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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.

The current church was almost entirely rebuilt in 1542 on Gothic foundations. The Gothic church was reportedly destroyed in 1424 by the English. According to legend, Saint Lubin, Bishop of Chartres, came to rest in this place, which housed a recluse inhabited by a monk. A chapel was built there towards the end of the 6th century.

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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Built in the 15th century on the foundations of a chapel whose origins can be traced back to a papal bull from Pope Alexander in 1142, Saint Apollonia was worshipped there.

The Notre-Dame Priory, founded around 1128 by Rahier de Muzy, was dependent on Coulombs Abbey and housed a community of Benedictines. This community was apparently never very large, as Eudes Rigaud's repeated visits in the 13th century only recorded four monks. In 1255, the monks no longer lived together at the priory due to lack of space. By 1269, the buildings were in too poor condition to accommodate the archbishop. Adjoining the convent buildings, the choir of the parish church of Saint John the Baptist was used by the monks. This 12th-century church, built "in a single heap," underwent several embellishments in the 18th century, but on July 21, 1794, it was probably converted into a saltpeter works, along with the entire priory. The church reopened for worship on March 22, 1795. A campaign of renovations restored the buttresses of the west facade with bricks at the end of the 19th century. The bell tower, damaged in 1944 during the fighting on the Avre, was restored in 1959. The monument was closed for another period from 1939 to 1950. The bells were electrified in 1985. Heating was installed in 1990. A restoration project for the entire building was adopted by the municipality in 2003. The roofing work—repairing the roof box—and the complete restoration of the north facade—raising the apron of the openings by approximately 40 centimeters, repairing all the buttresses and old lime plaster—were completed in 2006. The Church of St. John the Baptist has been listed on the supplementary list of historic monuments since December 2005. A competition to select a master glassmaker was held in April 2009. The winning candidate, Coline Fabre, was entrusted with the task of creating The stained-glass windows throughout the building. Four bays were installed in the spring of 2010 and eight in the summer of 2014, so that all bays on the north, east, and south facades were fitted with stained-glass windows. Rehabilitation work on the east and west facades and the installation of the stained-glass windows on the west facade began on November 20, 2018, and was completed at the end of June 2019. The stained-glass windows were inaugurated on September 13, 2019. Since February 2021, the bells have once again rung daily at 12:00 p.m. and 7:00 p.m.

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The Saint-Rémy church in Saint-Rémy-sur-Avre is dedicated to Saint Remi of Reims, Bishop of Reims who baptized Clovis in 496 in the Notre-Dame Cathedral of Reims. In the 12th century, it marked the border between the Duchy of Normandy and the French royal domain on which Saint-Rémy-sur-Avre depends. It is a flamboyant Gothic church from the 15th century, probably rebuilt since we have mention of its existence since the end of the 11th century.