The whole construction is homogeneous: in Vernon limestone, it is punctuated by buttresses using blocks of sandstone and grison in the lower part. The church is largely lit by the four bays with flamboyant tracery that have been pierced to the north and south.
The building is covered with a rafter frame forming entirely paneled trusses, whose stencil decoration was taken up in the 19th century by painting companies from Dreux. But it is probably the countryside of the early 16th century that attracts attention. Indeed, on the west facade has been grafted a Renaissance portal, in soft limestone, consisting of two pilasters decorated with candelabras with capitals supporting an entablature, above the arched portal, finely chiseled with a floral scroll. The whole is surmounted by a niche with a canopy framed by two fish and two balusters, and crowned by a motif similar to a dormer window. This remarkable element from the first decade of the 16th century reflects the first introductions of the Renaissance style in religious architecture. We also think of the portal of the church of Pierres sur la vallée de l'Eure.
The interior of the church reflects through its furnishings the large orders made from 1759 to renew the decor of rural parish churches. We note in particular the large monumental altarpiece of the choir, but also the work bench and especially the pulpit, in wood and plaster, installed in 1759, by implanting an access staircase in the rear wall. This set of furnishings accompanies the painted decors of the 19th century, whether it be the false-appliance of the walls or the stenciled decoration of the paneled vault.
The work campaign that has just ended required two functional phases: the first was devoted to sanitation work, roofing of the nave and bell tower, restoration of the sculptures (west portal), and stained glass windows; the second focused on the exterior coatings, the pillars of the bell tower belfry, lighting, cleaning of the painted vault and the conservation treatment of the furniture. This major project led by chief architect Régis Martin was supported by the Sauvegarde de l’Art français with a donation of €6,000 in 2017.
Translated by Google •
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