바르주빌 주변 최고의 교통량 없는 자전거 라이딩 코스

그 기원은 10세기로 거슬러 올라가며, 당시에는 St Thibaut- des-Vignes에게 봉헌된 작은 예배당에 불과했습니다. Saint-Thibault가 언제 그리고 왜 Saint-Julien이 되었는지는 알려지지 않았습니다. 당시 Coudray 주민들은 Saint-Martin-au-Val 수도원의 교회에 모였습니다. 14세기 말에 이르러서야 Saint-Julien du Coudray가 본당으로 설립되었습니다. 이 교회는 "길이 26m, 너비 8m의 건물로, 규암 및 부싯돌 석조로 지어졌으며, 둥근 후진, 우아하고 단순한 정면 출입구, 정사각형 종탑, 반원형 또는 낮은 아치형 창문이 있으며, 모두 측면 및 모서리 버팀목으로 지지되어 있어 의심할 여지 없이 로마네스크 양식의 영향을 받았습니다. 또한 내부 성가대석에는 벽에 새겨진 작은 반원형 성수대가 있습니다 (...)." 수세기에 걸쳐 이 교회는 손상되고 유지보수가 부족했습니다. 새로운 예배당을 지을 필요가 생겼습니다. 그러나 1998년과 1999년 사이에 Coudray 시는 구조물 전체의 개보수 작업을 진행했습니다: 서까래, 지붕, 벽 및 스테인드글라스. 폐쇄된 적이 없는 이 교회는 몇몇 모임에만 사용됩니다. La Chapelle de Semaine (또는 작은 예배당) 1893년까지 "오래된 Saint-Julien 교회"였던 본당 교회는 마을에서 멀리 떨어져 있었고 단순한 길로만 접근할 수 있었습니다. 1842년 Coudray의 본당 신부로 임명된 Boucher 신부는 시의회에 "사제관 마당에 있는 빵 굽는 오븐을 자신의 비용으로 예배당으로 개조할 수 있도록 허가해 달라"고 요청하는 아이디어를 냈습니다. 이를 통해 그는 악천후를 무릅쓰지 않고 매일 미사를 드릴 수 있었습니다. 1893년에 마을 중심부에 있는 다른 교회가 너무 멀다고 여겨졌던 "오래된 교회"를 대체했을 때, 더 이상 존재 이유가 없었습니다. 1905년에 공동체 유산이 되었고, 1987년에 시에서 복원되었습니다.

루이장 교회에 대해서는 알려진 바가 거의 없습니다. 지방 정부 기록 보관소는 제2차 세계 대전 중에 파괴되었기 때문입니다. 14세기에 종교 건물이 존재했으며, 이 교구의 여러 사제들의 이름이 다양한 문헌에 언급되어 있습니다. 1568년 3월, 위그노 군대의 용병들이 휴전 때문에 샤르트르 시를 포위 공격했다가 철수해야 했을 때, 그들은 드루아즈 문 근처에서 생긴 돌파구를 통해 도시로 진입하려던 참이었는데, 이때 다른 많은 건물들과 함께 파괴되었습니다. 이후 1589년 샤르트르의 두 번째 포위 공격(앙리 4세에 의한) 때 다시 파괴되었습니다. 따라서 현재 건물은 주로 16세기 것입니다. 익랑이 없는 단일 신도석으로 되어 있으며, 약간 더 좁은 성가대석으로 이어집니다. 종탑이 성가대석 위에 지어졌기 때문에, 이전 교회는 이 성가대석만으로 이루어져 있었고 현재의 신도석은 나중에 추가된 것이라고 추정할 수 있습니다. 모든 창문은 첨두 아치형이며 크기가 비슷합니다. 모든 창문에는 샤르트르의 로랭 공방에서 제작한 스테인드글라스가 장식되어 있습니다. 성가대석의 세 개의 스테인드글라스는 루이장 거리에 그의 이름이 붙은 샤바우드레 대령이 기증한 것으로, 1877-1881년 사이에 제작되었습니다. 이들은 성모 마리아(대성당의 노트르담 드 라 벨-베리에르를 어설프게 모방하려는 시도), 성녀 아가타(대령 부인의 세례명), 성 베드로를 묘사하고 있습니다. 신도석의 스테인드글라스는 1929년부터 1933년 사이에 제작되었으며, 그중 여러 개는 제2차 세계 대전 이전에 로랭 공방에서 일했던 샤르트르의 스테인드글라스 장인 가브리엘 루아르가 디자인했습니다. 1997년에 복원된 전체 볼트는 나무 널빤지로 덮여 있습니다. 성가대석에서는 오래된 볼트에서 보존된 일부 장식을 볼 수 있습니다. 교회의 수호 성인인 성 라우메르를 묘사한 1749년의 그림이 신도석 입구 왼쪽 볼트 부분에 걸려 있습니다. «루이즈 가브리엘»이라는 이름의 종은 1601년에 제작되었습니다.

The main nave, ending in a semicircular apse, is preceded by a timber-framed porch and opens to the north onto a chapel through a wide archway. The timber-framed bell tower, clearly from the same period as the 17th-century wainscoting, rests on a base spanning the nave. A second nave is covered with quadripartite masonry vaults from different periods. Of a dressed stone tower, only the spiral staircase and the first level remain, built between the 11th and 13th centuries. The side aisle was built in the 14th century and enlarged in the 16th. 1660: Supposed collapse of the tower attached to the nave, of which only the first level remains. 1679: Paneling on the nave and probable construction of the small timber-framed spire. 19th century: Supposed construction of the timber-framed chapel. The church was under the jurisdiction of the chapter of Notre-Dame de Chartres (the chapter's name can be seen on the lock of the small door on the right and is painted on the walls of the capital with stars and the date 1733 L.M.M.P.).

The oldest document mentioning the Church of Saint-Martin in Fresnay-le-Comte is the charter of Renaud de Mouçon, Bishop of Chartres, confirming the possessions of the Abbey of Marmoutier, near Tours. This charter dates only from the last years of the 12th century, but the church's foundation may have already existed at that time. The building comprises two parts of roughly equal size and from different periods. The older part, roughly corresponding to the nave, is of a rather undefined style. The west portal, with its pointed arch devoid of any decoration, may date back to the 12th or 13th century, as may the first window of the nave, on the right. In the north wall, there is a small, walled-up doorway, whose lintel, adorned with an accolade, is no earlier than the 15th century, but the relieving arch above it appears older, perhaps from the 12th century. Half of the church, including almost the entire chancel, is from a more recent period and easily recognizable. The polygonal apse and the windows with their flamboyant tracery of late design indicate the very end of the 15th century. An inscription on one of the chancel's tie beams gives a precise date: In the year 1529, this chancel was completely rebuilt. The statue of the Virgin Mary was baptized during the Mass of October 30, 2021, by Father Pierre Paul. This statue, moved from the Chapel of the Three Marys in Mignières, was restored by Mr. Martial Moulin, a sculptor from Chartres.

On the night of April 2-3, 1903, a terrible fire completely destroyed the church of Saint-Sulpice. The spire, the roof, and all the furnishings—pews, pulpit, woodwork, altars—were consumed; only the walls remained standing. This church, 23.80 m long and 6.90 m wide, built in the shape of a perfect parallelogram with a straight chevet, formerly lit by a triple lancet window, was flanked on the right by a groin-vaulted chapel 6.10 m wide and 5.55 m deep, and on the left by the bell tower, beneath which was once a chapel, also groin-vaulted, but transformed into a sacristy a few years ago. This tower, reached by a stone staircase, was topped by an octagonal timber-framed spire, elegantly crafted and the tallest in the entire region. This church has been remodeled several times, most recently during the reconstruction of the Chapel of the Blessed Virgin in 1764. However, this dates back to the 16th century, as evidenced by the flamboyant ogival window with two mullions, only the top of which was visible, the lower part having been walled up to accommodate the altarpiece. The second window, on the south side, is semicircular with a mullion, adorned with stained-glass windows with figures of the Blessed Virgin, Saint Anne, and Saint Joachim framed in small medallions painted by Mr. Lorin in 1895. The nave wall received windows of the same style at the same time, but the enormous buttresses and the freestone stringcourse with dripstone were erected in the 16th century. The rest of the church, the gable of the façade with its Romanesque window flanked by two barely protruding pillars, the gable of the chevet with its triple lancet arch, protected by a semicircular arch of dressed stone, the entire north wall, also supported by slightly protruding buttresses and adorned with semicircular windows, and the bell tower, date from the late 12th century. The exterior entablature of the chevet was formed of carved corbels with foliage and strange, crude figures (alternating human heads and rams' heads), irrefutable evidence of this ancient origin. The church was consecrated after the 16th-century restoration, and a beautiful consecration stone with trefoiled ends can still be seen. The church's benefactor had his coat of arms carved on a projecting shield on the corner buttress of the façade gable, and inside the seigneurial tier. The destruction of the woodwork revealed two double oval shields on either side of the high altar, surmounted by a marquis's crown and supported by two greyhounds. The dexter shield bears a gules chevron, accompanied at the top by two roses of the same color and at the base by a cross of Lorraine; the sinister shield reveals a wild boar at the base and two flames or thunderbolts at the top. Could these be the arms of Mre Loup de Cosne? These same shields are found in the Chapel of the Blessed Virgin in four places and in the sacristy. In the Chapel of the Blessed Virgin, a third shield is also found bearing a standing lion, attached to a shield bearing a wild boar and two flames. In 1623, Loup de Cosne, Lord of Vovelle, had a daughter named Francoyse, baptized in Dammarie; in 1653, Charles de Cosne was lord of Loiville and Mre Mangot, lord of Boncé.

Unfortunately, the church was not accessible when I visited (mid-September 2024). You could only look in through a gate and the dance of death depictions on the left side were not really visible. In front of them were transparencies with skeleton drawings. Maybe those were the depictions...

Thivars is mentioned in 966 in the Chartres cartulary. In the 12th century, the church became the property of Josaphat Abbey. The current church was built in the 16th century: a date of 1545 is engraved on a cherub in the turret. It is a very high construction but very irregular, this comes from the fact that it belongs to several eras: ogival style in the windows, the entrance door is Romanesque (it may be the door of the first Romanesque church) . The choir was formerly separated from the nave by an iron grille which disappeared during the French Revolution. The ceiling has pretty paneling dating from 1645. The two side altars are dedicated: one to Notre Dame des Victoires and the other to Saint Joseph. Among the furniture we can note an interesting painting which represents Our Lord pronouncing on a coin. In 1940, two bombs fell less than 30 m from the church, destroying the stained glass windows on the south side which were replaced by grisailles in 1987. Three pretty stained glass windows light up this church: Nativity stained glass window installed by Mr Campin in 1955 Stained glass windows of the village's patron saints, Saint Radegonde and Saint Hilaire, installed in 1900 and 1987 respectively.

The nave was built in the middle of the 12th century, as indicated by the Romanesque door under the bell tower, on the site of the first church destroyed in 858 by Hasting. The bell tower was built at the end of the 12th century. 18.40 m long by 8.75 m wide, it was flanked by eight chapels destroyed during the fire of March 15, 1568, as well as a large part of the building (after the passage of the Huguenots). Only two of these chapels have been preserved: on the left, it houses the baptismal funds with the statue of the Sacred Heart and on the right the old confessional. The building was next to the Saints Pères farm which depended on the Saint-Pierre de Chartres abbey, very powerful in the 12th century. It was undoubtedly a place of prayer very frequented by numerous monks, hence the number of chapels. After the fire of 1568, the lord of Ver, Messire BELOT, raised the destroyed part in 1572 and added an extension to the east, 14.50 m long and 8.75 m wide; two ogival windows illuminated this new part, while an immense wooden altarpiece masked the apse. In 1850, Father PROUST had the five neo-Gothic windows pierced which light the choir and it was the LORIN workshop which installed the glass roofs and the stained glass window of the apse. Finally, the chapel of the Holy Virgin was erected in 1866 by this same priest. The vault was renovated in 1980; Made from chestnut strips, it is the work of Mr. PELTIER, former companion of the Tour de France. The curiosity remains the sundial, on the interior facade above the entrance door, a dial which faces east. The patron saint of the parish is Saint Victur (or Victor), former bishop of Le Mans, represented by one of the statues near the old altar, while Saint Roch and Saint Barbara watch over the side chapels, near the fonts. On each side of the old altar, two shrines contain the relics of Saint Victur on the right and Saint Facundi Marcellus on the left. In the chapel of the Holy Virgin, two statues frame the altar: Mary, child with her mother Saint Anne and Jesus child carrying the world while the Virgin sits above with Jesus. This chapel receives light through three stained glass windows which represent the mysteries of the Rosary: joyful, painful and glorious mysteries, coming from the Carmelites of Le Mans. The central altar is from 1983; on the facade, the sculpted frieze of the Lamb comes from the old altar of the Carmelites of Chartres, given to the parish of Ver and which had become too dilapidated. Mr. COLAS, craftsman, carried out this beautiful work. To the left of the nave, opposite the pulpit, a wooden altarpiece frames Our Lady of Lourdes, while at Mary's feet, Saint Joan of Arc and little Thérèse of Lisieux keep watch. Opposite them, Saint Anthony of Padua searches with the stunned. Near the sacristy door, an altar is dedicated to the good Saint Joseph.