The best traffic-free bike rides around L'Hosmes

Construction of the church began in the 12th century, and the building was subsequently remodeled, particularly in the 16th century.

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.

Saint-Pierre Church. The village is spread out over the Douze valley. The church, of large dimensions, is composed of two chronologically distinct parts: a Romanesque nave and, on the other hand, a false transept and a 16th century choir. Although the nave is not vaulted, it is supported by three almost flat buttresses which divide it into three "bays". The oldest parts of the construction seem to be the western part of the nave and a portion of the herringbone wall. The hypothesis of the Drouais and Thimerais Archaeology Society would be that the choir and the south chapel date from the 15th century and the north chapel from the 16th century. According to the Archaeological Society of Eure-et-Loir, all the transformations date from the 16th century: we would be inclined to agree with this latter opinion, given the size of the south chapel and the coherence of the whole of the eastern part of the church, particularly highlighted by the presence of a vigorous dripstone cordon that underlines the base of the building, structuring the elevation all around the chevet and the two chapels. The two chapels forming a transept are lit by two large windows: those of the south chapel are in a pointed arch, divided by a tracery into two lancets and a polylobed arch, perhaps traced during a later restoration. Three sculpted buttresses support this elevation, two were placed at the corners, the third between the two windows that light the chapel to the south. The applique of the west wall of the south chapel is very neat. The upper part of the south gable wall has been rebuilt, but the base in the lower part is also carefully dressed. The chevet built in fine stone is also supported by elegant buttresses. However, it is the chapel built symmetrically to the north that appears to be the most refined by the quality of its limestone with live joints, by the design of the buttresses and the tracery of the large windows. On the north side, the "door of the dead" communicating with the cemetery, was pierced on the west wall of the chapel. It is surmounted by a pediment, the jambs are decorated with pilasters, not protruding. It is certainly a seigneurial chapel. We enter the church by the west door under an 18th century porch covered with a beautiful frame. The door is also old. At the entrance to the church, we find ourselves under the stool of the frame spire. There may be remains of ancient decorations under the whitewash of the nave. A beam of glory separates the nave from the choir: it is a complete polychrome wooden ensemble, Christ on the cross surrounded by the Virgin Mary and Saint John and below, the Virgin of Pity. The work bench has been preserved. Inside the north chapel, we can see at the corners bundles of ribbed vaults which seem to be waiting for a vault which may have collapsed, or, more likely, which was never erected. In the south wall is embedded a pile whose capital, with an angel's head, bears the barely legible date of 1514. The high altar, from the 18th century, in carved wood, has been preserved in place; the painting of the altarpiece represents the denial of Saint Peter. The fragments of stained glass from the 16th century were removed during the work. The church preserves a wooden Education of the Virgin, split, a Saint Peter, a Saint George, a Saint Sebastian, a naïve Saint Eligius. The Sauvegarde de l’Art français granted aid of €5,000 in 2005 for drainage, masonry and framework repairs and tile roofing.

Église Saint Madeleine is a church where beautiful various statues of Saints, famous and less famous. The reason for so many different statues is that the school of sculpture was established here.

Located on the edge of the plateau that dominates the Vigne valley to the north, the church of Rueil is of great interest both for its architecture and its furnishings. The construction of the nave dates back to the Romanesque period (11th-13th century) but this nave was modified in the 16th century by the opening of semi-circular windows and consolidated by powerful buttresses. The bell tower with a pyramidal spire on an octagonal base, pierced with louvers, is covered with slate like most of the bell towers of Thymerais and the Avre valley. Inside, one is struck by the size of the nave covered with a shingle vault resting on tie beams whose ends are sculpted into monsters' mouths.

On the water line, taken to Paris

The Madeleine Tower overlooks a beautiful square, surrounded by numerous terraces where it is good to quench your thirst after your exercise!

Medieval heritage of the town of Verneuil which preserves numerous traces of this past and its former flourishing activities: first of all, the market square, just opposite the imposing and sumptuous Madeleine church (12th century). This “enormous and graceful stone flower”, in the words of the painter Maurice Vlaminck, underwent numerous embellishments in the medieval period to become one of the great jewels of flamboyant Gothic in Normandy.