'a paneled vault. The masonry is entirely made of Grison stone, including the frames, giving an austere appearance specific to this region of Perche. We enter to the west through a semi-circular door with a double arch into the lower room of a bell tower-porch established later inside the original nave. The upper part of this bell tower was pierced with semi-circular bays. The eastern one was obstructed during the installation of the high roof of the nave and the bells were placed above in a belfry under a frame. The interior of the building was in fact covered as a whole by a paneled vault with molded beams and punches from the 16th century. In the 17th century, the entire back of the choir was decorated with a large altarpiece with columns and pilasters, paintings and sculptures, of great decorative effect. A curious set of carpentry from the same period presents above a confessional a paneled pulpit surmounted by a large sounding board. Note in the furniture a carved Gothic canopy from the beginning of the Renaissance and on the glory beam a carved wooden calvary from the same period. The 19th century. added a gallery, repainted the vault and provided the windows with stained glass.

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The robust grison pillars of the church of Chapelle-Guillaume reveal its distant roots in the beautiful country of Perche-Gouët, and even if it is often difficult to fix with precision the date of construction of a church, at least It seems obvious to her that she has been watching over the small village that surrounds her for many centuries – probably not far from ten… It owes her name to Guillaume Gouët. In any case, the last two hundred years have given it many alterations and restorations. Thus the bell tower that a hurricane had brought down was rebuilt in 1827, while the capital which adorned the entrance disappeared a few decades later, serving as a narthex, or more simply as a “caquetoire”. Everything here announces the joy of welcome and the simple peace that a place of prayer requires. The interior is distinguished by the great care taken in maintaining the warm furnishings: painted vault, gallery, benches, paneling, statues and choir woodwork. The altarpiece is illustrated by a pretty painting of the Annunciation. A great harmony emerges from the whole and invites prayer. There was also not far from there near the church a Notre-Dame priory dependent on Marmoutier, where Saint Martin resided.

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