The best road cycling routes around Breux-Sur-Avre

Very nice

Very good for taking photos

Very nice meadow

The current church was almost entirely rebuilt in 1542 on Gothic foundations. The Gothic church was reportedly destroyed in 1424 by the English. According to legend, Saint Lubin, Bishop of Chartres, came to rest in this place, which housed a recluse inhabited by a monk. A chapel was built there towards the end of the 6th century.

Located 5 km northeast of La Ferté-Vidame, the Saint-Denis de Morvilliers church stands in the very center of the village. The rectory was the abbot of Saint-Père de Chartres, whose monks owned the church from the beginning of the 12th century. Two charters, dated 1126 and 1127, attest to this. This building comprises a single nave ending in a semicircular chevet. A timber-framed bell tower has crowned the western part of the roof since the 18th century. The west portal through which one enters this building is made of gray stone, unfortunately cemented with a decoration of false stones. The south wall is pierced by five narrow bays, probably from the 12th century. Four windows were installed in the 15th century on the north facade. A fifth, now blocked, was pierced in the apse at the same time. Inside, despite alterations, the church retains an exposed rafter frame forming a medieval truss. Curiously independent of the church structure, it rests on two rows of posts along the drip walls. The vault is paneled. The presence of frescoes could be detected under the plasterwork of the north wall. For the restoration of the apse's frame and roof, the Sauvegarde de l'Art Français (French Art Protection Agency) awarded a grant of €16,769 in 2001.

Built in the 15th century on the foundations of a chapel whose origins can be traced back to a papal bull from Pope Alexander in 1142, Saint Apollonia was worshipped there.

The church is located near a departmental road and is surrounded by a cemetery. Church oriented with a longitudinal plan composed of a single nave. The entrance to the building is via a porch body. An annex building is attached to the north side of the choir. The western facade of the porch body rises on two levels delimited by a projecting cornice. It is pierced by a low-arched door as well as a rose window in the upper part. The bell tower, of polygonal plan, is positioned on the ridge of the roof. It is covered with a polygonal spire surmounted by a ridge cross and has two roof eaves. The building is covered with a gable roof. That of the annex building ends in a hip. The side walls are pierced with arched bays and supported by buttresses. The annex building is pierced by a quadrangular window and door. The buttresses of the choir bear witness to the Romanesque origins of the church. The nave, built in the 16th century, was enlarged in the 19th century by a bay to the west. The bays of the building were re-pierced around 1822.

Notre-Dame-des-Puits Chapel. This Marian chapel, the foundation of which is the subject of a legend, dates back to the 12th century: while digging a well, a villager is said to have found a statue of the Virgin that he took to the parish church of Droisy, but which returned to the well three times at night, a miracle that reflected the Virgin's desire to see a chapel dedicated to her in this place. The building seems to have suffered heavy damage during the wars of the 15th century, like the surrounding villages, but, rebuilt in the following century, it was invoked against plague epidemics and was the site of new miracles. A brotherhood, created in the 18th century, ensured the organization of festivals and pilgrimages, and contributed to the purchase of the furniture: it is to them that we owe the order for the altar and its altarpiece, as well as the stained glass windows. Confiscated during the Revolution, the chapel was bought back by the faithful who reconstituted a brotherhood. In contemporary times, it was enlarged to the west by the construction of a porch, probably to facilitate access to the building on pilgrimage days, and two doors were opened there, one to the west, the other to the south. It is a building with a quadrangular plan of fairly large dimensions, with a modest wooden bell tower which has kept its bell from 1775. On the almost blind north facade, a small sacristy was added at the level of the choir. From its origins, it has retained, at the chevet, only fragments of masonry in grison and the trace of two bays. Renovations in the 15th and 16th centuries date several openings, including a pointed window with a trilobed network in the southern wall and a thick buttress halfway up the chevet. The interior of the building is covered with a wooden vault that was in poor condition. The church has a large amount of furniture, the masterpiece of which is undoubtedly the magnificent altarpiece, dated 1644, the work of Jean Racine, a painter and sculptor from Rouen; the iconography of the whole is dedicated to the Holy Family and the painting represents the Nativity. The work is set between two fluted columns and two pilasters, under a broken pediment and a niche in which a Virgin and Child, adored by two angels, has been placed. In front of each pilaster, two monumental statues have been placed, on the right Saint Anne and the Virgin, on the left Saint Joseph and the Child Jesus. The main altar is framed by two side altars, placed slightly back and at an angle and connected to each other by paneling; two doors were opened on the right and left in this woodwork to allow access, behind the altar, to the miraculous well which was located slightly below the apse For the repair of the covering paneling, the Sauvegarde de l’Art français granted aid of €10,000 in 2008.