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11th Century Church Worship was abolished in the parish of Chevain. The church was sold for 31,700 livres to the citizen of Villeray on 6 Vendémiaire, Year VII (September 27, 1799). The Chevain church, having been donated by Madame du Hameau de Villeray to the commune by notarial deed dated April 16, 1827, was restored to worship there on January 15, 1827. The parish was established as a branch parish.

Built at the end of the 12th century, the church belonged to the former diocese of Saintes. It has been restored several times, notably in the 15th century. Rectangular building with a straight chevet. A single nave with a ribbed vault. Sculpted column capitals. In the transept, a dome on pendentives. Chancel with a ribbed vault and a large 13th-century chevet window. On the north side of the chancel, a large pointed arch gives access to a ribbed vaulted chapel. The western façade dates from the 13th century, with a pointed arch portal with three arches on round columns. Two chamfered pilasters separate the portal from the blind doors and rise to the top of the façade. Above this ground floor and set back are three pointed arch arcades with sculpted figures (seated Virgin, shepherds guided by an angel, three wise men). On each side, twin arcades with pointed arches with heads, fantastic animals, diamond points and crockets. On the transept rises a square bell tower.

Of Romanesque origin, the church of Louvigny has undergone many transformations over time. Among other things, the altars and the altarpiece were donated in the 18th century by Mr. François Thébault, a wealthy donor born in Louvigny. A commemorative plaque was erected in his memory in the sacristy of the church after it was found at the end of the 19th century by Father Chartrain, then parish priest, on the roof of his presbytery, in place of a tile. It is likely that it was thus protected from the pillaging of the Revolution. The steeple dates from the 19th century. It replaced a campanile. It was also in the 19th century that the stained glass windows, the Stations of the Cross and the baptismal font were installed. Generally made of stone, these are very original, since decorated in the Napoleon III style, the period of their manufacture, they are made of cast iron and undoubtedly a fine example of the industrial production of this time. The portal, typically Romanesque, is preceded by two steps in which an eight-pointed star and a cross are drawn. This is perhaps a summary of the life of Christ, from the Star of the Nativity to the Crucifixion. Several elements classified as Historic Monuments have been restored over the last few years, thanks to subsidies from the State and the Department of Sarthe, as well as the generosity of subscribers to the Fondation du Patrimoine. Thus, the remarkable tabernacle of the high altar in gilded wood. Painted in faux marble in the 18th century, it is one of the largest tabernacles preserved in Sarthe. The painting located just above, also superbly restored, and attributed to François Mongendre (1644-1690), represents Saint Germain d’Auxerre meeting Saint Geneviève as a child.

The church is composed of a bell tower grafted onto the side, the ground floor of which is vaulted with ribs, three of the bases supporting the fall of the arches having no decoration, the fourth being sculpted with a small fox's head. The stained glass windows are from 1866 and 1934-1942, five presenting an element of the heritage of the commune associated with a scene from the life of a Saint venerated in the parish, such as Saint Mathurin. The old presbytery from 1704 with openings with debarked lintels is attached to the church.

Saint-Pierre Church, from the mid-19th century (from 1856 or 1858).

In the 13th century, a first church was built in the current Old Town, it was consecrated by Bishop Jean de Chanlay. The parish lordship, attached to the land and castle of Maleffre, belonged to the Paulmier du Bouillon house. Maleffre was a fortified castle, surrounded by moats. The parish owned several other fiefs such as Chevalerie and Bois Margot. The territory of Arçonnay extended to the river which constituted the boundary between the departments. The construction, by Abbot Drouin, of the current church in the hamlet of Saint-Blaise, was completed in 1848.

A first church was founded in 1070 by the Bishop of Le Mans, Guillaume de Passavant. The current building consists of a nave with two bays and an elongated choir narrower than the nave. The two aisles are unequal, the northern one being narrower than the southern one. A sacristy has been added to the east of the choir. The bell tower, almost square in plan, is located to the south of the choir, it is topped with a saddleback roof: it is the most authentic element of the whole, despite a very cemented coating. Three small bays with a pointed arch have been opened on the east side, two on the south side. The western facade, restored in the 19th century, has a semicircular portal resting on engaged columns with two Romanesque-style capitals. A tall semicircular window was opened late on the first level of the gable wall. The windows of the side façades are in pointed arches, their flamboyant network could date from the 16th century. The last bay of the choir is lit by a high semicircular window which dates, like the large façade window, from the 19th century. The interior of the church is covered with wooden barrel vaults whose decoration dates from the last century. The main altarpiece and the side altarpieces are of quality; the church has preserved its wooden pews. In 2002, the Sauvegarde de l’Art français granted a sum of €12,000 for the repair of the exterior plasterwork.

Alençon is the capital of the Orne department and lies on the southern edge of Normandy. It was once very famous for its lace and was therefore known throughout Europe. There is evidence of the existence of the city of Alençon as early as Roman times. In the 11th century, when the Normans secured their duchy to the south, the first fortified settlement was built here. This was later followed by the construction of a mighty castle. The city really achieved economic prosperity around 1650 when Madame La Perrère invented an original lace. It was in no way inferior to the Venetian lace known at the time, but it was considerably cheaper to buy. With the support of Jean-Baptiste Colbert, a royal factory was founded. As a result, more than 8,000 people worked in lace production. The "Point d'Alençon" lace was declared a UNESCO World Heritage Site in 2010.