The best road cycling routes around Bazoches-Les-Hautes

The Church of Saint-Martin de Gommerville (Eure-et-Loir) dates back to the 12th century, the era of its initial foundation in the Romanesque style. Here are the main stages of its history and architectural evolution: The main stages of its construction • 12th century (Origins): Erection of the initial church. From this early Romanesque period, the building notably retains the south transept with a characteristic ribbed vault. In 1180, the patronage of the church was officially ceded to the abbey of Valmont by Robert d'Estouteville. • 18th century: The church underwent significant modifications. The nave, a large part of the crossing tower, and the north transept arm were entirely rebuilt during this period. • 19th century (Renovations): In 1825, the current chancel was built by the stonemason Turquetille (who left an engraved inscription there). Later, in 1844, the architect Brunet-Debaines added the sacristy. The impact of the French Revolution During the Revolution (early 1794), the church suffered from the waves of dechristianization. Its assets, furniture, and pews were seized and sold by the municipality. True to the history of many churches in the region, its bells were taken down and then melted down to manufacture cannons for the revolutionary armies.

The Church of Saint-Martin de Gommerville finds its origins in the 12th century, the era of its initial foundation in the Romanesque style. Here are the main stages of its history and architectural evolution: The main stages of its construction • 12th century (Origins): Erection of the initial church. From this early Romanesque period, the building notably retains the south transept with a characteristic ribbed vault. In 1180, the patronage of the church is officially ceded to the abbey of Valmont by Robert d'Estouteville. • 18th century: The church underwent significant modifications. The nave, a large part of the crossing tower, and the north arm of the transept were entirely rebuilt during this period. • 19th century (Developments): In 1825, the current choir was built by the mason Turquetille (who left an engraved inscription there). Later, in 1844, the architect Brunet-Debaines added the sacristy. The impact of the French Revolution During the Revolution (early 1794), the church suffered the waves of dechristianization. Its goods, furniture, and pews were seized and sold by the commune. True to the history of many churches in the region, its bells were taken down and melted to make cannons for the revolutionary armies.

The parish church of Baignolet, under the invocation of Saint Sebastian, was a simple priory dependent on the Benedictine abbey of Saint-Florentin de Bonneval, in the diocese of Chartres. The foundation of this priory is said to date back before 870. For their protection, the monks were under the authority of the vidame of Chartres. From the Romanesque period, the three-bay nave, the choir area, and the semi-circular apse vaulted in a cul-de-four (11th-12th centuries) remain. This part of the building has retained its small rubble masonry. The numerous endowments the priory received in the 13th century made it very prosperous and were likely the origin of a new construction phase; it is from this period, it seems, that the imposing, particularly tall bell tower dates, built in dressed stone, supported by massive corner buttresses. It was likely rebuilt on an earlier foundation. In the 15th century, a three-bay side aisle was added to the nave on the north side. Forming a sequence of three gables externally, this side aisle in dressed stone harmonizes with the bell tower. Also in the 15th century, a large flamboyant tracery window with two mullions was pierced in the east wall of the bell tower, in the same style as the windows of the side aisle. The 19th-century work consisted of building a three-sided apse within the volume of the Romanesque choir. The dividing wall between the third bay of the side aisle and the base of the bell tower was then demolished, opening up the perspective of the side aisle, as evidenced by a plan by the departmental surveyor dated July 25, 1852. This same report, which mentions the ribbed vaults of the aisle and the choir area, states, "the vaults of the choir and those of the low nave are in rubble masonry, they are decorated with diagonal ribs and ogives in 'pierre de caille' stone"; it specifies that the nave was then covered with an "oak paneling"; it is currently covered by a brick vault plastered over. The gable wall of the facade also bears the trace of the former roof slope, which was redone at that time. The facade of the church is particularly striking: the door is surmounted by four rows of torus moldings in the center; it is flanked by two powerful buttresses that support the gable wall and between which is a rose window whose design appears late. For the repair of the 'pierre de caille' stone facings of the south and west facades of the bell tower, the renovation of the roof structure and covering of the choir and the north chapel, the Sauvegarde de l’Art Français granted aid of 100,000 F in 1994 to this unprotected church.

Saint-Pierre Church dates back to the 14th century. It is located in Nottonville itself, opposite the town hall. Its 17th-century timber-framed bell tower was restored following the 1999 storm.

It was at the request of the parishioners of Orgères that the decision was made to demolish the old church. Typically, this type of partial or total destruction comes from the religious hierarchy. The current church was rebuilt at the end of the 19th century. The reconstruction is quite successful, judging by the choice of materials and the proportions of the building. The stained-glass windows created by the master glazier Loire are perfectly integrated into this new ensemble.

The Saint-Liphard church features a crescent moon at the top of its bell tower, the emblem of Avignon's last known pope, Benedict XIII, known as Pedro de Luna. At least three of its stained-glass windows are by the master glassmaker Charles Lorin from Chartres, including one depicting Saint Paul (1920) and a second depicting the Virgin and Child (1923). In 2019, a fundraising campaign was sponsored by the Fondation du Patrimoine, and work began.

The Saint-Martin de Viabon church dates back to the 11th century. Its plan includes a nave ending in a semicircular apse. In the 15th century, a four-bay aisle forming gables was erected to the north. The bell tower also dates from this period. Adjacent to the south wall of the choir, it is octagonal in shape and pierced by sixteen overlapping pointed arches. It rests on a quadrangular tower with powerful buttresses. A semicircular arch known as a "wolf's tooth" arch survives between two buttresses in the south wall of the nave. It is surmounted by a small sculpted stone head at the base of the pointed arch window. The apse's framework is ancient. In 1862, the paneling of the main nave was replaced by a plaster-covered latticework with faux stone carvings. The restoration of the choir walls and vault, as well as the hollow brick vault of the side aisle, also dates from the same period. This building underwent numerous interior alterations in the 19th century. The eastern end of the side aisle is occupied by the Chapel of the Virgin, entirely decorated with paintings and gilding in 1887. For the restoration of the framework and roof, particularly the end of the side aisle, the Sauvegarde de l'Art Français (French Art Protection Agency) awarded a donation of €17,000 in 2002.

Building built to commemorate the battles of Loigny-la-Bataille on December 2, 1870. Nine thousand men fell in combat. The church was designed by the architect Lucien Douillard. The apse and the ossuary crypt, square in plan, are connected by two spiral staircases. The walls of the apse and the vault are decorated with paintings of historical and religious motifs, and covered with commemorative marble plaques bearing the names of the 700 recognized soldiers. The crypt preserves the tombs of Generals de Sonis and de Charette, as well as the bones of killed soldiers.