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This church is Romanesque in style (12th or 13th century) and was renovated during the Gothic period. Thus, on one side of the nave, there are semicircular arches and on the other, pointed arches. The bell tower dates from the 18th century. The church has a massed plan. The chevet is flat. The sacristy is attached to the chevet. The square bell tower, topped with an octagonal dome, is located on the south facade. On one side of the nave, there are bays. The portal opens under the bell tower. It is decorated with an ogee arch and a coat of arms.

The oldest parts of this church seem to date from the Middle Ages, but the building was greatly remodeled in the 16th century. The side chapels were added at this time, as was the opening of the large stained glass window of the choir. The steeple, restored in the 19th century, is covered with slate. Inside the church, two polychrome statues attract attention. One of the Virgin in terracotta, the other of Saint Barbara in stone, dating from the 17th and 18th centuries. A wooden Christ is also worth noting. The wooden stalls date from the 18th century, as does the altarpiece of the high altar (1755). The wrought iron communion railing dating from the 18th century is still in place. Its rocaille-style ornamentation is common at this time. Until 1911, the church was surrounded by its cemetery.

Of Romanesque origin, the church of Louvigny has undergone many transformations over time. Among other things, the altars and the altarpiece were donated in the 18th century by Mr. François Thébault, a wealthy donor born in Louvigny. A commemorative plaque was erected in his memory in the sacristy of the church after it was found at the end of the 19th century by Father Chartrain, then parish priest, on the roof of his presbytery, in place of a tile. It is likely that it was thus protected from the pillaging of the Revolution. The steeple dates from the 19th century. It replaced a campanile. It was also in the 19th century that the stained glass windows, the Stations of the Cross and the baptismal font were installed. Generally made of stone, these are very original, since decorated in the Napoleon III style, the period of their manufacture, they are made of cast iron and undoubtedly a fine example of the industrial production of this time. The portal, typically Romanesque, is preceded by two steps in which an eight-pointed star and a cross are drawn. This is perhaps a summary of the life of Christ, from the Star of the Nativity to the Crucifixion. Several elements classified as Historic Monuments have been restored over the last few years, thanks to subsidies from the State and the Department of Sarthe, as well as the generosity of subscribers to the Fondation du Patrimoine. Thus, the remarkable tabernacle of the high altar in gilded wood. Painted in faux marble in the 18th century, it is one of the largest tabernacles preserved in Sarthe. The painting located just above, also superbly restored, and attributed to François Mongendre (1644-1690), represents Saint Germain d’Auxerre meeting Saint Geneviève as a child.

The church is composed of a bell tower grafted onto the side, the ground floor of which is vaulted with ribs, three of the bases supporting the fall of the arches having no decoration, the fourth being sculpted with a small fox's head. The stained glass windows are from 1866 and 1934-1942, five presenting an element of the heritage of the commune associated with a scene from the life of a Saint venerated in the parish, such as Saint Mathurin. The old presbytery from 1704 with openings with debarked lintels is attached to the church.

The Chapitrel is the name given to the entrance gate. The period door is in the Renaissance style. This construction had several functions: It was reserved for catechumens who were not allowed to enter the church and served as a warehouse for farmers who sold at the market on Sunday mornings. The saddleback tower dates from 1545. It is 28 m high. It is square and has four levels. Each floor is separated by an external Roussard belt called a "larmier" which overhangs quite widely, preventing water from running off. At the top of the roof are two granite crosses, each topped with a copper weather vane representing a crowned dragon's head.

19th century Sainte-Madeleine Church, housing a painted panel (The Adoration of the Shepherds) from the 16th or 17th century classified as a Historic Monument

In the 13th century, a first church was built in the current Old Town, it was consecrated by Bishop Jean de Chanlay. The parish lordship, attached to the land and castle of Maleffre, belonged to the Paulmier du Bouillon house. Maleffre was a fortified castle, surrounded by moats. The parish owned several other fiefs such as Chevalerie and Bois Margot. The territory of Arçonnay extended to the river which constituted the boundary between the departments. The construction, by Abbot Drouin, of the current church in the hamlet of Saint-Blaise, was completed in 1848.

A first church was founded in 1070 by the Bishop of Le Mans, Guillaume de Passavant. The current building consists of a nave with two bays and an elongated choir narrower than the nave. The two aisles are unequal, the northern one being narrower than the southern one. A sacristy has been added to the east of the choir. The bell tower, almost square in plan, is located to the south of the choir, it is topped with a saddleback roof: it is the most authentic element of the whole, despite a very cemented coating. Three small bays with a pointed arch have been opened on the east side, two on the south side. The western facade, restored in the 19th century, has a semicircular portal resting on engaged columns with two Romanesque-style capitals. A tall semicircular window was opened late on the first level of the gable wall. The windows of the side façades are in pointed arches, their flamboyant network could date from the 16th century. The last bay of the choir is lit by a high semicircular window which dates, like the large façade window, from the 19th century. The interior of the church is covered with wooden barrel vaults whose decoration dates from the last century. The main altarpiece and the side altarpieces are of quality; the church has preserved its wooden pews. In 2002, the Sauvegarde de l’Art français granted a sum of €12,000 for the repair of the exterior plasterwork.