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Three periods marked the construction of the church: the 12th century for the main nave, the 15th century for the side naves and the pulpit, the 17th century for the tower that supports the bell tower. The Romanesque period. The main nave was built in grison (very hard rock made up of small flints agglomerated using iron oxide). The main door is formed of three arches without any decoration because grison is not suitable for sculpture. The Gothic period. These are the side naves and the pulpit. Their roofs are formed of four gables. The latter are separated by gutters that end with sculpted gargoyles. The Renaissance period. The bell tower dates from the middle of the 17th century. The date 1647 can be read on the lintel of the door at the bottom of the bell tower. It is a tower that supports the bell tower. The interior of the tower is lit by a very simple rose window on the first floor. This tower was originally topped by a very slender spire, one of the tallest in the region, which was destroyed in February 1802 by a fire caused by lightning. Due to lack of sufficient resources, the spire was not rebuilt in the same style: square at the base, it ends with an octagonal spire. The interior decoration. At the end of the 19th century, the walls of the sanctuary were covered with neo-Byzantine style paintings by Doctor Paul Durand. However, this learned archaeologist died before finishing his work and it was Abbot Henault who completed it. Various frescoes are visible. One of them represents doves, symbols of the Christian soul in contemplation in front of bunches of grapes alternating with ears of wheat, symbols of the Eucharist. In the window embrasures, round medallions contain the names of the virtues with characteristic emblems. There are many statues. Some are made of wood, others of plaster or stucco. They represent the Virgin Mary, Saint Joseph and other Saints (Saint Eloi, Saint Benedict, Saint John the Baptist, Saint Lubin...). There are also many paintings. Some were copied in Rome from Italian masters. They represent the Virgin Mary and the Holy Family, the Holy Face. Also in this church is a remarkable painted wooden crucifix fixed to the punch of the frame at the entrance to the choir.

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This church contains 14th century wall paintings. These paintings were discovered in 1895. They formerly occupied the entire width of the western wall of the nave. The central part was destroyed following the renovation of the door. The left side represented paradise. Of the bust of Christ, in a trilobed medallion, which occupied the center, there remains only a fragment of the cruciform halo. The rest of the composition is divided into rectangular compartments, each enclosing, in the surviving part, a figure of a crowned chosen one. On the right, hell is represented by a cauldron in which several characters are immersed, including a pope, a bishop, a monk, a king, a queen. Above, a woman with her legs apart. On the right, an enormous horned demon sticks out its tongue. On the left, another carries a basket filled with the damned and is about to plunge a woman into the cauldron. Construction periods: 14th century

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This church was originally supposed to be a simple chapel of the commandery, founded in the 12th century by the Templars, forming one side of the courtyard that groups the buildings. The monumental 15th century porch is flanked by two brick towers. The nave ends with a semi-circular apse covered in a cul-de-four. Construction periods: 12th century, 13th century, 15th century

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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 of Saint-Pellerin, whose oriented plan is reduced to a simple rectangle, only retains a few vestiges of the Romanesque period: part of the southern wall, itself repaired several times. The building, which was struck by lightning, was restored in 1821 with the reconstruction of a beautiful molded frame with tie beams. On the north side a chapel opens onto the nave through two arcades which rest on cylindrical columns. The flat bedside is pierced by a large window with three lancets topped with flamboyant tracery. The western facade is dominated by a triangular gable whose slopes are decorated with kale and dogs sitting on piles of loads, the Renaissance style portal is decorated with a large shell surmounted by a sculpted base of a angel holding a shield. On the north and south sides, thick glaciated buttresses support the gutter walls. The Safeguarding of French Art granted aid of 25,000 F in 1993 to restore the flat tile roof and the slate bell tower.

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The village is located five kilometers south of Courtalain, in Perche-Gouët, southern part of the department close to Loir-et-Cher and Sarthe. An ancient Roman road, called “Caesar’s path”, crosses the country. The old, picturesque cemetery extended to the south of the church, the new cemetery developing to the east. The history of the building has been marked by two fires which ravaged the bell tower, the first in 1739, the second in the 19th century: after this last disaster, the bell tower was rebuilt on the first bay of the nave (and not on the middle), which led to significant modifications to the framework in place in the western part. The current bell tower, of hexagonal section, which leaned towards the southwest, was straightened during the latest work. The nave, elongated in shape, is extended to the east by a semi-circular apse. Two sacristies were built, one in the 18th century. to the north, the second to the east, later, was recently removed to free up the apse of the church. The church is built of coated flint rubble, grison was used for certain bay frames, as well as for buttresses. The presence of semi-circular openings in the upper part of the walls explains the very old dating (11th century) sometimes attributed to the building. The middle bay of the rounded apse was removed to allow the installation of an altarpiece. The door which, to the south, opened towards the cemetery is today condemned, the entrance is made either through another door also located in the south gutter wall, or through the western facade preceded by a caquetoire. The interior of the building is covered with a paneled framework with joint covers whose punches and molded tie beams are visible. Unfortunately, in the 1930s the north and south walls were lined in the western part with a cement block wall.  the entrance to the church remains a baptismal font; the church also has a statue of a saint holding a column. For the urgent work consisting of straightening the bell tower and removing the cement coatings in the lower part of the exterior walls, the Safeguarding of French Art granted aid of €7,000 in 2004.

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The Romanesque church of Ruan dates from around 1133. From this date until the revolution, the church of Ruan will depend on the Abbaye de la Madeleine de Châteaudun, a priory will be founded there. The building is elongated in its proportions, one more bay compared to a simple parish church of the same period. This is due to the size of the choir. built to accommodate regular canons. In the 12th century, the canons had to access this choir directly from their residence through a small door in the wall. (according to the historical study by Nicolas HURON). The bell tower is a square tower covered with a gable roof. The portal must not only be described, it must be placed in its historical context and tried to give it an interpretation. In the first half of the 12th century, intellectuals, that is to say monks or canons, tried to educate and raise the faith of the population through images. Ruan's portal is an educational work tending to show the power of God and the vanity of earthly pleasures. Romanesque architecture is based on the representation of the earth and the sky, the temporal and the spiritual. The uprights of the portal represent this temporality, the semicircular arch is a representation of the sky. The door is recessed by what we call herringbone moldings. Behind this technical name there is a representation that we always find around Christ in glory on the frescoes of this period. All the decorative motifs on this portal were probably painted and colorful in the 12th century.

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