The best road cycling routes around Coltainville

The nave ends with an apse with facets, all covered by a polygonal paneled frame. A bell tower surmounts the facade. The current church was almost entirely rebuilt or renovated in the 17th century. The framework is entirely from this period. The underside of the rafters forming the truss and the turned-up tie beams is adorned with shingles decorated with decorative paintings. This framework is one of the rare examples entirely from the 17th century. Under Louis XIV, camps were established in the Gallardon valley for the construction of the Maintenon aqueduct. Officers stayed in the surrounding castles, and an intense life, with visits from the court, reigned in this region. It is likely that this church was completely restored at that time, and enriched with paintings in the style of the time.

The Saint-Léger church of Houx is a religious monument located in the commune of Houx, in the Centre-Val de Loire region. Although its existence is attested, the available sources do not specify either its period of construction or the architectural or historical details associated with it. This type of building, typical of small French towns, often plays a central role in local life, both spiritually and communally. In the Centre-Val de Loire, parish churches like Saint-Léger of Houx were historically essential gathering places for the inhabitants. They served not only for religious services, but also for social or civic events. Their presence generally reflects the medieval or modern organization of the villages, where the church constituted a major geographical and identity landmark.

The church of Bleury, dedicated to Saint Martin, probably dates from the end of the Middle Ages. It was remodeled and enlarged in the 16th century by the addition of a large chapel on the north side. The nave ends with a semicircular apse. The chapel to the north is extended by a square bell tower which once opened onto the nave through an arch that is now blocked but still visible. The chapel opens onto the nave through two pointed arches made of recently rendered clotted stone. It communicated with the ground floor of the courtyard through an arch that is now closed. Another filled-in arch appears on the wall between the chapel and the lower room of the courtyard. The church is covered with a paneled roof. A single beam is sculpted, the penultimate one on the west side. It supported, with the beam resting on the facade wall, a recently demolished gallery. Some of the nave's semi-circular windows are late, and the pointed arch openings have Gothic tracery. The square bell tower has a saddleback roof. It is pierced with pointed arch openings. Access to the building is from the south, under a modern porch that houses a portal surmounted by a shield with three fleurs-de-lis. A stone cornice runs under the roof to the south, supported by unsculpted modillions. Two 18th-century altarpieces were included in the Supplementary Inventory of Historic Monuments on June 17, 1975. 16th-century wall paintings depict the Mass of Saint Gregory. They were discovered in 1881 and classified as Historic Monuments on November 17, 1908. Their preservation is currently threatened by infiltration due to the poor condition of the roof structure. The Sauvegarde de l’Art Français provided aid of 75,000 F in 1994, thus contributing to the repairs undertaken to restore the framework, which will allow the walls to be cleaned up.

Saint-Martin Church. This extremely modest church consists of a four-bay nave extended by a three-sided apse to the east and a sacristy to the north. It is built of rubble block, with sandstone buttresses and shell limestone surrounds. Although its history is poorly documented, it is likely that an earlier 16th-century church was enlarged and modified in the 18th and early 19th centuries. Externally, its elevation is punctuated by a short timber-framed bell tower erected in 1889-1890 above the western bay of the nave. The western façade is late: it features an 18th-century arched doorway, with the first level lit by three unequal pointed-arch windows, an addition made in 1820. On the south façade, a stone cornice runs under the roof, while a drip edge stringcourse is located one meter above the ground. Two of the apse windows were blocked during the installation of the great altarpiece. In 1890, when the spire was moved, the first bay of the nave underwent some modifications: the western wall was lined internally with another wall in which three large arches were cut; in the space thus delimited, two chapels were created on the ground floor, on either side of the entrance door, and a small gallery on the first level, while a staircase provided access to the bell tower. The interior of the church was furnished and decorated in the late 18th century. and during the Restoration: the Visitation altarpiece (1815-1820) dates from this period. Some statues, including four wooden evangelists, came from the old tabernacle. Statues of Saint Martin and Saint James were placed in the side niches of the altarpiece. The Sauvegarde de l'Art français (French Art Protection Agency) contributed €30,490 to the roofing work on the building in 2002.

According to tradition, the church choir covers the remains of an older building, possibly dating back to the 6th century, which was built to house the saint's body. According to current knowledge, the commune of Saint-Piat (Sanctus Piatus in Latin) officially appeared in 1087, mentioned in a charter of the Nottonville Priory (Eure-et-Loir), on which it depended. The current building was rebuilt during the time of Francis I, as suggested by the date 1535 engraved on two buttresses of the apse and the date 1542 engraved on a piece of wood from the vault. This is according to a study by the SAEL (Eure-et-Loir Archaeological Society). The three-sided apses, the dripstone towers (horizontal members projecting from a wall), and the sculpted roof structures are a testament to the importance of the reconstructions carried out in the department during the 16th century. The church of Saint-Piat is one of them. While the church has not been officially recognized, it nevertheless contains objects that have attracted attention both for their antiquity and quality, but not always for good reason. Their artistic value, far from attracting only religious or aesthetic interest, has also aroused a covetousness that, unfortunately, remains for some of them. Fortunately, those still in place are carefully cared for and offer the curious a story to discover, a beauty to slowly ponder as they progress toward the choir.

The town's monumental heritage is defined by the Church of Saint-Cyr and Sainte-Julitte. Built in the 12th century, the building underwent numerous modifications during the 13th, 15th, and 16th centuries. The apse sanctuary is lit by five 12th-century Romanesque windows, while the choir and nave date from the 13th century. Like some fifty churches around Chartres, the Huguenots set fire to the church of Jouy in 1568. However, the walls were not destroyed. Only the building's portal is listed as a Historic Monument by decree of December 30, 1913. This listing was motivated by the architecture of the portal, which features foliate capitals. Nevertheless, the church also has a rectangular tower, a polygonal staircase turret, and a wooden vaulted tower.

Before 528, the village of Saint-Prest was called Saint-Jean-sur-Eure. At that time, the Bishop of Chartres, Ethère, had a building built adjoining the southern flank of the parish church, including a "martyrium" to house the remains of holy martyrs (the legend of Saint-Prest), which were placed in ten sarcophagi. The most honored relics were those of a certain Priscus; following numerous miracles, the parish took the name of Saint-Prest. The current church's crypt is the apse of the 9th-century Carolingian church, which replaced a 6th-century sanctuary. Access to the 12th-century nave, on the west side, is through a beautiful Romanesque portal, carved from beautiful limestone, surmounted by a triple saw-tooth archivolt and framed by two small columns with capitals. On the right, a face would be that of Eve, and on the left would appear the tempting serpent.

Many centuries ago, our ancestors discovered the possibility of harnessing the power of the elements—which, while helpful and useful on the one hand, could also be a threat as untamed forces of nature—for various purposes, thus eliminating the need for human or animal muscle power. Mills like these are a good example of the human engineering skills of earlier generations: The heavy millstones used to grind grain or press oil, for example, could be powered by wind or—as in this case—water.