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The first mention of the existence of the Church of Saint-Martin de Nonancourt is a 12th-century charter, but the original building probably dates back to the 7th or 8th century. The bell tower that now occupies the middle of the façade dates from the reconstructions of 1204. During the Hundred Years' War, the church was largely destroyed, like many buildings in the region. The side aisles, nave, and choir were rebuilt in the 16th century. The Chapel of the Virgin, also known as the Chapel of the Rosary, was also added. The Church of Saint-Martin contains numerous works of art, some of which are listed: neo-Gothic and Renaissance furnishings, including the centerpiece, the pulpit, a veritable wooden lacework; a variety of statuary, a 16th-century organ case and finally an enigmatic fresco discovered during recent works in 2001. The stained-glass windows of the church constitute a truly remarkable collection, both in terms of their number (26 in total) and their quality. The lower windows of the nave are the oldest pieces, dating from the 1500s, while the upper windows date from the 1520s and 1530s.

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The existence of the parish of Droisy, dedicated to Saint Martin, is attested from the earliest days of the conversion of the Gauls. In the 10th century, the Counts of Chartres and Blois donated this church to the Abbey of Saint-Lomer de Blois, which preserved it until the French Revolution. Rectangular in plan, the building was built of flint in the 13th century. From this period, the western doorway, with its pointed arch and double row of beveled keystones, the two arched and beveled windows located to the north of the nave, and the large pointed bay window of the flat chevet, whose tracery has disappeared, still survive. The inverted keel vault dates from 1656. In 1785, the south wall of the nave was partially rebuilt in flint blocks with quoins and arched brick windows. During the same restoration campaign, the quadrangular bell tower with an octagonal spire, which surmounts the roof to the west of the nave, was rebuilt. A porch precedes the portal. The church retains some interesting furnishings. The high altar is particularly noteworthy. It was probably made in 1765 by Ildevert Canteloup, a master carpenter from Saint-Germain-sur-Avre. Columns with Corinthian capitals frame a painting illustrating the theme of the "charity of Saint Martin." The two side altars, arranged slightly obliquely, are of the same style. The northern one is dedicated to the Virgin Mary, and the southern one to Saint Sebastian. The communion table and the woodwork separating the choir from the sacristy were also executed in the 18th century. The seigneurial pew of Charles du Buc-Richard dates from the 17th century. A wealth of statuary completes this ensemble. Some decorative fresco motifs remain. For the roof repair work, the Sauvegarde de l'Art Français (French Art Protection Agency) awarded a grant of 17,000 francs in 1997.

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The current commune of Buis-sur-Damville was created in 1972 from the merger of the three communes of Boissy-sur-Damville, Créton, and Morainville-sur-Damville. The Notre-Dame de Créton church stands in the middle of the cemetery, its western facade opening onto a street in the hamlet. Of Romanesque origin, it was part of the Évreux chapter and was almost completely rebuilt in the early 16th century, as evidenced by the 1512 inscription engraved on the south wall of the choir. It forms a rectangular, flat chevet measuring 25 m by 8 m, to which a north aisle was added during the reconstruction. It is covered with an asymmetrical flat-tile roof, topped to the west by a square-based framed bell tower covered with slate. From the original construction, some flat buttress bases and a full buttress in grison on the south side of the nave remain. The entire building features a masonry of flint rubble irregularly interspersed with grison mortar, laid with a lime and sand mortar. The west facade, made of the same material, is attractive with its grison decoration and its molded stone portal, framed by probably more recent buttresses. Two semicircular windows open in the facade wall, one in the upper part, offset from the portal, the other opposite the north aisle. The chevet retains traces of a large pointed arch opening, probably blocked during the installation of the altarpiece. In the 19th century, four brick dormers were added to the north, and the openings in the south wall were enlarged and decorated with neo-Gothic stone tracery. The interior nave was originally covered with a paneled vault, which was replaced by a plaster vault at an unknown date. The furnishings form a cohesive ensemble, with the pulpit, the choir enclosure, and the wooden pews. The painted altarpiece above the main altar depicts the Assumption of the Virgin. Several statues are of particular interest, including a 15th-century Virgin and Child, a listed statue of Saint Mammès, and another of Saint Barbara from the 16th century. Stained-glass windows from the Duhamel-Marette workshop depicting Saint Lawrence and Saint Mamers were installed in 1886. In 2013, the Sauvegarde de l'Art français (French Art Protection Agency) awarded €10,000 in grants for the restoration of the western façade.

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The parish, dedicated to Saint Germain, dates back to Merovingian times. Emma, daughter of Leutgarde and Thibaut-le-tricheur, having married William Ironarm, Count of Poitiers, founded the Abbey of Bourgueil, which she endowed with her Normandy possessions, inherited from her mother, widow of William Longsword. Coudres and Marcilly-la-campagne were included in this endowment. The two Marcillys had the same lords for a long time. Around 1060, Teudon, Lord of Marcilly, approved the gift of the land of Les Loges to the Abbey of Saint Père de Chartres by Robert des Loges. In 1107, Foulques de Marcilly, the second of the name, founded the Abbey of Breuil Benoit (near Marcilly-sur-Eure). By the Treaty made in 1194 between Philip Augustus and Richard the Lionheart, Marcilly was part of the King of France's estates, on the border with Normandy. We were ROYAL! In 1226, Fulk IV, Lord of Marcilly, gave the Monks of Saint Taurin an annuity on his mills in Marcilly. During the 15th-century invasion, the King of England granted Jean Yprès on August 27, 1419, all the lands that belonged to Fulk of Marcilly, "in default," that is, devoted to France. The coat of arms of the House of Marcilly was a chevron, but the color, as well as that of the background of the shield, are unknown. At the 1470 watch, Jehan Tailleman, Lord of Marcilly-la-campagne, appeared naked. Aged 90, he could not wear a harness, and his fiefdom was very small. It is discharged, on condition of providing a vougier. (13th century weapon, made of a sharp and asymmetrical blade fixed to the end of a handle)

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I left on gravel, classic equipment, some elevation but very smooth.

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The church is oriented and built according to a longitudinal plan ending in a flat chevet. The nave is composed of a single vessel and divided into three bays. The choir is divided into two bays. An annex building is attached to the chevet wall. The gable wall façade is preceded by a porch covered with a polygonal roof resting on timber-framed pillars. It is supported by buttresses. The bell tower, with a square plan, is located on the ridge of the roof at the level of the first bay of the nave. It is covered with a pavilion roof and topped with a ridge cross and a weather vane. The entire building is covered with a double-pitched roof. The side walls are pierced with semicircular bays (with the exception of an arched bay with tracery) and supported by buttresses. On the north side, a staircase has been built to access the upper parts. The nave and the choir are covered with a paneled framework with exposed beams.

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An accessible climb in a wooded environment, refreshing by hot temoq.

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The Château de Houetteville, a private castle visible from the road, is an old Renaissance castle transformed into a neo-medieval castle by Henri Jacquelin around the 1930s. “Jacquelin again transformed a simple neo-classical house in Houetteville into a medieval castle, with astonishing fantasy. In an economically paralyzed country, Houetteville was perhaps the last neo-Gothic castle in France. Extravagant edifice, which prefers to ignore its time to artificially continue a way of life long gone.”

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