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It is on the territory of Plougonvelin that stand the remains of the abbey of Saint-Matthieu or Saint-Mathieu (Loc Mazé Pen-ar-Bed or Fin ar Bed) established, according to tradition, in the 6th century by Saint Tanguy, in atonement for the murder of his sister Saint Eode or Haude.

The church of Saint-Médard de Saint-Mard, built between 1862 and 1867, is a neo-Romanesque building with three naves. Inside the church, the two 17th century side altars are particularly noteworthy.

A jewel of Romanesque art, the Church of Saint-Menoux has a 10th century narthex, the oldest part of the building. The Burgundian novel is at its peak in the choir of the building. Fluted pilaster and Corinthian capitals are omnipresent. It is somewhat reminiscent of the great Abbey of Cluny. The staggering of the chevet roofs is similar to the major Romanesque churches in Auvergne (Saint-Nectaire, Orcival, etc.).

The Saint-Michel Chapel was built in 1499, as evidenced by an engraved wooden panel. Several times rebuilt and renovated, it almost disappeared in the 1960s. Thanks to the intervention of the Service des Monuments Historiques du canton du Valais, it was finally saved. The building in its present state, in Baroque style, dates from the 18th century. The interior decoration is the work of the painter Charles Frédéric Brun, better known in the region as Le Déserteur. The latter arrived in Nendaz around 1840.

On the site of Saint Michel d'Aiguilhe, a chapel in pre-Romanesque style had been built since the 10th century. Abandoned after the French Revolution, the building owes its existence to Prosper Merimée who added it to the list of cultural properties in 1840.

The absence of archival sources does not allow us to give details concerning the time of construction of the church and the chronology of the works. It is believed to date from the 12th century (around 1146). In the 19th century, the nave's grandstands were added to the Romanesque building. In 1854, the architect Mallay added the two uneven towers of the western massif covered with hollow tiles. Between 1875 and 1877, the architect Louis-Clementin Bruyère undertook the general restoration of the building, placing the antefixes in the shape of a Greek cross or interlacing on the chapels and gables. In 1877, the church's roof was completely redone in Volvic stone. In the same year, the bell tower was rebuilt. The architect was inspired by the bell tower of Saint-Saturnin.

This church of Saint-Nicolas d'Outines, dating from the middle of the 16th century, is the largest half-timbered church in Champagne. Its vast interior dimension is reminiscent of a stone church, lined with massive beams and heavy pillars.

The Saint-Nizier church is one of the most important places of worship in Lyon, both for its antiquity and its architecture. Entirely rebuilt in the 14th and 15th centuries in a flamboyant Gothic style, the church has been a listed building since 1840.

The Saint-Pasquier church was originally a simple chapel. Built at the end of the 19th century to the plans of the architect François Bougoüin, a pupil of Viollet-le-Duc, it was consecrated on 27 September 1908. The church is small and simple in plan, in the neo-Romanesque style.

The abbey has a relatively recent building, constructed from 1722. Both majestic and impressive from the top of its imposing silhouette overlooking the banks of the Sarthe, the abbey of Saint-Pierre de Solesmes, founded in 1010, is a mecca for Gregorian chant. Occupied by a community of Benedictine monks, only the abbey church can be visited. The latter contains in its transept masterpieces of the French Renaissance: the Saints of Solesmes, two sculpted ensembles dating from the 15th and 16th centuries.