방델리쿠르 최고의 사이클링 경로

Nice

Very peaceful

Can’t say I noticed it

Very pleasant greenway (cycle path) to reach Compiègne

One of the largest bridges in the city of Compiègne owes its construction to Louis XV. An obelisk was erected in the center of the bridge during its reconstruction in 1949.

The square itself houses a statue of Joan of Arc, a tribute to the city's historical connection to this iconic figure. The Town Hall, with its rich history and stunning architecture, continues to captivate visitors, offering a glimpse into the past while remaining a vibrant part of Compiègne's present.

The architecture of the town hall is a true feast for the eyes. The central structure is dominated by a tall bell tower, flanked by two turrets connected by a decorative railing. This imposing façade, 47 meters high and 24 meters wide, is decorated with striking Gothic elements such as pinnacles and basket arches. The large niche now houses a high relief depicting the equestrian statue of Louis XII. It is an original creation from 1869 by the sculptor Henri-Alfred Jacquemart in the realistic style so prevalent at the time. However, contrary to the usual appearance of equestrian statues during the reign of Louis XII, Henri-Alfred Jacquemart chose not to build a horse walking "à l'amble," that is, with both straight legs raised simultaneously. On October 12, 1530, a clock was placed on the summit of the bell tower. From that time on, every quarter of an hour, she animated three wooden jaquemarts with bell hammers. The Compiègneis quickly gave them three nicknames corresponding to the enemies of the time: Langlois for the English, Flandrin for the Flemish, and Lansquenet for the Germans. Even today, they chant the life of the city by "punching the time," that is, by striking their hammer to strike the hours.

The Église Saint-Rémi in Ribécourt is a neo-Gothic church originally consecrated in 1887. During the First World War, the building suffered severe damage, as so many others in this region close to the front. Between 1927 and 1930, the church was rebuilt almost identically, as a symbol of resilience and reconstruction. Architecturally, the church is a fine example of neo-Gothic, with clear references to the Gothic style of the 13th century. Inside, the pillars are particularly striking, each made up of four half-columns, with capitals decorated with leaf motifs. The five-lobed rose windows and the high pointed arches reinforce the vertical character of the building. A special feature are the stained glass windows, dating from 1954-1955. They were designed by the French master glassmaker Pierre-François Chevalley and give the church a colourful, spiritual atmosphere that reinforces the liturgical character of the building.