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Three periods marked the construction of the church: the 12th century for the main nave, the 15th century for the side naves and the pulpit, the 17th century for the tower that supports the bell tower. The Romanesque period. The main nave was built in grison (very hard rock made up of small flints agglomerated using iron oxide). The main door is formed of three arches without any decoration because grison is not suitable for sculpture. The Gothic period. These are the side naves and the pulpit. Their roofs are formed of four gables. The latter are separated by gutters that end with sculpted gargoyles. The Renaissance period. The bell tower dates from the middle of the 17th century. The date 1647 can be read on the lintel of the door at the bottom of the bell tower. It is a tower that supports the bell tower. The interior of the tower is lit by a very simple rose window on the first floor. This tower was originally topped by a very slender spire, one of the tallest in the region, which was destroyed in February 1802 by a fire caused by lightning. Due to lack of sufficient resources, the spire was not rebuilt in the same style: square at the base, it ends with an octagonal spire. The interior decoration. At the end of the 19th century, the walls of the sanctuary were covered with neo-Byzantine style paintings by Doctor Paul Durand. However, this learned archaeologist died before finishing his work and it was Abbot Henault who completed it. Various frescoes are visible. One of them represents doves, symbols of the Christian soul in contemplation in front of bunches of grapes alternating with ears of wheat, symbols of the Eucharist. In the window embrasures, round medallions contain the names of the virtues with characteristic emblems. There are many statues. Some are made of wood, others of plaster or stucco. They represent the Virgin Mary, Saint Joseph and other Saints (Saint Eloi, Saint Benedict, Saint John the Baptist, Saint Lubin...). There are also many paintings. Some were copied in Rome from Italian masters. They represent the Virgin Mary and the Holy Family, the Holy Face. Also in this church is a remarkable painted wooden crucifix fixed to the punch of the frame at the entrance to the choir.

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This is a church dating from the 12th and 15th centuries. The nave of the church was paneled in the 15th century. A statue representing Saint Martin on horseback, sharing his cloak, was placed in a niche above the portal.

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This church contains 14th century wall paintings. These paintings were discovered in 1895. They formerly occupied the entire width of the western wall of the nave. The central part was destroyed following the renovation of the door. The left side represented paradise. Of the bust of Christ, in a trilobed medallion, which occupied the center, there remains only a fragment of the cruciform halo. The rest of the composition is divided into rectangular compartments, each enclosing, in the surviving part, a figure of a crowned chosen one. On the right, hell is represented by a cauldron in which several characters are immersed, including a pope, a bishop, a monk, a king, a queen. Above, a woman with her legs apart. On the right, an enormous horned demon sticks out its tongue. On the left, another carries a basket filled with the damned and is about to plunge a woman into the cauldron. Construction periods: 14th century

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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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one of the most beautiful villages in France

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Ranked among the most beautiful villages in France, Lavardin is a very pretty little town, where medieval, Renaissance and troglodyte styles mix. The Saint-Genest church is particularly beautiful, with its colorful paintings. Concerts take place there in summer. Just opposite you will find a café-bakery, carved into the stone, which serves delicious ice cream. You won't be able to miss the remains of the castle and its 26 meter high tower. Note that it is possible to pitch your tent on the banks of the Loir, at the bottom of the village. The spot is very pleasant.

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The 12th century church of Saint Jean-Baptiste de Courtalain, already repaired in 1592, was rebuilt in 1809, increased by an aisle in 1838, then by a remarkable porch bell tower topped with a twelve meter spire. height, thanks to the generosity of the Montmorency family, owner of the castle. It is to Guillaume Davaugour and Perette de Baïf, his wife, that we attribute the erection of the Courtalain chapel into a parish church; The church is located in the immediate perimeter of the castle. The entire building is partly covered with flat tiles for the roof of the nave, the bell tower, the staircase turret; the three cut sides of the apse and the lower north side are covered in natural slate. Inside the nave is a Mutin Cavaillé Coll organ dating from 1936. It contains several interesting paintings.

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The parish church of Saint-Pellerin, whose oriented plan is reduced to a simple rectangle, only retains a few vestiges of the Romanesque period: part of the southern wall, itself repaired several times. The building, which was struck by lightning, was restored in 1821 with the reconstruction of a beautiful molded frame with tie beams. On the north side a chapel opens onto the nave through two arcades which rest on cylindrical columns. The flat bedside is pierced by a large window with three lancets topped with flamboyant tracery. The western facade is dominated by a triangular gable whose slopes are decorated with kale and dogs sitting on piles of loads, the Renaissance style portal is decorated with a large shell surmounted by a sculpted base of a angel holding a shield. On the north and south sides, thick glaciated buttresses support the gutter walls. The Safeguarding of French Art granted aid of 25,000 F in 1993 to restore the flat tile roof and the slate bell tower.

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The village is located five kilometers south of Courtalain, in Perche-Gouët, southern part of the department close to Loir-et-Cher and Sarthe. An ancient Roman road, called “Caesar’s path”, crosses the country. The old, picturesque cemetery extended to the south of the church, the new cemetery developing to the east. The history of the building has been marked by two fires which ravaged the bell tower, the first in 1739, the second in the 19th century: after this last disaster, the bell tower was rebuilt on the first bay of the nave (and not on the middle), which led to significant modifications to the framework in place in the western part. The current bell tower, of hexagonal section, which leaned towards the southwest, was straightened during the latest work. The nave, elongated in shape, is extended to the east by a semi-circular apse. Two sacristies were built, one in the 18th century. to the north, the second to the east, later, was recently removed to free up the apse of the church. The church is built of coated flint rubble, grison was used for certain bay frames, as well as for buttresses. The presence of semi-circular openings in the upper part of the walls explains the very old dating (11th century) sometimes attributed to the building. The middle bay of the rounded apse was removed to allow the installation of an altarpiece. The door which, to the south, opened towards the cemetery is today condemned, the entrance is made either through another door also located in the south gutter wall, or through the western facade preceded by a caquetoire. The interior of the building is covered with a paneled framework with joint covers whose punches and molded tie beams are visible. Unfortunately, in the 1930s the north and south walls were lined in the western part with a cement block wall.  the entrance to the church remains a baptismal font; the church also has a statue of a saint holding a column. For the urgent work consisting of straightening the bell tower and removing the cement coatings in the lower part of the exterior walls, the Safeguarding of French Art granted aid of €7,000 in 2004.

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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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Between 1030 and 1046, a charter mentions the donation by a lady Berthe and her children to the Saint-Père abbey of Chartres, of the estate and the church of Chapelle-Royale. Part of the western facade of the Notre-Dame church and the eaves walls pierced with tiny Romanesque windows appear to date back to this foundation. Towards the end of the 15th century, between 1460 and 1500, four large windows with flamboyant tracery were opened in the choir; the glass windows, which dated from the 17th century, have disappeared with the exception of a medallion representing Christ on the cross with the Virgin and a holy woman at his feet. The building is a simple rectangle measuring 28 m by 10 m, covered with a wooden vault with tie beams; the entrance closest to the altar is fluted and has devouring monsters at its ends. In the north wall opened a door with a lowered arch, decorated with sculptures (cherubs and flowers), which was walled up. A small niche, made in the pillar next to this door, once housed a statue of Saint Blaise. On the roof of the nave rises the octagonal spire of the bell tower, made of wood covered with slate. The Safeguarding of French Art contributed in 1992 for 10,000 F to the repair of the roof damaged by a storm.

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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 church has a very pretty Renaissance-style choir entrance. Certain stained glass windows, the woodwork of the choir, the altarpieces and the font are classified. The current church, rectangular in plan, replaced a 12th century building. The flat bedside and the north wall, equipped with Romanesque windows and slightly projecting buttresses, date from this period. It was rebuilt and probably enlarged in the first half of the 16th century. It was then covered with beautiful paneling, the beams of which bear the arms of the Vove, lords of Saint-Agil. The church is also flanked to the south by a seignorial chapel of two bays opening onto the nave with two molded semi-circular arches: its ribbed vaults, with eight ribs leading to the four peaks of a central diamond, are each decorated with four sculpted pendant keys, one of which also bears the arms of the Vove; the date 1547 can be read on its door. The church is currently preceded by a bell tower built in 1886 by Mr. Travaillard, an architect in Saint-Calais. A window to the south of the choir has preserved a partly restored 16th century stained glass window, representing Saint-Agil and Saint-Fiacre, and one of the windows of the seigneurial chapel has another, representing the Nativity, the Adoration of the Shepherds and the Adoration of the Magi; the other window of this chapel has a modern stained glass window retaining some old fragments in the speckles. The choir was decorated with woodwork including an entrance arcade surmounted by a crucifix, stalls, a communion table and an altarpiece, the latter dated 1734. We can also point out a font decorated with balusters and of a skull (1552), the poetic epitaph of Catherine-Geneviève de Verthamont (1740), a painting representing a martyr (17th century), a Louis XV console and a Venetian glass chandelier.”

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Around 1240, the Benedictines, who had a priory within the walls of the castle of Mondoubleau, having had to abandon it, settled near Choue. Of the buildings, only the chapel remains. The western gable is pierced with a double archivolt door in third point and projecting cord, chamfered. Above, a bay was flanked by two six-lobed oculi. On the western part of the southern gutter wall, a door gave access to a small room which could have been the lower room of a square tower, perhaps a bell tower. Inside, the walls were plastered.

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The Saint-Denis church in the commune of Mondoubleau is a 16th century building, significantly altered in the 19th century by Abbot Brisacier of Tours. Of the 16th century building, only the nave and the flat apse remain. In the 17th century, a chapel was established to the south, while in the 19th century, the choir and the western facade with its bell tower were added. Inside, the vaults and painted decoration date from the remodeling carried out by the Touraine architect.

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Latin cross church, built on the site of a very old chapel whose foundation is attributed to Saint-Julien. It was partly maintained, and sometimes restored, by the families of Coutances and Courtavel, lords of Baillou, whose coat of arms can be found in the church. The polygonal tower was built in modern times to provide easier access to the clock. There used to be frescoes which disappeared during the restoration of the building. Tiered bays with flamboyant tracery. Stained glass windows from the 16th century. The west gable opens with a Renaissance portal, probably of Italian inspiration, describing a basket-handle arch flanked by two pilasters with capitals carved with animals. It is surmounted by a sculpted entablature, and a shell niche in the shape of a hooked brace, accompanied by two pinnacles.

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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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A flowery village located at the foot of the magnificent ruins of its castle. If you like to stroll, take photos, if you like the Middle Ages, Lavardin is an obligatory stop during your stay in the Pays Vendôme.

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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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