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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

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

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.

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.

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.

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.

Between 1030 and 1046, a charter mentions the donation by a lady Berthe and her children to the Saint-Père abbey of Chartres, of the estate and the church of Chapelle-Royale. Part of the western facade of the Notre-Dame church and the eaves walls pierced with tiny Romanesque windows appear to date back to this foundation. Towards the end of the 15th century, between 1460 and 1500, four large windows with flamboyant tracery were opened in the choir; the glass windows, which dated from the 17th century, have disappeared with the exception of a medallion representing Christ on the cross with the Virgin and a holy woman at his feet. The building is a simple rectangle measuring 28 m by 10 m, covered with a wooden vault with tie beams; the entrance closest to the altar is fluted and has devouring monsters at its ends. In the north wall opened a door with a lowered arch, decorated with sculptures (cherubs and flowers), which was walled up. A small niche, made in the pillar next to this door, once housed a statue of Saint Blaise. On the roof of the nave rises the octagonal spire of the bell tower, made of wood covered with slate. The Safeguarding of French Art contributed in 1992 for 10,000 F to the repair of the roof damaged by a storm.

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.