RoutesRoad cycling routesFranceNormandyMortagne-Au-PercheVitrai-Sous-Laigle
Conturbie Pond – Tourouvre solar road loop from Vitrai-sous-Laigle
RoutesRoad cycling routesFranceNormandyMortagne-Au-PercheVitrai-Sous-Laigle
Conturbie Pond – Tourouvre solar road loop from Vitrai-sous-Laigle
Moderate
4
riders
Conturbie Pond – Tourouvre solar road loop from Vitrai-sous-Laigle
02:50
62.3km
460m
Road cycling
Moderate road ride. Good fitness required. Mostly well-paved surfaces and easy to ride. The starting point of the route is accessible with public transport.
Last updated: March 24, 2026
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A
Start point
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1
12.2 km
Conturbie Pond
Highlight • Other
This pond bears the name of the old village of about fifteen inhabitants which disappeared during the 19th century. Of the original church there remains only a section of ruin which stands in the middle of the undergrowth
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2
18.3 km
Saint Bernard Fountain of La Trappe Abbey
Highlight • Religious Site
Spiritual home of Trappist monks, this abbey and monastery have had a tumultuous history. You will appreciate the most beautiful doors of the monastery when you pass by.
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3
31.4 km
Tourouvre solar road
Highlight • Other
Inaugurated in 2016 with strong media coverage by Ségolène Royal (then Minister of the Environment and Energy), this section of road had been equipped with special solar panels over a length of one km. It was a world first intended to serve as a test for the manufacturer (Colas Wattway), the Region and the State. After an initial period of 3 years, the findings were mixed. Indeed, the solar panels had suffered premature deterioration due to traffic, bad weather and rotting tree leaves that had fallen on them. The specific surface caused noise pollution leading to discontent among the neighborhood, forcing the town hall to reduce the speed from 70 to 50 km/h on this section. In some areas, solar panels had come loose from the roadway and had to be removed. The system had sometimes tripped due to storms. All stakeholders had agreed in 2019 that the results were not there, because the road produced much less electricity than anticipated, while the maintenance and repair costs were high.
But, based on this experience, the manufacturer developed other prototypes and a second generation of solar panels was installed at the end of 2021 over a length reduced to 400m. The objective of this second phase of the experiment, with a planned duration of two years, is to continue to improve the photovoltaic road surface technology.
But, based on this experience, the manufacturer developed other prototypes and a second generation of solar panels was installed at the end of 2021 over a length reduced to 400m. The objective of this second phase of the experiment, with a planned duration of two years, is to continue to improve the photovoltaic road surface technology.
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4
32.1 km
Saint-Aubin Church, Tourouvre
Highlight • Other
5
49.8 km
Notre Dame de l'Assomption Church
Highlight • Other
A flowery village, Moussonvilliers takes particular care of the surroundings of its church. By walking along flower beds, you can access it via the covered porch, off-centre with respect to the axis of the gable, the corners of which are reinforced with double buttresses. The church has two naves of unequal width, gathered under the same roof. Built in the 16th century, its poor condition probably required the alterations carried out in the 19th century. From the outside, you can see in particular the use of bricks for the repair of the windows and the cornices of the roof.
Inside, between the two parallel naves, the four stone pillars cut into a prism, dating from the construction, carry a wide horizontal band along the entire length of the building (probably made of large beams covered in plaster, replacing the old stone arcades). This band reinforces the beams on which the "tie beams" of the exposed framework rest, and at the same time supports the fall of the two plaster vaults. These structural modifications nevertheless respect the general appearance of the building.
At the central altar, the tabernacle evokes the parable of the Good Shepherd who carries the lost sheep on his shoulders. Above, the classical style altarpiece in wood with decorations enhanced with gold, is decorated in the center with a large painting of the Assumption of Mary taken up to heaven by angels. The landscape placed very low accentuates the upward movement of the composition. This painting, of a certain artistic quality, dated 1855, is signed by Claire Hombcrg.
Two statues frame it in the niches: on the left, a pretty Virgin in polychrome stone from the 16th century. Crowned with fleurs-de-lys and draped in a blue cloak, she holds the infant Jesus, who stretches out his arm towards the object she is presenting to him (an apple or a bird? We do not know because the right hand is broken). On the other side, in polychrome wood from the 18th century, Saint Catherine of Alexandria reading a book, was once invoked as the patron saint of schools because of her in-depth education. She had in fact publicly and successfully refuted the erroneous theses of several philosophers whom she converted to the Christian faith. She suffered martyrdom in the 4th century.
Other statues deserve particular interest. Leaning against a pillar, the 16th century, in stone, of Saint John the Baptist, his cloak raised over his bare legs, presenting the Mystic Lamb placed on the large book of the Bible. And also, from the same period, the small polychrome stone sculpture depicting the education of the Virgin Mary by Saint Anne. It is difficult to see the details because it is placed in a niche above the door. But it is a precious ancient testimony of the devotion to the patron saint of our parish Sainte-Anne-du-Perche.
Finally, to the left of the door, the polychrome wooden statue of Saint Paul. The expression on his face reflects somewhat the ardor of his vocation as an apostle of Christianity. Converted by his vision of the road to Damascus, he devoted himself entirely to preaching the doctrine of Christ the Redeemer, traveling through the countries of the Hellenized East to found and lead new communities of baptized people. Thanks to him, the evangelical message was not limited to populations of Jewish culture, but was addressed to people throughout the world. His writings are an ever-current and living source of the doctrine of the Church, the body of Christ.
Inside, between the two parallel naves, the four stone pillars cut into a prism, dating from the construction, carry a wide horizontal band along the entire length of the building (probably made of large beams covered in plaster, replacing the old stone arcades). This band reinforces the beams on which the "tie beams" of the exposed framework rest, and at the same time supports the fall of the two plaster vaults. These structural modifications nevertheless respect the general appearance of the building.
At the central altar, the tabernacle evokes the parable of the Good Shepherd who carries the lost sheep on his shoulders. Above, the classical style altarpiece in wood with decorations enhanced with gold, is decorated in the center with a large painting of the Assumption of Mary taken up to heaven by angels. The landscape placed very low accentuates the upward movement of the composition. This painting, of a certain artistic quality, dated 1855, is signed by Claire Hombcrg.
Two statues frame it in the niches: on the left, a pretty Virgin in polychrome stone from the 16th century. Crowned with fleurs-de-lys and draped in a blue cloak, she holds the infant Jesus, who stretches out his arm towards the object she is presenting to him (an apple or a bird? We do not know because the right hand is broken). On the other side, in polychrome wood from the 18th century, Saint Catherine of Alexandria reading a book, was once invoked as the patron saint of schools because of her in-depth education. She had in fact publicly and successfully refuted the erroneous theses of several philosophers whom she converted to the Christian faith. She suffered martyrdom in the 4th century.
Other statues deserve particular interest. Leaning against a pillar, the 16th century, in stone, of Saint John the Baptist, his cloak raised over his bare legs, presenting the Mystic Lamb placed on the large book of the Bible. And also, from the same period, the small polychrome stone sculpture depicting the education of the Virgin Mary by Saint Anne. It is difficult to see the details because it is placed in a niche above the door. But it is a precious ancient testimony of the devotion to the patron saint of our parish Sainte-Anne-du-Perche.
Finally, to the left of the door, the polychrome wooden statue of Saint Paul. The expression on his face reflects somewhat the ardor of his vocation as an apostle of Christianity. Converted by his vision of the road to Damascus, he devoted himself entirely to preaching the doctrine of Christ the Redeemer, traveling through the countries of the Hellenized East to found and lead new communities of baptized people. Thanks to him, the evangelical message was not limited to populations of Jewish culture, but was addressed to people throughout the world. His writings are an ever-current and living source of the doctrine of the Church, the body of Christ.
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6
52.9 km
Saint Maurice Church
Highlight • Other
Of Romanesque foundation, the church of Saint-Maurice-lès-Charencey, dedicated to Saint Maurice, was remodeled at the end of the Middle Ages and then extensively renovated in the 19th century. It consists of a nave of four bays ending in a semicircular apse. This nave constitutes the oldest part of the building onto which several elements were grafted to the north. The building is indeed flanked on this side by a side aisle opening onto the nave by a series of large arches with a broken profile. This side aisle, the first bay of which serves as the base of the bell tower, opens onto the north arm of a transept of which only this part was built or remains. Its construction probably predates that of the side aisle, as would tend to prove, thanks to the careful examination of the framework, the presence of an old valley ridge, visible under the current roof. During the Restoration, the church's western façade was completely rebuilt; the current bell tower, likely erected in place of an older one, belongs to this same renovation project, which can be dated to 1821 according to an inscription inserted in the gable wall. Finally, a sacristy was built later in the northeast corner of the building, against the apse and the transept arm.
Constructed of rubble stone covered in some parts with an old lime render, and in others with a hydraulic binder-based render that was quite unsightly and would eventually deteriorate, it rests on a basement partially uncovered during the work on the western façade. Its current slate roof does not appear to be original: the church was once covered with flat tiles.
Several types of bays bear witness to the successive interventions in the building: the choir retains three examples of small, semicircular bays made of Grison stone, two of which were partially walled up during the installation of the great high altar and altarpiece in the choir. The workmanship of the other bays pierced in the south wall, with their broken profiles and brick frames, testifies to 19th-century work. As for the stones and limestone latticework of the large window, of fine quality, with flamboyant tracery that illuminates the north arm of the transept, they show worrying alterations.
While the exterior of the church attracts little attention—its unfinished and rather unsightly surroundings contribute to this—the interior presents a rich and interesting decoration. Indeed, the nave is covered by a beautiful, high-volume, paneled timber vault with a broken profile, the entire surface of which is decorated with stencils with highlights of red, blue-gray, and black. The hallmarks and tie beams are carved and painted. Emblazoned engolante heads decorate the central sections of the tie beams. The choir vault features a particularly elaborate blue scrollwork decoration, probably reworked in the 19th century, but of high decorative quality. The choir is occupied by a substantial high altar with a reredos, with three sides, which therefore does not follow the curve of the masonry and conceals the roof posts decorated with Ionic pilasters. The central panel, crowned by a pointed pediment, is framed by side panels with triangular pediments. Niches, pilasters with Corinthian capitals, and obelisks complete this work. The aisle is also covered by a paneled vault decorated with painted red, gray-blue, and black bands, with white festoons and plant motifs.
For masonry, framework and roofing work, the Sauvegarde de l’Art français granted a grant of €18,294 in 2001.
Constructed of rubble stone covered in some parts with an old lime render, and in others with a hydraulic binder-based render that was quite unsightly and would eventually deteriorate, it rests on a basement partially uncovered during the work on the western façade. Its current slate roof does not appear to be original: the church was once covered with flat tiles.
Several types of bays bear witness to the successive interventions in the building: the choir retains three examples of small, semicircular bays made of Grison stone, two of which were partially walled up during the installation of the great high altar and altarpiece in the choir. The workmanship of the other bays pierced in the south wall, with their broken profiles and brick frames, testifies to 19th-century work. As for the stones and limestone latticework of the large window, of fine quality, with flamboyant tracery that illuminates the north arm of the transept, they show worrying alterations.
While the exterior of the church attracts little attention—its unfinished and rather unsightly surroundings contribute to this—the interior presents a rich and interesting decoration. Indeed, the nave is covered by a beautiful, high-volume, paneled timber vault with a broken profile, the entire surface of which is decorated with stencils with highlights of red, blue-gray, and black. The hallmarks and tie beams are carved and painted. Emblazoned engolante heads decorate the central sections of the tie beams. The choir vault features a particularly elaborate blue scrollwork decoration, probably reworked in the 19th century, but of high decorative quality. The choir is occupied by a substantial high altar with a reredos, with three sides, which therefore does not follow the curve of the masonry and conceals the roof posts decorated with Ionic pilasters. The central panel, crowned by a pointed pediment, is framed by side panels with triangular pediments. Niches, pilasters with Corinthian capitals, and obelisks complete this work. The aisle is also covered by a paneled vault decorated with painted red, gray-blue, and black bands, with white festoons and plant motifs.
For masonry, framework and roofing work, the Sauvegarde de l’Art français granted a grant of €18,294 in 2001.
Translated by Google •
Tip by
7
57.2 km
Beaulieu War Memorial
Highlight • Monument
War memorial Located in the town of Beaulieu.
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8
57.4 km
Notre Dame de l'Assomption Church
Highlight • Other
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.
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.
Translated by Google •
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B
62.3 km
End point
Bus stop
Way Types & Surfaces
Way Types
61.2 km
762 m
288 m
Surfaces
42.1 km
20.1 km
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Highest point (310 m)
Lowest point (200 m)
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Sunday 24 May
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