생 뱅상 데 프레 주변 최고의 교통량 없는 자전거 라이딩 코스

11th Century Church Worship was abolished in the parish of Chevain. The church was sold for 31,700 livres to the citizen of Villeray on 6 Vendémiaire, Year VII (September 27, 1799). The Chevain church, having been donated by Madame du Hameau de Villeray to the commune by notarial deed dated April 16, 1827, was restored to worship there on January 15, 1827. The parish was established as a branch parish.

A building constructed in the 11th and 12th centuries. It was then just a simple chapel built on a temple, which was subsequently remodeled numerous times over the centuries. The choir, narrower and higher than the rest, is believed to have been built on tombs from the old cemetery, from which a 10th-century Merovingian sarcophagus made of Roussard sandstone was extracted and is on display outside the church.

This 11th century medieval bridge is a beautiful place to contemplate Beaumont-sur-Sarthe for a short moment. In addition to the river, you can see the castle located on the heights of the town.

The church of St Pierre des Ormes holds an important place in the heart of the village, surrounded by its pretty flowerbeds. Dating from the 11th and 12th centuries, it has retained its Romanesque portal. After crossing it, you cross the narthex to reach a second door which opens onto the main nave of the building. The wooden vault is barrel-vaulted. An extension was made in the 16th century by adding a side aisle, with two windows which would become dormers. The small door with Renaissance decoration opened onto the cemetery, then adjoining. The current choir was built in the 19th century. The altar is made with two hemp braies supporting a beautiful wooden board. Note, on each side of the choir, wooden niches, one of which houses a statue of St John (with an eagle). A pilgrimage was organized every September 8th to Saint Gourgon, because the fountain was reputed to cure eye diseases. Very popular until the beginning of the 20th century, it was gradually abandoned. The fountain, now filled in, was located in the cellar of a house near the current town hall.

Saint-Rémy Church from the 11th and 16th centuries. Stained glass windows from the 20th century. Altarpiece of the Saint-Julien chapel from the 17th century.

The church of Commerveil is built on a simple plan with a single nave and a straight chevet. According to the town hall's research, this small church dates from the 11th, 12th and 17th centuries. Its small spire can be seen from afar and its ogival windows match its size. Inside, the altarpiece dates from the middle of the 18th century. Behind the wooden tabernacle, we discover a painting representing the Assumption of the Virgin. To the right of the large marble altar, is the statue of Saint Anne and to the left that of the Holy Virgin. On the side aisles, to the right above the altarpiece of the Sacred Heart, we see in a niche the statue of Saint John the Baptist with a sheep. To the left, above the altarpiece of the Virgin with the Sorrowful Heart, is in a niche a statue of Saint Magdeleine. These two altarpieces, in marble and sculpted stone and partly gilded, date from the 17th and 18th centuries and have been listed as historical monuments since 1982. At the top of the nave, there is a Christ on the cross, probably made of wood. A statue of St. Gilles, placed on a wooden base, is located on the back wall of the church. Note a painted paneled vault that dates from the 19th century. The restoration of the church was carried out in the early 1980s.

The Church of Saint-Rémy appears on the cartulary of the Abbey of Saint-Vincent du Mans, however, as usual, it was the Bishop of Le Mans who had the collation of the priest. Rectangular in plan, it has a single nave and a straight chevet lit by a triplet, which was hidden by the installation of a high altar. The church was enlarged in the 15th and 16th centuries by two chapels, placed to the north and south of the nave. The church has some remarkable pieces of furniture: a Christ on the cross and a Saint Anne, in stone, from the 16th century; the tympanum of a stained glass window, open in the south wall, depicting the angels carrying the Instruments of the Passion (16th century); a Pietà in stone from the 16th or 17th century; a Charity of Saint Martin, in stone (15th century). two wooden statues from the 18th century, Saint Leo Fort, pope, and Saint James (mistakenly identified as Saint Martin). Benefiting from a policy of the General Council of Sarthe in favor of contemporary artists, eight bays in this church were entrusted to Michel Madore (Montreal, 1949- ). The work focused on the restoration of the roof and the framework of two bays of the nave. The entire ridge was refinished in lead, including the simple finial, thus replacing the glazed tiles and the terracotta finial.

Of Romanesque origin, the church of Louvigny has undergone many transformations over time. Among other things, the altars and the altarpiece were donated in the 18th century by Mr. François Thébault, a wealthy donor born in Louvigny. A commemorative plaque was erected in his memory in the sacristy of the church after it was found at the end of the 19th century by Father Chartrain, then parish priest, on the roof of his presbytery, in place of a tile. It is likely that it was thus protected from the pillaging of the Revolution. The steeple dates from the 19th century. It replaced a campanile. It was also in the 19th century that the stained glass windows, the Stations of the Cross and the baptismal font were installed. Generally made of stone, these are very original, since decorated in the Napoleon III style, the period of their manufacture, they are made of cast iron and undoubtedly a fine example of the industrial production of this time. The portal, typically Romanesque, is preceded by two steps in which an eight-pointed star and a cross are drawn. This is perhaps a summary of the life of Christ, from the Star of the Nativity to the Crucifixion. Several elements classified as Historic Monuments have been restored over the last few years, thanks to subsidies from the State and the Department of Sarthe, as well as the generosity of subscribers to the Fondation du Patrimoine. Thus, the remarkable tabernacle of the high altar in gilded wood. Painted in faux marble in the 18th century, it is one of the largest tabernacles preserved in Sarthe. The painting located just above, also superbly restored, and attributed to François Mongendre (1644-1690), represents Saint Germain d’Auxerre meeting Saint Geneviève as a child.