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Placed under the patronage of Saint Hilaire, this parish was given by Gannelon de Montigny, lord of the place, to the abbey of Marmoutier around 1042. Its reconstruction probably dates from this period; it then became a priory. The church has a rectangular nave ending in a choir with a flat chevet. An examination of the masonry easily reveals two distinct periods of construction: the Romanesque period and the Renaissance. Built of flint rubble with rendering, the western part of the building appears to date from the 11th or 12th century. A limestone cornice supported by rather crude corbels underlines the base of the roof. To the south, two narrow Romanesque windows flared inwards light the nave. To the north, the bays were later reworked and enlarged. On this same side, a Romanesque doorway was walled up; It allowed the church to connect with a building whose traces of detachment remain. The bell tower was built to the north of the Romanesque nave, extending the western façade. The absence of a connection between the east and west walls of the bell tower and the north wall of the nave clearly indicates that it is an entirely later construction. However, its crowning is much later, as evidenced by its cornice, whose molding is in the classical style. Flanked by obliquely angled buttresses, it is covered with a saddleback roof. The eastern half of the church appears to be an extension built during the Renaissance period. Its ogee-shaped cornice and the decoration of the eastern gable, as well as the moldings of the buttress bands, attest to this dating. A vast rectangular choir then appears to have replaced a semicircular Romanesque apse; the eastern gable and the southern and northern façades were then pierced with networked bays. In the lower part of the north façade, projecting ashlars appear to have supported the roof of a lean-to building. To the south, a sacristy was built in the 19th century. Inside, the entire building is covered with a paneled vault with exposed tie beams and kingposts. The 18th-century high altar is surmounted by an Assumption of the Virgin inspired by Murillo's. For the restoration of the roofs and façades, the Sauvegarde de l'Art Français (French National Art Protection Agency) awarded a grant of €30,490 in 2001.

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We went by very quickly

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This church was originally supposed to be a simple chapel of the commandery, founded in the 12th century by the Templars, forming one side of the courtyard that groups the buildings. The monumental 15th century porch is flanked by two brick towers. The nave ends with a semi-circular apse covered in a cul-de-four. Construction periods: 12th century, 13th century, 15th century

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In the Middle Ages, Saint-Avit-au-Perche was a priory of the abbey of Saint-Calais, founded by Avit's companion. Today's church dates from the very beginning of the 12th century. It consists of a five-bay nave ending in a semicircular apse. It is covered with chestnut shingles. Several original windows remain; others have been reworked (including the first window, on the north side). This can be seen in the shape of the keystones. A walled-up side door to the south can be seen from the outside. It has an enormous mitre lintel. Inside, it has been transformed into a niche housing Our Lady of Lourdes. The apse is flanked by projecting buttresses. Those at the corners of the façade are from the 15th century. The western portal in a pointed arch is a 15th-century renovation that was completely redone at the end of the 20th century.

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From its source to its confluence with the Ozanne, the Sainte-Suzanne covers 19.2 km and crosses 5 communes. From upstream to downstream: Authon-du-Perche; Beaumont-les-Autels; Coal pits; Les Altars-Villevillon; A glass.

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Building built in the 15th century, ribbed vaulted, with straight apse; beginning of the 16th century, c. 1530, construction of the Sainte-Barbe chapel on the south side; Renaissance stained glass, not. Tree of Jesse (surviving fragments); 17th century altarpiece and high altar. History of protection: the classification order of April 25, 2003 replaces the classification order of February 11, 1911 and the registration orders on the supplementary inventory of historic monuments of January 20, 1926 and February 4, 2002.

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the Saint-André church dates from the 11th century; it was a priory then dependent on the abbey of St.-Calais, but the current building was completely rebuilt around the walls and framework of the old building. The project was carried out in 1877. The construction of a transept, enlarged windows and a stone bell tower completely modified the old monument. The environment has also changed a lot. All traces of the old cemetery, transferred outside the village at the beginning of the 18th century, have disappeared. The furniture includes a stone baptistery, a statue of the Virgin and Child, a confessional and a Louis XV period bench. The beautiful wooden tabernacle decorated with a statue of Saint Lubin comes from the church which was located a few kilometers away, in Saint-Lubin-des-Cinq-Fonts, and of which only the choir, which has become a chapel, remains today. .

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Saint John the Baptist is considered the pivotal figure of the Bible, between the Old and New Testaments: the last of the Prophets, he is the precursor of Christ, the messenger who announces Him... His mother - Elizabeth, is related to Mary and both women meet while they are both expecting their son. We can only refer to the Gospel of Luke (1, 39-45) which powerfully depicts this touching scene, and which the Church has celebrated every year since the 13th century under the name of Visitation (May 31). Jean, as an adult, will lead the harsh life of an ascetic in the desert. He preaches, teaches prayer and proposes a baptism of conversion, while announcing the coming of “one more powerful than he… who will no longer baptize only in water, but in the Holy Spirit…” He himself will baptize Jesus.

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The Saint Hilaire church is a vast building from the end of the 11th or 12th century which originally consisted of only a nave with choir and semi-circular apse supported by slightly protruding buttresses made of grison, an extremely hard ferruginous agglomerate which does not allow any work. of sculpture. You can see the primitive work in the walls of the nave and the choir with its small windows and the exterior buttresses in gray. Its appearance was considerably modified during the Renaissance period, when a transept was added, then during a second campaign of transformations, the small side chapels of the choir covered with ribbed vaults with vines and tiers which would have had to be topped with a pavilion roof. The entire monument is covered with a paneled vault with visible beams and hallmarks; above the sanctuary the shingle decorated with arabesques and painted cherubs' heads bears the date 1561. In the 17th century, like many churches of the time, the glass roof at the bottom of the apse was closed to build an altarpiece then fashionable, as it is today with the woodwork that accompanies it. On the west side of the north transept, above the small shed, we can clearly see in the masonry a stone arch which is perhaps the beginning of the cloister mentioned in the archives. In addition to the charm of its Renaissance parts, this church is fortunate to have beautiful furniture from the 17th and 18th centuries which preserves the appearance it had under the Ancien Régime: a lectern dated 1754, modified in 1784 with a antiphonary and a Chartres gradual from 1784. It is in perfect condition, as the cantors must have used it before the revolution. Another valuable piece, the solid oak work bench, cleaned a few years ago of the paint with which it had been decorated, and which now serves as an altar to meet the new standards of the liturgy for the mass facing the faithful.

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Before the 13th century there were two parishes, Saint-Sauveur and Saint-Gilles, in 1300 the bishop of Chartres united them into one by a charter of Berchères, because of the smallness of the two parishes. The church dates from the beginning of the 17th century. Rebuilt on the foundations of an old Romanesque church, its originality comes from its bell tower with saddle roof, its caquetoire and its paneled vault redone in 2003. At the initiative of the Prince Duke of Montmorency-Laval, it has contained the reliquary of Sainte-Félicité since 1838. Saint Félicité, whose relics are in Montigny-le-Gannelon, is a martyr whose life is unknown, whose body was taken from the sacred cemeteries of Rome. We have his body, the skull, the bones of his arms, fingers and feet. They were removed from the Saint-Cyriaque cemetery in 1828 and placed in their respective places on a body artistically modeled in wax and measuring more than 1.40 meters in length. A magnificent chase, of the shape and size of an altar tomb, all furnished with glazing and embellished with gilding received this precious deposit. Pope Leo XII donated it to the Duke of Laval, then Charles X's ambassador to Rome. On his death, he bequeathed it by will to the church of Montigny-le-Gannelon where the old historic castle of Laval-Montmorency is located. The venerated hunt is now placed under the main altar of which it forms the tomb.

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The Romanesque church of Ruan dates from around 1133. From this date until the revolution, the church of Ruan will depend on the Abbaye de la Madeleine de Châteaudun, a priory will be founded there. The building is elongated in its proportions, one more bay compared to a simple parish church of the same period. This is due to the size of the choir. built to accommodate regular canons. In the 12th century, the canons had to access this choir directly from their residence through a small door in the wall. (according to the historical study by Nicolas HURON). The bell tower is a square tower covered with a gable roof. The portal must not only be described, it must be placed in its historical context and tried to give it an interpretation. In the first half of the 12th century, intellectuals, that is to say monks or canons, tried to educate and raise the faith of the population through images. Ruan's portal is an educational work tending to show the power of God and the vanity of earthly pleasures. Romanesque architecture is based on the representation of the earth and the sky, the temporal and the spiritual. The uprights of the portal represent this temporality, the semicircular arch is a representation of the sky. The door is recessed by what we call herringbone moldings. Behind this technical name there is a representation that we always find around Christ in glory on the frescoes of this period. All the decorative motifs on this portal were probably painted and colorful in the 12th century.

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Located in Droué in Loir-et-Cher, the Saint Nicolas church dates from the end of the 15th or beginning of the 16th century. Droué was in the Middle Ages the name of a castle located between two parishes, Bourguérin and Boisseleau, which each had their own church and their own lord. The Saint Nicolas church, which was built on the site of the old chapel of the Château de Bourguérin, would then have replaced an old parish church. Today, the building is characteristic of Perche Vendômois. The nave, covered with paneling, was enlarged by a bay on the west side in 1631 by Isaac de Raynier and provided with a semi-circular portal with, on either side, two Doric columns. The choir, which underwent significant alterations in the 19th century, ends with a three-sided apse. Since the 19th century, the church has also had a sacristy and two chapels. In the chapel dedicated to Saint Nicholas there is a door dating from the 15th century or the beginning of the 16th century. We can also observe stained glass windows representing the coats of arms of the imperial families, as well as a painting by Jouvenet: a man in armor is kneeling before a bishop to whom he gives keys. Several wooden statues, including a Virgin which dates from the 17th century, also decorate the church.

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The parish church dedicated to Saint Anne, perhaps more anciently to the Virgin, depended on the diocese of Chartres. This former possession of Ganelon, treasurer of Saint-Martin de Tours in the 11th century, was undoubtedly part of the important donation made by his descendants Eudes and Rahier de Montigny for the benefit of the chapter of Chartres Cathedral around 1160. This Romanesque building, 35 m long, with a single nave and flat apse, reinforced with buttresses and lit by round-arched windows splayed internally and simply chamfered towards the outside, was never vaulted in stone: it is covered with 'a paneled vault. The masonry is entirely made of Grison stone, including the frames, giving an austere appearance specific to this region of Perche. We enter to the west through a semi-circular door with a double arch into the lower room of a bell tower-porch established later inside the original nave. The upper part of this bell tower was pierced with semi-circular bays. The eastern one was obstructed during the installation of the high roof of the nave and the bells were placed above in a belfry under a frame. The interior of the building was in fact covered as a whole by a paneled vault with molded beams and punches from the 16th century. In the 17th century, the entire back of the choir was decorated with a large altarpiece with columns and pilasters, paintings and sculptures, of great decorative effect. A curious set of carpentry from the same period presents above a confessional a paneled pulpit surmounted by a large sounding board. Note in the furniture a carved Gothic canopy from the beginning of the Renaissance and on the glory beam a carved wooden calvary from the same period. The 19th century. added a gallery, repainted the vault and provided the windows with stained glass.

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The Saint Jean Baptiste Church was built in the 16th century and transformed in the 19th century.

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Church of ancient foundation, mentioned around 969. The church, rectangular in plan, is composed of a main nave of four bays extended by a chancel with a flat apse of two bays; the nave is covered by hull paneling; the choir is ribbed vaulted (16th century); the main vessel is flanked to the northwest by a three-story square bell tower. In the 16th century, the main vessel was increased by an aisle of three bays following the bell tower, with ribbed vaults. The joining pillar between the choir and the first aisle bay is decorated with a small commemorative mural of the priest Lemaçon who embellished the church (1612).

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The castle was built on the foundations of a medieval building in the 16th century. It belonged to Jean d'Youville, lord of Charbonnières, in 1557. The castle was enlarged in the 18th century and, in the 19th century, Count Auguste de Chamoy (Count of Chamois), inspired by troubadour architecture, gave it his style Neo-gothic. In 2012, the castle was put up for sale for nine million dollars but did not sell. In October 2017, the castle was sold at auction, without reserve, by Concierge Auctions. Expected for five million euros, it was sold to a foreign buyer for more than 1.2 million euros.

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This 13th, 15th and 16th century church does not have a transept. It has a central shingled nave with aisles. The choir ends with a polygonal apse. The apse is decorated with glass roofs dating from 1541 representing various scenes from the Passion. These 16th century stained glass windows (bays 1 to 4) have been partially classified as historic monuments since 1908. Bays 1 and 2 were restored in the 17th century thanks to the Bourbon-Conti family, lords of Bazoche-Gouet from 1676 in 1719, the 4 in the 19th century, then in 1974, by Michel Petit, master glassmaker whose workshop is located in Thivars in Eure-et-Loir. Outside the choir, the stained glass windows are from the 19th century, made by two renowned master glassmakers, the Lorin workshops in Chartres and the Carmel stained glass factory in Le Mans, the first in a neo-Romanesque style, the second approaching the neo-Romanesque style. Gothic.

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The robust grison pillars of the church of Chapelle-Guillaume reveal its distant roots in the beautiful country of Perche-Gouët, and even if it is often difficult to fix with precision the date of construction of a church, at least It seems obvious to her that she has been watching over the small village that surrounds her for many centuries – probably not far from ten… It owes her name to Guillaume Gouët. In any case, the last two hundred years have given it many alterations and restorations. Thus the bell tower that a hurricane had brought down was rebuilt in 1827, while the capital which adorned the entrance disappeared a few decades later, serving as a narthex, or more simply as a “caquetoire”. Everything here announces the joy of welcome and the simple peace that a place of prayer requires. The interior is distinguished by the great care taken in maintaining the warm furnishings: painted vault, gallery, benches, paneling, statues and choir woodwork. The altarpiece is illustrated by a pretty painting of the Annunciation. A great harmony emerges from the whole and invites prayer. There was also not far from there near the church a Notre-Dame priory dependent on Marmoutier, where Saint Martin resided.

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The Romanesque nave is the oldest part of the church. The choir has a stone vault with ribbed ribs, divided into two bays, in the upper part of the main altar. The stained glass window is from the beginning of the 16th century, it represents the marriage, in 1505, of Marie de Melun and John of Bruges with, behind the two figures, Saint John and the Virgin. The Gothic style sink dates from the 16th century, with a main shelf hollowed out by two round bowls. On the sides are two columns with small carved capitals. In 1625, addition of a side nave. In the 19th century, construction of the castle chapel and the sacristy, then modification of the choir. In 1505 John of Bruges had the choir rebuilt for his wedding. The Notre-Dame de l'Assomption church dates from various periods. The church was built in the 15th and 16th centuries. Originally dependent on the bishopric of Chartres, the parish of Montmirail was only attached to the bishopric of Le Mans in 1801.

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The nave of Notre-Dame church dates from the 12th and 13th centuries. Originally the chapel of the Hôtel-Dieu, built in 1182, it was then placed under the name of Saint-Jacques and only became a parish church after the Revolution, after the destruction in 1798 of the Notre-Dame church. des Marais from which it will take its name. The church does not have a bell tower, the monks of the Saint-Denis abbey of Nogent-le-Rotrou not wanting a new bell tower to exceed theirs. The collaterals were added in the 14th and 15th centuries. It has been classified as a historic monument since 1907 for its nave and in 1949 for the funeral chapel of Sully.

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