생 크리스토프 쉬르 아브르 주변 최고의 그래블 라이딩 코스

Of Romanesque foundation, the church of Saint-Maurice-lès-Charencey, dedicated to Saint Maurice, was remodeled at the end of the Middle Ages and then extensively renovated in the 19th century. It consists of a nave of four bays ending in a semicircular apse. This nave constitutes the oldest part of the building onto which several elements were grafted to the north. The building is indeed flanked on this side by a side aisle opening onto the nave by a series of large arches with a broken profile. This side aisle, the first bay of which serves as the base of the bell tower, opens onto the north arm of a transept of which only this part was built or remains. Its construction probably predates that of the side aisle, as would tend to prove, thanks to the careful examination of the framework, the presence of an old valley ridge, visible under the current roof. During the Restoration, the church's western façade was completely rebuilt; the current bell tower, likely erected in place of an older one, belongs to this same renovation project, which can be dated to 1821 according to an inscription inserted in the gable wall. Finally, a sacristy was built later in the northeast corner of the building, against the apse and the transept arm. Constructed of rubble stone covered in some parts with an old lime render, and in others with a hydraulic binder-based render that was quite unsightly and would eventually deteriorate, it rests on a basement partially uncovered during the work on the western façade. Its current slate roof does not appear to be original: the church was once covered with flat tiles. Several types of bays bear witness to the successive interventions in the building: the choir retains three examples of small, semicircular bays made of Grison stone, two of which were partially walled up during the installation of the great high altar and altarpiece in the choir. The workmanship of the other bays pierced in the south wall, with their broken profiles and brick frames, testifies to 19th-century work. As for the stones and limestone latticework of the large window, of fine quality, with flamboyant tracery that illuminates the north arm of the transept, they show worrying alterations. While the exterior of the church attracts little attention—its unfinished and rather unsightly surroundings contribute to this—the interior presents a rich and interesting decoration. Indeed, the nave is covered by a beautiful, high-volume, paneled timber vault with a broken profile, the entire surface of which is decorated with stencils with highlights of red, blue-gray, and black. The hallmarks and tie beams are carved and painted. Emblazoned engolante heads decorate the central sections of the tie beams. The choir vault features a particularly elaborate blue scrollwork decoration, probably reworked in the 19th century, but of high decorative quality. The choir is occupied by a substantial high altar with a reredos, with three sides, which therefore does not follow the curve of the masonry and conceals the roof posts decorated with Ionic pilasters. The central panel, crowned by a pointed pediment, is framed by side panels with triangular pediments. Niches, pilasters with Corinthian capitals, and obelisks complete this work. The aisle is also covered by a paneled vault decorated with painted red, gray-blue, and black bands, with white festoons and plant motifs. For masonry, framework and roofing work, the Sauvegarde de l’Art français granted a grant of €18,294 in 2001.

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In the center of Randonnai, the 16th-century Saint-Malo church, enlarged in 1836, houses several works classified as Historic Monuments, including a classical altarpiece with paintings of Saint Andrew and Saint Sebastian. Funeral slabs serve as threshold steps. Inside, a plaque commemorates the departure of Pierre Tremblay (whose birthplace is in La Filonnière) in 1647 for New France. He is the ancestor of the Tremblays of Quebec and North America.

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This building was erected towards the end of the 15th century, on the former medieval fiefdom known since 1260 as the "Normandel Farm" and long owned by the Viron family. In the chapel dedicated to him, a beautiful 16th-century statue depicting Saint Firmin as a bishop and the magnificent white stone altarpiece, sculpted and ornamented in the purest Renaissance style, evoke the ardent faith of this evangelizer of Roman Gaul in the 3rd century. The current church, restored at the end of the 19th century in the style of the period after a long period of neglect, retains some traces of the old construction: the masonry of the rear wall overlooking the cemetery, with the remains of a small closed door and two buttresses of large rubble, and on the gable of the transept overlooking the road, a large Flamboyant Gothic window. The church of Normandel preserves other elements of great interest. In the chapel, on the right side, is a beautiful 16th-century polychrome stone Virgin and Child. Below the statue, a second stone altarpiece, finely carved and ornamented in the Renaissance style, shows, on one side, Mary seated near Jesus holding a chalice, and Joseph leaning on his cane, to whom the young John the Baptist appears to be bidding farewell before departing for the desert. In the nave, the large Christ on the cross, surrounded by Mary and Saint John, is moving in its sobriety: the outstretched arms of the crucified bear the full weight of our humanity, raising it to God. In the sacristy, an old fragment of an embroidered banner bears the image of Saint Firmin and the inscription "Charity of Normandel - 1513."

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https://www.brasserieduperche.com

A beautiful place for a hoppy break! Beautiful trails lead to the brewery.

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A great place for a hoppy break!

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very beautiful section of greenway in very good condition and shaded thanks to a beautiful forest.

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Located in the center of the village, it is dedicated to two twin brothers, Saint Gervais and Saint Protais, who were martyred in the 2nd century in Milan. Its construction dates from the 12th century. At that time, it included the flat-saddle nave and the choir. In the 15th and 16th centuries, it was completed by the south aisle and the ceiling covering. The south aisle was listed in July 1932, and the entire church has been listed since September 2011.

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Église Saint Madeleine is a church where beautiful various statues of Saints, famous and less famous. The reason for so many different statues is that the school of sculpture was established here.

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Located in a green setting, this chapel of Romanesque origin has preserved all of its 16th century painted decor. An excellent overview of the artistic production of the period. Romanesque in origin and then remodeled in the 12th and 15th centuries, the chapel of Réveillon is one of the rare churches that have preserved their wall paintings. The richness of its treatment and themes is exceptional. We can still read on these walls a profusion of details such as a frieze of arabesques where birds, fruits and flowers are intertwined. Its varied themes represent, among others, The Dict of the Dead and the Three Living, the Passion, the Temptation, the Lives of the Saints and Martyrs, Saint Christopher, etc.

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A flowery village, Moussonvilliers takes particular care of the surroundings of its church. By walking along flower beds, you can access it via the covered porch, off-centre with respect to the axis of the gable, the corners of which are reinforced with double buttresses. The church has two naves of unequal width, gathered under the same roof. Built in the 16th century, its poor condition probably required the alterations carried out in the 19th century. From the outside, you can see in particular the use of bricks for the repair of the windows and the cornices of the roof. Inside, between the two parallel naves, the four stone pillars cut into a prism, dating from the construction, carry a wide horizontal band along the entire length of the building (probably made of large beams covered in plaster, replacing the old stone arcades). This band reinforces the beams on which the "tie beams" of the exposed framework rest, and at the same time supports the fall of the two plaster vaults. These structural modifications nevertheless respect the general appearance of the building. At the central altar, the tabernacle evokes the parable of the Good Shepherd who carries the lost sheep on his shoulders. Above, the classical style altarpiece in wood with decorations enhanced with gold, is decorated in the center with a large painting of the Assumption of Mary taken up to heaven by angels. The landscape placed very low accentuates the upward movement of the composition. This painting, of a certain artistic quality, dated 1855, is signed by Claire Hombcrg. Two statues frame it in the niches: on the left, a pretty Virgin in polychrome stone from the 16th century. Crowned with fleurs-de-lys and draped in a blue cloak, she holds the infant Jesus, who stretches out his arm towards the object she is presenting to him (an apple or a bird? We do not know because the right hand is broken). On the other side, in polychrome wood from the 18th century, Saint Catherine of Alexandria reading a book, was once invoked as the patron saint of schools because of her in-depth education. She had in fact publicly and successfully refuted the erroneous theses of several philosophers whom she converted to the Christian faith. She suffered martyrdom in the 4th century. Other statues deserve particular interest. Leaning against a pillar, the 16th century, in stone, of Saint John the Baptist, his cloak raised over his bare legs, presenting the Mystic Lamb placed on the large book of the Bible. And also, from the same period, the small polychrome stone sculpture depicting the education of the Virgin Mary by Saint Anne. It is difficult to see the details because it is placed in a niche above the door. But it is a precious ancient testimony of the devotion to the patron saint of our parish Sainte-Anne-du-Perche. Finally, to the left of the door, the polychrome wooden statue of Saint Paul. The expression on his face reflects somewhat the ardor of his vocation as an apostle of Christianity. Converted by his vision of the road to Damascus, he devoted himself entirely to preaching the doctrine of Christ the Redeemer, traveling through the countries of the Hellenized East to found and lead new communities of baptized people. Thanks to him, the evangelical message was not limited to populations of Jewish culture, but was addressed to people throughout the world. His writings are an ever-current and living source of the doctrine of the Church, the body of Christ.

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The Madeleine Tower overlooks a beautiful square, surrounded by numerous terraces where it is good to quench your thirst after your exercise!

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A beautiful spot to visit to have a little freshness.

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A beautiful spot to visit.

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Medieval heritage of the town of Verneuil which preserves numerous traces of this past and its former flourishing activities: first of all, the market square, just opposite the imposing and sumptuous Madeleine church (12th century). This “enormous and graceful stone flower”, in the words of the painter Maurice Vlaminck, underwent numerous embellishments in the medieval period to become one of the great jewels of flamboyant Gothic in Normandy.

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Château des Bois Francs, in Normandy, is a 19th century castle surrounded by 310 hectares of forest and 15 hectares of lakes. You can admire the architecture of the castle, the French gardens and the wildlife that inhabits the region. Château des Bois Francs is an ideal place to relax and discover the beauty of the Normandy countryside.

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This greenway is a former railway line that has been converted into an asphalt path for cyclists, roller skaters and walkers. It extends for approximately 9 km from Verneuil-sur-Avre to the Center Parc des Bois-Francs, a leisure resort with a lake and spa. Along the route, you can admire views of fields, forests and villages, and learn about the history and culture of the region thanks to the information panels.

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A tower steeped in history!

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A cross roads in the middle of a forest that has many quiet roads to cycle on

The entire Gray Tower, as well as the soils corresponding to the influence of its old ditches, included in a space determined by a distance of 7.70 m from the walls of the building, as delimited on the plan annexed to the decree (cad. N 218 to 221, 330; on the place Saint-Laurent and the rue de la Tour-Grise, public domain not registered): classification by decree of February 15, 2016

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