The best road cycling routes around Arville

This church contains 14th century wall paintings. These paintings were discovered in 1895. They formerly occupied the entire width of the western wall of the nave. The central part was destroyed following the renovation of the door. The left side represented paradise. Of the bust of Christ, in a trilobed medallion, which occupied the center, there remains only a fragment of the cruciform halo. The rest of the composition is divided into rectangular compartments, each enclosing, in the surviving part, a figure of a crowned chosen one. On the right, hell is represented by a cauldron in which several characters are immersed, including a pope, a bishop, a monk, a king, a queen. Above, a woman with her legs apart. On the right, an enormous horned demon sticks out its tongue. On the left, another carries a basket filled with the damned and is about to plunge a woman into the cauldron. Construction periods: 14th century

The church, which remained in the diocese of Chartres in the 18th century, belonged to the Abbey of Saint-Calais. Built in the 12th century, it consists of a single nave continued by a semicircular apse. The semicircular portal is surmounted by a consecration cross. Several pointed bays were pierced in the 15th century. In the 16th century, the church was enriched with paneling with exposed beams. In the sacristy behind the high altar, a beam sculpted with nails, crowns of thorns, fighters, monsters and coats of arms supports the altarpiece. It dates from the 16th century and most likely comes from a half-timbered house.

In the Middle Ages, Saint-Avit-au-Perche was a priory of the abbey of Saint-Calais, founded by Avit's companion. Today's church dates from the very beginning of the 12th century. It consists of a five-bay nave ending in a semicircular apse. It is covered with chestnut shingles. Several original windows remain; others have been reworked (including the first window, on the north side). This can be seen in the shape of the keystones. A walled-up side door to the south can be seen from the outside. It has an enormous mitre lintel. Inside, it has been transformed into a niche housing Our Lady of Lourdes. The apse is flanked by projecting buttresses. Those at the corners of the façade are from the 15th century. The western portal in a pointed arch is a 15th-century renovation that was completely redone at the end of the 20th century.

From its source to its confluence with the Ozanne, the Sainte-Suzanne covers 19.2 km and crosses 5 communes. From upstream to downstream: Authon-du-Perche; Beaumont-les-Autels; Coal pits; Les Altars-Villevillon; A glass.

Building built in the 15th century, ribbed vaulted, with straight apse; beginning of the 16th century, c. 1530, construction of the Sainte-Barbe chapel on the south side; Renaissance stained glass, not. Tree of Jesse (surviving fragments); 17th century altarpiece and high altar. History of protection: the classification order of April 25, 2003 replaces the classification order of February 11, 1911 and the registration orders on the supplementary inventory of historic monuments of January 20, 1926 and February 4, 2002.

the Saint-André church dates from the 11th century; it was a priory then dependent on the abbey of St.-Calais, but the current building was completely rebuilt around the walls and framework of the old building. The project was carried out in 1877. The construction of a transept, enlarged windows and a stone bell tower completely modified the old monument. The environment has also changed a lot. All traces of the old cemetery, transferred outside the village at the beginning of the 18th century, have disappeared. The furniture includes a stone baptistery, a statue of the Virgin and Child, a confessional and a Louis XV period bench. The beautiful wooden tabernacle decorated with a statue of Saint Lubin comes from the church which was located a few kilometers away, in Saint-Lubin-des-Cinq-Fonts, and of which only the choir, which has become a chapel, remains today. .

Saint John the Baptist is considered the pivotal figure of the Bible, between the Old and New Testaments: the last of the Prophets, he is the precursor of Christ, the messenger who announces Him... His mother - Elizabeth, is related to Mary and both women meet while they are both expecting their son. We can only refer to the Gospel of Luke (1, 39-45) which powerfully depicts this touching scene, and which the Church has celebrated every year since the 13th century under the name of Visitation (May 31). Jean, as an adult, will lead the harsh life of an ascetic in the desert. He preaches, teaches prayer and proposes a baptism of conversion, while announcing the coming of “one more powerful than he… who will no longer baptize only in water, but in the Holy Spirit…” He himself will baptize Jesus.

The church has a very pretty Renaissance-style choir entrance. Certain stained glass windows, the woodwork of the choir, the altarpieces and the font are classified. The current church, rectangular in plan, replaced a 12th century building. The flat bedside and the north wall, equipped with Romanesque windows and slightly projecting buttresses, date from this period. It was rebuilt and probably enlarged in the first half of the 16th century. It was then covered with beautiful paneling, the beams of which bear the arms of the Vove, lords of Saint-Agil. The church is also flanked to the south by a seignorial chapel of two bays opening onto the nave with two molded semi-circular arches: its ribbed vaults, with eight ribs leading to the four peaks of a central diamond, are each decorated with four sculpted pendant keys, one of which also bears the arms of the Vove; the date 1547 can be read on its door. The church is currently preceded by a bell tower built in 1886 by Mr. Travaillard, an architect in Saint-Calais. A window to the south of the choir has preserved a partly restored 16th century stained glass window, representing Saint-Agil and Saint-Fiacre, and one of the windows of the seigneurial chapel has another, representing the Nativity, the Adoration of the Shepherds and the Adoration of the Magi; the other window of this chapel has a modern stained glass window retaining some old fragments in the speckles. The choir was decorated with woodwork including an entrance arcade surmounted by a crucifix, stalls, a communion table and an altarpiece, the latter dated 1734. We can also point out a font decorated with balusters and of a skull (1552), the poetic epitaph of Catherine-Geneviève de Verthamont (1740), a painting representing a martyr (17th century), a Louis XV console and a Venetian glass chandelier.”