라보스 주변 최고의 교통량 없는 자전거 라이딩 코스

평평한 제단이 있는 Plan Massé 교회. 세 개의 통로로 구성된 본당. 서로 다른 시대에 지어진 네 개의 다른 부분으로 구성된 독창적인 구성: 파빌리온 지붕이 얹힌 종탑, 본당의 두 구역(두 개의 베이, 그 다음 다섯 개의 베이), 그리고 성가대석. 교회 입구 현관은 북쪽 벽에 접해 있으며, 개방형 네트워크가 있는 발코니로 장식되어 있고 경사면에는 플뢰르 드 리스가 장식되어 있습니다. 포털의 팀파늄은 다채로운 색상입니다. 건물의 동쪽 박공에는 네 개의 사엽화가 있는 오쿨러스가 뚫려 있습니다. 경사면에는 플뢰르 드 리스가 장식되어 있고 돌십자가로 왕관을 쓰고 있습니다. 건축 단계: 원시 교회의 건설은 11세기로 거슬러 올라가지만, 수많은 수정이 이루어졌습니다: - 성가대석은 13세기에 지어졌습니다(1808년에 본당으로 개방된 수도원 예배당입니다). - 15세기에는 본당이 확장되었습니다(이는 두 번째 구역에 해당합니다). - 16세기에는 본당의 첫 번째 구역이 부분적으로 재건되었습니다. 측면 예배당은 미상 연대에 추가되었습니다. 역사: 이 교회는 1090년경 Ceton의 영주인 Gauthier Chesnel이 Saint-Denis de Nogent-le-Rotrou의 클루니 수도사들에게 양도했습니다. 그들은 그곳에 수도원을 설립했지만 혁명 중에 폐지되었습니다. 이 교회는 혁명 중에 파괴된 마을의 교구 교회를 대체했습니다.

13세기부터 샤르트르 근처 생페르 수도원의 부속물로 언급된 노트르담 데 에티유 교회는 세 개의 서로 다른 부분으로 구성되어 있으며, 가장 놀라운 것은 3단으로 된 사각형 종탑으로, 슬레이트로 덮인 종루와 작은 등불이 얹혀 있습니다. 1577년에는 개신교도들이 이곳에서 설교를 했다고 합니다. 창립 이래 이 교회는 여러 차례의 변형을 겪었으며, 특히 합창단의 장식은 비교적 최근의 것으로, 석고로 된 맑은 날의 적운이 얽혀 있어 초기 석벽과 뾰족한 아치형 개구부를 짐작하게 합니다. 아름다운 플랑부아양 양식의 문이 서쪽으로 열려 1995년에 개조된 광장으로 이어지며, 동쪽 부분인 성구실 쪽에는 합창단의 경사면을 장식하는 가고일 줄이 보존되어 있습니다. 이 교회는 14세기 양식을 특징으로 하는 뚜렷한 엉덩이 기울기, 얼굴 표정, 망토의 주름이 돋보이는 아기 예수와 함께 있는 성모 마리아 상으로 유명합니다.

자세한 정보는 위키백과에서 찾을 수 있습니다: https://fr.wikipedia.org/wiki/Porte_Saint-Julien_(La_Fert%C3%A9-Bernard)

Very pleasant for a moment of relaxation

In this architecture we find different styles and periods, from the 12th, 15th, 16th to the 19th century, including Gothic and Neo-Romanesque. Romanesque bays and foothills. Stained glass window and 16th century font as well as the current apse and the two side chapels. The south door with its lintel and its straight feet decorated with rosettes and diamonds. The church had stained glass windows from the end of the 15th and beginning of the 16th century. Fragments exist in the speckles and spandrels of the bay of the Rosary Chapel, listed in 1983. The stained glass windows are almost all dated and signed by the same glass painter between 1885-1889 "af Paris" probably Anselme Fialex, son of François Fialex who was a glass painter in Mayet Creation of an entrance to the square as well as the opening of new 19th century bays. the vault, paneled and undoubtedly painted from the beginning, was redone in 1602 with restoration in the 19th century, when a new decoration was painted. The main altar dates from 1867.

The first mentions of the Saint-Germain church in Sceaux-sur-Huisne appear in the cartulary of the Saint-Vincent abbey in Le Mans: around 1050, Bouchard de Théligny gave the Sceaux church land and a meadow located at proximity. At this time, the building, then "in bad woods", was rebuilt in stone. The nave is considered to be the oldest part of the church and dates back to the 11th century, but it is in reality difficult to date due to multiple alterations and even reconstructions. The masonry shows several repetitions and a confused assembly of elements which could come from older buildings, such as the remains of the Gallo-Roman villa which was exhumed at the end of the 19th century in the valley (small regularly cut rubble stones, debris of roof tiles). There are also traces of old openings, such as a door opening onto the priory. Although it is probable, there is no element to formally identify the Romanesque construction. The current openings are later, such as the small Gothic bay in the western wall and perhaps the south door (15th century?) and the other openings probably made around the first half of the 18th century. Significant masonry and structural work is actually mentioned in the nave in 1709. The choir and the bell tower were probably built in the first half of the 16th century, in a late Gothic style. The factory accounts mention various works in the 1530s and 1540s: roofing, construction of a ballet, stained glass window of the "grant window"... The tower was perhaps built in several stages if we rely on the changes masonry nets in the elevation. It was visibly remodeled at the end of the 16th century or the beginning of the 17th century, as indicated by the semi-circular openings, one of which was walled up. From 1570, the du Bouchets were lords of Sceaux and had their coat of arms, "azure with three rings of sand", affixed to the keystone of the chapel under the bell tower (since replaced by a flower) and on the vault paneled nave and choir. As for the windows on the north wall of the choir, they were undoubtedly open in the 18th century like those in the nave. During the Revolution, the church was seized as national property and sold to a certain René Neveu in September 1796, excluding the furniture. The two bells installed in 1719 and the fittings were handed over to the administration to be melted down. The church was returned to the town after the death of Mr. Neveu in the 1810s. The church underwent some occasional maintenance work (mainly on the roof) in the 19th and 20th centuries, but not an overall restoration. In 1831, an estimate was drawn up to enlarge the church with a chapel, in order to better accommodate all parishioners: this project was not carried out. The same year, the flag which still covers the bell tower was put up. The current sacristy (Gambert architect) was added in 1862 to replace another very dilapidated one, blocking a window now only visible from the inside. The second half of the 19th century also saw the clearing of the surroundings of the church, cluttered with lean-tos and hidden by an imposing washhouse finally moved in 1870. The last work, concerning the roofing, was carried out in 1989. The church of Sceaux-sur-Huisne has been listed as a Historic Monument since 1926.

12th century church. Painted decoration from the 16th and 17th centuries (nave decorated with murals from the first half of the 16th century), glass roofs from the 16th century. Western facade: Romanesque portal with 16th century leaves. 15th century framework modified to make the vault in the 16th century. 17th century altarpiece on the apse wall.

The Palets de Gargantua is a megalithic structure that was originally a dolmen. Looking at it in its environment, one can't help but wonder which came first: the rock...or the tree...? The tree trunk giving way to the rock of course gives the answer to this question.