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In the center of Randonnai, the 16th-century Saint-Malo church, enlarged in 1836, houses several works classified as Historic Monuments, including a classical altarpiece with paintings of Saint Andrew and Saint Sebastian. Funeral slabs serve as threshold steps. Inside, a plaque commemorates the departure of Pierre Tremblay (whose birthplace is in La Filonnière) in 1647 for New France. He is the ancestor of the Tremblays of Quebec and North America.

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Since 1823, the commune's territory has united the former parish of La Trinité, which was under the bishopric of Chartres, and that of Beaulieu, under the bishopric of Evreux, located on either side of the Avre River, which marked the separation. The tall brick bell tower-porch was added in the 19th century to the older nave (15th-16th centuries?), rectangular in plan, whose wooden vault rests on an exposed roof frame. This modest rural church houses, as a counterpart to the Curé d'Ars, a 15th-century polychrome stone Virgin of exceptional artistic quality. The two sculpted doors of the sacristy come from La Trinité, as well as the engraved "flat tomb" attached to the nave wall. It dates from the 15th century. and the inscriptions are difficult to decipher: Jean Fillon, wearing a canon's hood and a chasuble, his hands clasped and his feet resting on two small dogs, is depicted in a Gothic setting with two angels, silhouettes of altar boys, and canons. Near the baptismal font decorated with three fleurs-de-lis is a large painting of Saint Gilles the hermit, with the doe lying at his feet. A beautiful series of stained-glass windows from the early 20th century illustrate scenes from the New Testament, and two others show Joan of Arc at the king's coronation in Reims, then taking communion in her prison before being led to the stake.

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The church dedicated to Saint Christopher was under the patronage of the Abbey of Saint-Père de Chartres in the 12th century. Of Romanesque origin, the building was extensively enlarged and remodeled during the 16th and 19th centuries; it is currently undergoing a general restoration. This church owes its fame to the automobile pilgrimage held on the last Sunday in July. The single-aisled building, preceded by a porch, consists of a nave and a choir with a recessed flat chevet. To the south are the bell tower and a chapel. The use of traditional materials in this part of Normandy—flint and grison, a locally quarried ferruginous stone—indicates that the oldest parts of the building are of medieval origin. The nave is built of rubble masonry (grison and flint) set in mortar. In dressed stone, Grison was used to form, on one side, the corners of the exposed gable of the nave and, on the other, the corner buttresses, to frame the small arched openings, since walled up but still visible on the north and south walls, as well as the pointed arch of the portal. The same approach is found in the choir. The elevations are finished with a quarter-round cornice, part of which is also made of Grison stone. The use of brick corresponds to the 19th-century interventions, in two phases of work whose completion date is unknown. An examination of the construction reveals a first phase of repairs to the openings, particularly in the choir and nave, where large rectangular openings with curved lintels were created, the bricks of which are light in color. This was followed by further interventions with pointed arched openings framed in purplish brick, some of which replaced the rectangular openings of the previous phase. The porch features an ornate gable of light-colored, rendered brickwork, flanked by brick and chipped flint pilasters, and pierced by a central bay framed in brick and topped with a niche; the side sections are timber-framed on a masonry base. The southern flank of the building was added during the 16th century to a vast chapel and a bell tower, made of rubble blockwork, in which bays are pierced, framed in limestone, with curved profiles in the case of the bell tower. Restoration work has revealed several molded courses on the south face of the chapel, corresponding to a bay removed during later restorations, which confirm the dating of this part of the building. This chapel opens onto the nave through a large arcade adorned with several rows of moldings, resting on simple square piers devoid of decoration, with animal figures (reused?) at their bases, unearthed during the restoration work. The interior is remarkably simple, with whitewashed walls and geometric stained-glass windows. Only the choir is more ornate; its entrance is marked by a stone arch resting on hexagonal piers with historiated capitals, where a sculpted frieze of foliate ornaments, figures, and a coat of arms unfolds. The church has a painted faux-marble altarpiece, above which are visible traces of incomplete wall paintings depicting draperies. The rafter frame forming a truss was straightened and reinforced by restoring the removed or weakened kingposts and tie beams. According to tradition, the carpenters left the mark of their work by sculpting a scalloped ... The bell tower's belfry has also undergone a complete restoration. For this restoration, designed to strengthen the church and enhance its architecture, the Sauvegarde de l'Art Français (French Art Protection Agency) granted €10,000 in 2005.

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After seven and a half years of experimentation, malfunctions and a yield well below expectations, this solar road was finally dismantled in the summer of 2024, signaling the failure of a certain technological utopia. The electricity production was never at the level of the hopes raised: in 2022 for example, the figures indicated that the road could only supply electricity to three homes. The idea of powering the village's public lighting, which had been launched at the start of the project, was quickly abandoned. From the first weeks of operation, many problems appeared: subsidence, fouling, noise pollution, etc. Technical problems that led to frequent closures of the road. And the dissatisfaction of locals and users ended up sounding the death knell for this pioneering experiment. In the end, the project turned out to be three times more expensive than conventional solar panels. Despite these setbacks, the manufacturer behind the project insists on the importance of the lessons learned. Recognizing that their photovoltaic panels are not suitable for a conventional road, the company decided to direct its technology towards cycle paths, parking lots or sidewalks, and other passages subject to less damaging traffic constraints. In any case, the idea of covering our roads with photovoltaic panels, where cars, trucks and various agricultural machinery circulate, remains, in the current state of technology, a utopia.

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In the nearby park shaded by large trees, the ruins of fortifications recall the memory of the six towers of the old castle built in the 11th century……. In the nearby park shaded by large trees, the ruins of fortifications recall the memory of the six towers of the old castle built in the 11th century by Geoffroy IV, Count of Perche, in order to control this border region near the Chartres region, Normandy, and the possessions of the Lords of Bellême and Alençon which extended as far as Sées. During the Hundred Years' War, Charles, Count of Evreux and King of Navarre, allied with the English against the King of France, seized the fortress in 1364. It was then besieged and retaken on behalf of King Charles V by his younger brother Philip the Bold, Duke of Burgundy, using catapults that threw large stones to collapse sections of the walls. But after the English victory at Verneuil in 1424, they rushed to destroy Marchainville, setting fire to the town and the castle. The church, too, has experienced some vicissitudes. It occupies the site of a very old small monastery, given to the abbey of Saint-Evrouit by a certain Fulchierus of Chartres, who was chaplain to Baldwin I, King of Jerusalem and author of an account of the first crusade. The monks built the priory church in the 11th century, of which the thick right wall with its flat buttresses, the cornice in grison stone, and the support points of the descending roof, which housed a small adjoining cloister, still remain. The church was enlarged (end of the 15th or beginning of the 16th century) along its entire length by a side nave resting on stone arches, whose voussures connect without capitals to octagonal pillars. On the unfortunate initiative of Abbot Fleuriel, this side nave was knocked down in 1723, and the roof of the church lowered. It was not until 1810 that a new priest, Abbot Dubois, had the four arcades of the current chapel of the Virgin reopened. The three other old arcades, still visible, remain blocked in the left wall of the nave. Unfortunately, on March 15, 1820, the shock of an earthquake caused the old square bell tower of the priory, which was located above the entrance to the choir, to collapse, which caused considerable damage. Thanks to the generosity of the inhabitants and the personal contribution of the Bishop of Séez, the church was repaired and a new bell tower was erected next to the entrance porch in 1824. On the classical-style altarpiece, a painting, dated 1949, of the Holy Virgin surrounded by angels replaces the painting of the Assumption hanging in the nave. The 18th century tabernacle presents a pretty wooden statuette of the resurrected Christ, with on each side those of a holy bishop with a kneeling donor, and perhaps a Father of the Church. Two pretty statues of Saint Lawrence and Saint Peter adorn the altarpiece of the chapel of the Virgin, where in the center appears the traditional image of Our Lady of Victories presenting Jesus as a child on a starry sphere that symbolizes the world. Above, appear God the Father, his arms outstretched, and the Holy Spirit. Finally, let us not forget the curious statue of Saint Louis with his scepter, presenting the crown of thorns and the three nails of the crucifixion, nor the ancient painting, in the nave, of Saint Eloi as bishop, with his anvil of patron saint of blacksmiths.

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Located in a green setting, this chapel of Romanesque origin has preserved all of its 16th century painted decor. An excellent overview of the artistic production of the period. Romanesque in origin and then remodeled in the 12th and 15th centuries, the chapel of Réveillon is one of the rare churches that have preserved their wall paintings. The richness of its treatment and themes is exceptional. We can still read on these walls a profusion of details such as a frieze of arabesques where birds, fruits and flowers are intertwined. Its varied themes represent, among others, The Dict of the Dead and the Three Living, the Passion, the Temptation, the Lives of the Saints and Martyrs, Saint Christopher, etc.

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Church with a brick bell tower built between 1890 and 1898

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Arriving at La Framboisière, you can barely make out the church bell tower which blends in with the tops of the majestic trees of the Senonches forest. A privileged location on the edge of the Perche, rather sought after by second homeowners who represent a quarter of the homes.

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