비트리 쉬르 센 최고의 MTB 라이딩 경로

A visit to the Church of Saint-Séverin is like stepping back in time to old Paris. Built around 650 AD during the Merovingian period, the Église Saint-Séverin was dedicated to the hermit monk Saint-Séverin. The nave is adorned with 19th-century stained-glass windows. It is parallelogram-shaped, ending in a semicircular apse, and has no transept. Like Notre-Dame de Paris, it features double collaterals: five wide naves surrounded by a central cluster of chapels, an arrangement that lends the entire building a striking sense of grandeur.

Cute little waterfall in the middle of the Vincennes forest to reach the polygon and do some training there 👍

In summer afternoons this side is in the shade. In addition, there is a bridleway next to it with soft ground, for those who want to avoid the shocks of walking.

It's an incredible mountain bike spot if you pass by for beginners, the slightly rocky access is nice for practicing the descent, as well as the stairs on the side, and for the more experienced, forget the paths, go down the hill by all the small passages, there are 2 bumps even if one is in a pitiful state because the network is not up to scratch, the other is good. There is also a kind of table (I'm talking about the bump) which is still in good condition.

Classic of the Bois de Vincennes. Lots of walkers and dogs on Sundays.

Perfect

The stained glass windows of Saint-Séverin date from several periods. In the nave, on the 1st floor of the elevation, they are all from the 19th century and are by Emile Hirsch (1832-1904). On the 2nd floor and at the level of the first 3 bays, they date back to the end of the 14th century. They depict episodes from the life of the Apostles. At the level of the following bays, they are from the 15th century and illustrate the lives of holy martyrs. In the side aisles, the magnificent historiated stained glass windows are from the 19th century. They are by Emile Hirsch and Edouard-Amédée Didron (1836-1902). Finally, in the apse: on the first level (the clerestory), they date from the 19th century and relate the events of the life of Christ. On the second level, they date back to the 15th century and are dedicated to the Virgin, Christ, the Apostles and the saints.

On the site, in the 19th century, archaeologists discovered Merovingian sarcophagi, remains of an ancient cemetery. There was therefore a chapel at this location very early in the Middle Ages. The starting point is the presence of a hermit named Séverin who is said to have settled there in the 6th century (not far from an oratory dedicated to Saint Martin). When he died, a chapel was built, dedicated to him. The Normans destroyed it in the 9th century. It was rebuilt at the end of the 11th century in Romanesque style. Towards the end of the 13th century, the building consisted of a nave with 6 bays, with side aisles and a flat chevet. With a bell tower adjoining the north aisle. We still have the first 3 bays and the lower level of the tower. After the Hundred Years' War, the archpriest of Saint-Séverin, Guillaume d'Estouteville, had work undertaken from 1450 to around 1470. The church acquired its 5-nave shape. Between 1489 and 1495, the rest of the building was completed: the choir, the double ambulatory and the radiating chapels. The famous twisted column also dates from this period. At the beginning of the 16th century, the north and south side chapels were added. Finally, in the grand siècle, the Grande Mademoiselle, who officiated as project manager, had the choir modified in a classical style and the Mansart chapel built. An organ has existed in Saint-Séverin since 1521. However, it was in the 18th century that the superb organ case was installed. It dates from 1745 and is the work of 2 craftsmen: the carpenter François Dupré and the sculptor J. François Pichon. In 1960, the organ was completely restored by the organ builder Alfred Kern. In 1837, the western façade received the current portal. It comes from an old church on the Ile de la Cité that dates back to the 13th century. Finally, the side chapels were entrusted to the brushes of young artists, including Jean-Hyppolite Flandrin who made his debut there. The creation of these murals would span several decades, as shown by the Tree of Jesse in a radiant chapel that dates from 1858.