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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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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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In the nearby park shaded by large trees, the ruins of fortifications recall the memory of the six towers of the old castle built in the 11th century……. In the nearby park shaded by large trees, the ruins of fortifications recall the memory of the six towers of the old castle built in the 11th century by Geoffroy IV, Count of Perche, in order to control this border region near the Chartres region, Normandy, and the possessions of the Lords of Bellême and Alençon which extended as far as Sées. During the Hundred Years' War, Charles, Count of Evreux and King of Navarre, allied with the English against the King of France, seized the fortress in 1364. It was then besieged and retaken on behalf of King Charles V by his younger brother Philip the Bold, Duke of Burgundy, using catapults that threw large stones to collapse sections of the walls. But after the English victory at Verneuil in 1424, they rushed to destroy Marchainville, setting fire to the town and the castle. The church, too, has experienced some vicissitudes. It occupies the site of a very old small monastery, given to the abbey of Saint-Evrouit by a certain Fulchierus of Chartres, who was chaplain to Baldwin I, King of Jerusalem and author of an account of the first crusade. The monks built the priory church in the 11th century, of which the thick right wall with its flat buttresses, the cornice in grison stone, and the support points of the descending roof, which housed a small adjoining cloister, still remain. The church was enlarged (end of the 15th or beginning of the 16th century) along its entire length by a side nave resting on stone arches, whose voussures connect without capitals to octagonal pillars. On the unfortunate initiative of Abbot Fleuriel, this side nave was knocked down in 1723, and the roof of the church lowered. It was not until 1810 that a new priest, Abbot Dubois, had the four arcades of the current chapel of the Virgin reopened. The three other old arcades, still visible, remain blocked in the left wall of the nave. Unfortunately, on March 15, 1820, the shock of an earthquake caused the old square bell tower of the priory, which was located above the entrance to the choir, to collapse, which caused considerable damage. Thanks to the generosity of the inhabitants and the personal contribution of the Bishop of Séez, the church was repaired and a new bell tower was erected next to the entrance porch in 1824. On the classical-style altarpiece, a painting, dated 1949, of the Holy Virgin surrounded by angels replaces the painting of the Assumption hanging in the nave. The 18th century tabernacle presents a pretty wooden statuette of the resurrected Christ, with on each side those of a holy bishop with a kneeling donor, and perhaps a Father of the Church. Two pretty statues of Saint Lawrence and Saint Peter adorn the altarpiece of the chapel of the Virgin, where in the center appears the traditional image of Our Lady of Victories presenting Jesus as a child on a starry sphere that symbolizes the world. Above, appear God the Father, his arms outstretched, and the Holy Spirit. Finally, let us not forget the curious statue of Saint Louis with his scepter, presenting the crown of thorns and the three nails of the crucifixion, nor the ancient painting, in the nave, of Saint Eloi as bishop, with his anvil of patron saint of blacksmiths.

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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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