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The church of Saint-Martin was built between the 12th and 13th centuries, with Henry the Lion as its initiator. It was first built as a Romanesque pillar basilica with a cruciform plan, which was transformed into a Gothic hall church between 1250 and 1400. In the 19th century a tower was removed, which stood between the two high towers. Between 1897 and 1899, Max Osterloh carried out extensive renovations. Among other things, the gallery of the south wall was reduced and newly decorated. During the Second World War, the roof frame and the western structure burned down completely. It was not until 1980 that the two towers of the same height were restored.

This church, rebuilt on the foundations of the old church destroyed during the terrible bombings of 1944, harmoniously combines reinforced concrete and purple stone marbled with green extracted from the Orchard quarry.

The chapel of Cahuzac Castle was built between 1500 and 1600. The building is a rare example of late Gothic style in the area. In 1771, with the old parish church of the village having been destroyed, the baroness of La Rochefoucauld gave up the chapel of the castle to the inhabitants of the parish of Cahuzac. The church was restored in the 1880s, and the stained glass windows are from this restoration.

The church of Saint-Martin, completed in the early 18th century, is one of the few remaining Baroque monuments in northern France. Before this church stood a Romanesque church dating from the thirteenth century which burned down in the seventeenth century. In 1794, the first Chappe telegraph, linking Lille to Paris, was installed on the platform of the tower until 1846.

The church was built according to a design drawn up in 1551 and consists of a single nave, a pentagonal chevet and side chapels. A difficult topography was undoubtedly the cause of successive collapses (nave in 1646, facade wall in 1771, chevet in 1812). In the 19th century, major restoration work gave it its neo-gothic style, with three phases of intervention: a campaign in 1840 which ended with the vaulting of the building in 1850; a campaign of embellishment around 1865-1870 with the realization of the painted decoration of the choir attributed to Bernard Benezet; a construction campaign with the erection of the bell tower completed by the architect Bréfeil in 1882.

The Church of Saint-Martin of Clarques was built from the chalk stone native to the region at the end of the XVIIe century. Facing a slate pinnacle surmounting its gable west, it has a set of three quadrangles joined respectively forming the nave, the choir and the sacristy. The church has rich furniture, mainly from the eighteenth century, and some classified objects taken from neighbouring Abbey of St-Augustin.

The Church of Saint Martin, located in Crasville in the Eure, was built in the second half of the twelfth century and somewhat reworked in the sixteenth century. Its particular architecture, its stained glass windows and its beautiful furniture, including carvings dating from the sixteenth century, make it a must in Crasville.

Located in Escames in Oise, the Church of Saint Martin dates from the 16th century. This is one of the finest examples of flamboyant gothic style in the west of the Oise. In addition to elegantly decorated windows, the church has several pieces of furniture that have been classified since 1913.

The church of Saint Martin Flines-lez-Mortagne, in the northern department, dates from the eleventh or twelfth century, but was largely rebuilt in the fourteenth century. Its imposing bell-tower contains both Romanesque and Gothic elements. The interior of the building is richly decorated with statues and medallions with biblical themes.

The Church of St-Martin was built in Glénay in the 11th century because of its strategic location, leading to it being fortified in the 14th century. The church presents a simple plan: a vaulted nave from the late nineteenth century, a choir with a circular apse, an absidiole (sacristy), a chapel and a belfry. Strangely, although the church is dedicated to St Martin, it does not offer a representation of the saint but of one of his contemporaries: St Hilaire de Poitiers.