드루 쉬르 드루에트 주변 최고의 교통량 없는 자전거 라이딩 코스

본당은 다면 앱스로 끝나며, 전체가 다각형 판넬 구조로 덮여 있습니다. 종탑이 정면을 장식하고 있습니다. 현재의 교회는 17세기에 거의 완전히 재건되거나 개조되었습니다. 목조 구조물은 완전히 이 시대의 것입니다. 트러스와 말린 타이 빔을 형성하는 서까래의 밑면은 장식 그림으로 장식된 싱글로 장식되어 있습니다. 이 목조 구조물은 17세기의 희귀한 사례 중 하나입니다. 루이 14세 시대에는 맹트농 수도교 건설을 위해 갈라르동 계곡에 캠프가 설치되었습니다. 장교들은 주변 성에 머물렀고, 궁정 방문과 함께 강렬한 삶이 이 지역에 펼쳐졌습니다. 이 교회는 그 당시에 완전히 복원되었고, 그 시대의 취향에 맞는 그림으로 장식되었을 가능성이 큽니다.

Houx의 생레제 교회는 Centre-Val de Loire 지역의 Houx 코뮌에 위치한 종교 기념물입니다. 그 존재가 입증되었지만, 이용 가능한 자료에서는 건설 시기나 관련 건축 또는 역사적 세부 사항을 명시하지 않습니다. 이러한 유형의 건물은 프랑스 소규모 코뮌의 전형적인 것으로, 영적 및 공동체적 측면 모두에서 지역 생활에서 종종 중심적인 역할을 합니다. Centre-Val de Loire에서 생레제 드 후와 같은 교구 교회는 역사적으로 주민들에게 필수적인 집합 장소였습니다. 그들은 종교 의식뿐만 아니라 사회적 또는 시민 행사에도 사용되었습니다. 그들의 존재는 일반적으로 마을의 중세 또는 현대 조직을 반영하며, 교회는 주요 지리적 및 정체성 랜드마크를 구성했습니다.

The charm of Nogent le Roi.

The Moulin de Mormoulins is a watermill located on the Eure River in the hamlet of Mormoulins. This mill dates back to the 18th and 19th centuries and is a listed historical monument. You can admire the old stone building, the wooden wheel, and the canal that diverts water from the river as you pass in front of the mill. The mill is surrounded by green fields and trees, creating a peaceful and relaxing atmosphere.

Great outing 👍

Saint-Martin Church. This extremely modest church consists of a four-bay nave extended by a three-sided apse to the east and a sacristy to the north. It is built of rubble block, with sandstone buttresses and shell limestone surrounds. Although its history is poorly documented, it is likely that an earlier 16th-century church was enlarged and modified in the 18th and early 19th centuries. Externally, its elevation is punctuated by a short timber-framed bell tower erected in 1889-1890 above the western bay of the nave. The western façade is late: it features an 18th-century arched doorway, with the first level lit by three unequal pointed-arch windows, an addition made in 1820. On the south façade, a stone cornice runs under the roof, while a drip edge stringcourse is located one meter above the ground. Two of the apse windows were blocked during the installation of the great altarpiece. In 1890, when the spire was moved, the first bay of the nave underwent some modifications: the western wall was lined internally with another wall in which three large arches were cut; in the space thus delimited, two chapels were created on the ground floor, on either side of the entrance door, and a small gallery on the first level, while a staircase provided access to the bell tower. The interior of the church was furnished and decorated in the late 18th century. and during the Restoration: the Visitation altarpiece (1815-1820) dates from this period. Some statues, including four wooden evangelists, came from the old tabernacle. Statues of Saint Martin and Saint James were placed in the side niches of the altarpiece. The Sauvegarde de l'Art français (French Art Protection Agency) contributed €30,490 to the roofing work on the building in 2002.

According to tradition, the church choir covers the remains of an older building, possibly dating back to the 6th century, which was built to house the saint's body. According to current knowledge, the commune of Saint-Piat (Sanctus Piatus in Latin) officially appeared in 1087, mentioned in a charter of the Nottonville Priory (Eure-et-Loir), on which it depended. The current building was rebuilt during the time of Francis I, as suggested by the date 1535 engraved on two buttresses of the apse and the date 1542 engraved on a piece of wood from the vault. This is according to a study by the SAEL (Eure-et-Loir Archaeological Society). The three-sided apses, the dripstone towers (horizontal members projecting from a wall), and the sculpted roof structures are a testament to the importance of the reconstructions carried out in the department during the 16th century. The church of Saint-Piat is one of them. While the church has not been officially recognized, it nevertheless contains objects that have attracted attention both for their antiquity and quality, but not always for good reason. Their artistic value, far from attracting only religious or aesthetic interest, has also aroused a covetousness that, unfortunately, remains for some of them. Fortunately, those still in place are carefully cared for and offer the curious a story to discover, a beauty to slowly ponder as they progress toward the choir.

It is best to take it in the direction of the ascent, from south to north.