The Saint-Martin d’Unverre church depended on the Saint-Denis de Nogent abbey.
It is mentioned in 1125 in a general regulation by which Guillaume Gouet the younger recognized the possession of the church to the Cluniac monks.
Apart from the north aisle added in the 16th century, the Romanesque church was built during the 12th and 13th centuries.
It consists of a central nave, which is extended by a choir ending in a hemicycle, the heterogeneity of the bays of which testifies to successive restorations.
Thus, the axis window was walled up during the construction of the high altar altarpiece in the 17th century.
The nave is preceded by a half-timbered porch where the inhabitants met to decide on the affairs of the parish.
At the height of the second bay of the tall vessel, a door, now blocked, provided access to the cemetery which surrounded the church on its south and east parts until 1876.
From its Romanesque origin, the church has preserved the bases of the bell tower in grison, the slightly protruding buttresses which support the tower and the small semi-circular bays fitted in grison, partly closed today.
Pierced with small loopholes, a projection, rectangular in plan, attached semi-outside the tower, shelters the staircase and provides access to the bells.
The octagonal bell tower, built later, is topped by a very slender slate spire.
Like most Percheron religious buildings, the church was enlarged in the 16th century by the construction of a north aisle formed by an alignment of five gables. We will notice the gargoyles which emerge from the crowning of the buttresses. Windows with flamboyant networks light the bays of the northern part of the building.
The north aisle is accessed through a basket-handle western portal, characteristic of the Renaissance.
This portal is crowned with a brace gable decorated with foliage motifs. It is surmounted by an oculus adorned with a stained glass window on which we can see the Rosary and the arms of Boissieu and Déan de Luigné.
In the 19th century, the church was the subject of work including the construction of a sacristy in the extension of the north aisle and the widening of the windows of the nave.
The charm of this church also lies in the decor of its paneled vault and the quality of its religious art furniture dating from the 16th and 17th centuries.