퐁텐 도질락 주변 최고의 교통량 없는 자전거 라이딩 코스

The high octagonal tower of the bell tower consists of two floors. The first is embellished on each side with two high blind bays. The second finished in the Gothic period is added by eight large windows. The inner curve of each is cut into small lobes reminiscent of the Moorish style. During the construction of the facade, the nave was shortened by one bay. In the 14th century ogival style, the arched portal with arches is accompanied by a trefoil window underlined by a checkered cornice. The square chevet has preserved in the masonry old parts of the semi-circular chevet of Romanesque origin: remains of arcades on columns with capitals, remains of cornices and windows. The old bay in front of the choir is remarkable for the quality of the sculptures of the Romanesque capitals. One represents a shrine on an altar guarded by two figures. According to C. Connoué, it is an original subject for Saintonge which would have its similar in the church of Notre-Dame-de-Soulac (Gironde). The shrine represents a church whose two-storey bell tower has a conical roof like that of the Abbaye aux Dames in Saintes or closer to Rouffignac, Nieul-Ie-Virouil. The scene is framed by two large chandeliers, furniture that is rarely represented in Saintonge sculpture. On another capital, Adam and Eve are represented after the original sin in silly niches drawn by small trees, including that of Good and Evil. Another shows birds in leaves, a subject that is also treated in the church of Grézac or in that of Jarnac-Champagne. Outside, the Romanesque chevet is punctuated by engaged columns of decreasing section.

There is a great children's park

The church of Saint-Pierre depended in the 14th century on the abbey of La Couronne (Charente). Of Romanesque origin (12th and 13th centuries), it has suffered numerous damages and many restorations have taken place. The gable facade is pierced in its central axis by an early 16th century portal with a grooved arch, framed by prismatic tori and flanked by two blind bays. The whole is surmounted by a rose window. The side walls are perforated with narrow openings, some of which are underlined with a diamond-point cord. The 12th century building has a single nave with a trefoil choir. The semi-circular chevet is decorated with a chamfered cornice decorated with zigzags on brackets engraved with various subjects. Many engraved names accompanied by dates from the 18th century are visible on the bedside wall. The interior of the nave is covered with a semi-circular barrel vault. On the south side, a 16th century crypt is occupied by a tomb decorated in the flamboyant style. The two apsidioles vaulted in cul-de-four give the church a trefoil plan. The square of the transept supported the old bell tower. All that remains are back-to-back columns adorned with claw bases and worked grooves. The sculptures accompanying the pilasters are modern. The bell tower was redone in concrete with an external staircase in place of the previous one, which itself replaced the original bell tower, which fell in the 1950s. Under the modern, octagonal bell tower, there is a mass of columns with ornate capitals and bases (foliage, animals, colorful characters). The choir is barrel-vaulted with a semi-circular arch. The chancel columns are also adorned with claw bases on the north side and flutes on the south side. The cul-de-four apse is openworked with three similar windows with small columns. Paintings of Saint-Pierre and Saint-Paul. Tomb with recumbent in the habit of an ecclesiastic whose head and hands have been destroyed. The Saint-Pierre church was classified as a historical monument in 1970.

The church, built in the shape of a Latin cross, the first construction elements of which date from the 11th and 12th centuries, with later additions and alterations (15th and 19th centuries to the beginning of the 13th century then modified in the 15th and 16th centuries, is dedicated to Saint Séverin, alias Seurin, bishop of Bordeaux in the 5th century, and whose feast day takes place on October 21. However, the solemn patronal feast is that of Saint Blaise, martyr bishop of the 4th century, fixed on February 3, and for which there is great veneration in the country. The main portal of the church, as well as the two false doors, are crowned by ogival arcades with a few rare ornaments borrowed from the Romanesque period, such as saw teeth, diamond points, etc. These gantries have been the subject of a subconstruction. The nave is made up of three recently vaulted bays in brick and plaster, without ribs; each span is separated by groups of four small columns, only two meters and fifty high, and appearing to date from the 14th century. The apse has two bays in the 15th century ogival style. The Saint-Joseph chapel, to the north, has kept its original Romanesque style; it is dominated by a semi-circular vault, and offers the example of an apsidion of which no advantage is currently being taken. It is adorned with a small apse which housed the baptismal font. The chapel of the Virgin, to the south, was remodeled in the 17th century; it has the character of a 15th century restorer; it was then lengthened, and consists of three spans. There is, it is said, an ossuary under the choir. The bell tower with a cone or "pine cone" spire, placed above the transept, and about 24 meters high (54 steps lead to its summit), is worthy of attention. This is the oldest part of the church. It is covered with a stone dome carved in tortoiseshell called the pine cone bell tower, similar examples of which can be found in Saintonge (Abbaye aux Dames de Saintes, Notre-Dame-de-l'Assomption church in Fenioux)3 but which recalls above all the domes of Byzantine inspiration observed in Poitou, Angoumois and Périgord (church of N.-D.-la-Grande in Poitiers, cathedral of Saint-Pierre in Angoulême, cathedral of Saint-Front in Périgueux). The foreground includes five Romanesque windows on each side, oriented as usual, on the upper level there are only two; the tower ends in a cut of stone, formed of small somewhat deformed cubes and forming a slightly rounded cone, but deformed by time. Inside, this bell tower offers a quadrangular vault, with cut sides, of very good taste. The bell, weighing 430 kilograms, was cast by Guillaume Besson, from Angers, and blessed in 1859, under the name of Marie. The godfather was Mr. Blanc Fontenille, former lawyer and notary, mayor of Nieul, and the godmother Mrs. Marie Belloteau, born Babin; parish priest M.Antoine Lanson.

Hilaire de Poitiers (in Latin Hilarius Pictaviensis) is the first bishop of Poitiers actually attested, born around 315 and died in 367. He is also one of the first Latin Christian writers. A fourth-century theologian, he was a great defender of Nicene orthodoxy against Arianism and Sabellianism. He was designated by the title of "Athanasius of the West" because of his energetic and pastoral action in the promotion of Christian orthodoxy. It is a pretty little church that bears his name, and which is in the heart of the village. It presents a most interesting example of a primitive novel. The facade is a tripartite composition with two superimposed registers, without any sculpture, except for the two herringbone cords which frame the second register. At ground level, the 2 blind side bays are narrow and higher than the gate. The upper arcade has five arches resting on columns with bare capitals. The central arch is pierced by a small bay. The simple nave leads to the square under the bell tower. Barrel vaulted, it has a most archaic Romanesque base. The side walls are composed of two levels of arcades of equal height. The lower register is made of two arches on columns, the upper register of three, of which the middle one is pierced by a bay. Some colonens have disappeared. The bell tower is supported on its north face by a staircase. Each side of the staircase is pierced with twin trilobed bays. The whole is topped with a slate spire. The flat chevet is surmounted by a very steep gable rebuilt in the 19th century. It includes an ogival bay, walled from the inside, underlined by a sculpted cordon. Its perimeter is highlighted by a cornice decorated with a frieze with geometric patterns reminiscent of the arches of Guitinières, a neighboring town. As for the modillions that accompany it, some are not lacking in originality, others are very refined. The choir, rebuilt in the Gothic period, occupies two bays with ogival vaults with formers and keys. The ribs fall on groups of small columns with capitals adorned with large ivy leaves. We will notice on the perimeter of the church some old stones engraved with escutcheons and a boat.

The city gate, called 'Porte de ville vieille', which gives access to the old town was built between the 13th and 15th centuries and allows you to reach the very typical houses of the town center of Jonzac. It was classified as a historical monument in 1926.

In 1073, the castle already exists; the first known lord was Guillaume de la Rochandry at the beginning of the 12th century. The 1449 inscription on the castle attests to its reconstruction following the destruction caused by the Hundred Years War. In 1505, Jean de Sainte-Maure, lord of Jonzac, founded the Carmelite monastery on the remains of an old chapel dedicated to Saint Nicolas. The cloister was built in 1657. The young Louis XIV, the Queen Mother and Mazarin stayed at the castle in 1659. The castle remained at Sainte-Maure until the end of the 17th century, then passed through marriage to Espardes de Lussan, which transformed the fortress in beautiful stately home with neat ornamentation and guard until the Revolution. Currently the north wing of the castle houses the buildings of the Town Hall (restored in the 19th century), and the south wing, those of the sub-prefecture. The cloister was restored between 1976 and 1978, and now houses a cultural center, with exhibition halls and an archaeological museum. The towers, postern and fountain in the basement date from the 12th century. Of the old feudal castle, only the postern and an isolated tower remain, connected to the main body by a large hall. The moat in front of the drawbridge was filled was filled in the 19th century. It was reopened at the beginning of the 21st century. The imposing gatehouse is marked 1549 and therefore dates from the 16th century, a period of work including the north-west tower, while the south-west tower, of a smaller diameter, is from the 17th century. The towers flanking the postern have retained their defenses. At each, the loopholes have been retained or enlarged. Stone stairs serve each floor and access the walkway. This passage seems to have been discovered, as evidenced by the gargoyles. The crenellation includes machicolations with archers in the middle of the merlons. The slate roofs are high pepperboxes on the towers, and a curious set with two sides connecting two pepperboxes for the gatehouse The fountain located in the basement of the sub-prefecture, has a niche and a niche frame decorated with sculptures imitating stalactites. Carved mask. The fountain was probably built by Léon de Sainte-Maure, Count of Jonzac, who enlarged and embellished the castle in the middle of the 12th century. In a former courtyard of the castle, a theater was built in the 19th century. It is a round building with approximately 300 seats.

The Seugne crosses a single department, in this case that of Charente-Maritime, watering thirty-six communes and seven cantons. The Seugne has its source in the canton of Montlieu-la-Garde, then crosses the cantons of Montendre, Jonzac, Saint-Genis-de-Saintonge, Pons, Gémozac and, finally, confluences in the canton of Saintes-Est. The Seugne has eighteen tributaries or referenced arms. The old forms of the name Seugne are flumen Soenna around 1100, Sonye in 1280, la Soyngna in 1322, la Soyngnhe in 1354, aqua Soynnie in 1363, Souaigne in 1494. The current pronunciations, Seugne and Souègne, are based on a medieval form Soïgne, which the scribes of the 13th and 14th centuries had difficulty transcribing. According to Duguet, a more recent spelling, Seuigne was misread and interpreted Sévigne in the 19th century.