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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

The church, which remained in the diocese of Chartres in the 18th century, belonged to the Abbey of Saint-Calais. Built in the 12th century, it consists of a single nave continued by a semicircular apse. The semicircular portal is surmounted by a consecration cross. Several pointed bays were pierced in the 15th century. In the 16th century, the church was enriched with paneling with exposed beams. In the sacristy behind the high altar, a beam sculpted with nails, crowns of thorns, fighters, monsters and coats of arms supports the altarpiece. It dates from the 16th century and most likely comes from a half-timbered house.

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.

The church has a very pretty Renaissance-style choir entrance. Certain stained glass windows, the woodwork of the choir, the altarpieces and the font are classified. The current church, rectangular in plan, replaced a 12th century building. The flat bedside and the north wall, equipped with Romanesque windows and slightly projecting buttresses, date from this period. It was rebuilt and probably enlarged in the first half of the 16th century. It was then covered with beautiful paneling, the beams of which bear the arms of the Vove, lords of Saint-Agil. The church is also flanked to the south by a seignorial chapel of two bays opening onto the nave with two molded semi-circular arches: its ribbed vaults, with eight ribs leading to the four peaks of a central diamond, are each decorated with four sculpted pendant keys, one of which also bears the arms of the Vove; the date 1547 can be read on its door. The church is currently preceded by a bell tower built in 1886 by Mr. Travaillard, an architect in Saint-Calais. A window to the south of the choir has preserved a partly restored 16th century stained glass window, representing Saint-Agil and Saint-Fiacre, and one of the windows of the seigneurial chapel has another, representing the Nativity, the Adoration of the Shepherds and the Adoration of the Magi; the other window of this chapel has a modern stained glass window retaining some old fragments in the speckles. The choir was decorated with woodwork including an entrance arcade surmounted by a crucifix, stalls, a communion table and an altarpiece, the latter dated 1734. We can also point out a font decorated with balusters and of a skull (1552), the poetic epitaph of Catherine-Geneviève de Verthamont (1740), a painting representing a martyr (17th century), a Louis XV console and a Venetian glass chandelier.”

It houses stained glass windows from the 16th century and a statue of a woman from the 17th century, works classified as historical monuments.

The old village church was partly destroyed by fire in 1720; it was rebuilt in the 1780s but without decoration. All of the painted decorations were executed between 1863 and 1865: the scenes and figures by Dubois and the ornamental decoration by Goislard under the direction of Louis Bodin, Count of Galembert. This vast program was sponsored by the allied families of Vanssay and Galembert and the priest Toizard; the factory participated for 5448F. The church was consecrated by Monseigneur Fillion, bishop of Le Mans, on September 5, 1865. (inventory of the heritage of the Pays de la Loire region) A black marble plaque engraved with the names of 30 soldiers per year was inserted into the wall paintings of this church, under the Crucifixion.

It was Saint Thuribe in the 5th century who dedicated the oratory that preceded the current church to Saint Pierr. Tradition reports that Saint Thuribe, Bishop of Le Mans, ordained on September 30, 490, came to preach Christianity in the region of Saint-Calais where he dedicated other oratories to Saint Peter. In Berofacium (Berfay), he would have "gone down" to a certain Gaïanus, holder of property or exercising military command. The roussard stone buttresses and the walled semi-circular bay bear witness to 11th or 12th century architecture. The Saint Pierre church was originally supposed to consist of a simple nave extended by a straight apse. Like many churches in the surrounding area, it was redeveloped in the 16th century (addition of the north side aisle) and restored around 1876, with the addition of the south side aisle. The work was carried out thanks to a bequest from Mrs. Mercent to the factory, an organization responsible at the time for managing the church's property. The exterior walls were re-coated in 1924.