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The church of La Chapelle-Forainvilliers, dedicated to Saint Martin, is a charming little building of uniform appearance which occupies the center of the village. Attested from 1080, the church, in its current state, does not seem to date back further than the 14th century and it most certainly underwent significant restorations in the 16th century. Some work was carried out in the 19th century, notably on the gable wall of the facade or inside which was redesigned according to the taste of the time. With a very simple plan, the church consists of a single nave ending in a semi-circular apse. It is lit by numerous bays which reveal successive interventions. The southern facade has semicircular openings in the second and third bays, openings which were reworked in the 19th century, and others, wider and higher in pointed arches, in the first and fourth bays; The carefully executed moldings bear witness to the 16th century work campaigns. One of the openings in the apse has a clasp in its upper keystone, probably installed in the 18th century. In the 19th century, a false stonework was designed across the entire nave; the furniture dates from this period. The church is covered with a pleasing roof of flat tiles that contrasts with the slate roof of the bell tower, whose slender profile allows the church to be distinguished from afar. The work to cover the bell tower was necessary and in 1994 the Sauvegarde de l'Art Français (French Art Protection Agency) awarded a grant of 15,000 francs. Unfortunately, the significant damage to the framework soon became apparent during the work. The Sauvegarde de l'Art Français (French Art Protection Agency) awarded a further grant of 100,000 francs for the repair of the bell tower framework in 1996.

Saint Mary Magdalene was the first to encounter the risen Christ, and she was the first to bear witness to him before the Apostles. A woman disciple of Jesus Christ. There were no half measures for Mary Magdalene, sister of Martha and Lazarus of Bethany. Her taste for luxury and the world, her unbridled libertinism, and her defiance of convention made her despised by good people. Radically transformed by Christ, her gratitude was inexhaustible: she had found the One her heart loved, and she would follow Him wherever He went. It was she who threw herself at the feet of her Lord and perfumed them with perfume before the stunned Pharisees. The first to thus foresee the Passion and death of Jesus, she would be the first to announce His Resurrection to the doubting apostles. Fiery-tempered, she lived her last thirty years alone in a cave, secluded in contemplation of Love. This church consists of a rectangular nave and a side bell tower with a slate spire, which was raised by a floor in the 19th century. It comprises a four-bay nave with two aisles extending into side chapels. The pentagonal choir has a cul-de-four vault supported by early Gothic ribs. It is lit by two Romanesque bays.

Dedicated to Saint Blaise, the church of Havelu is oriented and comprises a single nave. Its construction dates back to the 16th century. The choir, older and narrower than the nave, ends in a three-sided chevet. Constructed of flint blocks, the building is erected on a sandstone base. Two-stepped buttresses rise to the cornice. The western door appears to date from the 19th century, based on a Gothic-inspired model. It consists of a pointed arch with two tori exposed by wide grooves resting on prismatic bases. A lowered arch supports the blind tympanum. A shell is carved on the lintel of the south door, now walled up. A pointed octagonal spire rises from the bell tower. The roof is slate. Inside, the roof structure is exposed and retains the original stencilled decoration on the shingles. The name of the clergyman who commissioned it can still be seen: "M[ai]stre Jehan Menere p[re]b[t]re chaplain of this place." The furnishings of Havelu church are remarkable for their uniform 18th-century decoration. A partition altarpiece is located in the choir. Signed and dated by the artist, Pierre Pilastre (1753), it features, in the center, a painting of the Resurrection, inserted between two fluted pilasters flanked by scrolls with floral and fruit motifs and topped with fire pots. At the ends, each of the two doors is surmounted by a painting, one depicting Saint Blaise, the other Saint Barbara. At the choir entrance, the triumphal arch—by the same craftsman—also survives. A work bench, a confessional, and a lectern from the same period complete this decorative ensemble. In 1998, the Sauvegarde de l'Art Français (French Art Protection Association) granted a donation of 60,000 francs to strengthen the bell tower's framework.

Very beautiful pond

Just a stone's throw from Dreux, the Écluzelles lake stretches through the heart of a vast, protected natural area. Popular with windsurfers and paddleboarders, it offers a pleasant setting for strolling along its tranquil banks.

Built at the end of the 12th century by the Counts of Montfort and listed as a Historic Monument since 1889, the Houdan Tower was used to watch for enemies and defend the territory. The Keep consists of a 15 m diameter and 21 m high tower, flanked by four turrets of the same height located at the four cardinal points. From the 16th century until the French Revolution, the Keep served as a prison, and executions took place at the foot of the Tower. The first water reservoir was installed in the tower in 1880. The second, built in 1952, is still visible. Tours are available on certain days.

Beautiful castle (private).

Nice city center with medieval architecture