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Of Romanesque origin, the church, surrounded by a cemetery, has a curious bell tower supported by machicolations and uprights of sandstone, making it one of the most unique in the region. Perhaps it was originally a bell gable, later augmented by a platform supported by these machicolations? In front of the entrance, a small building called a "caquetoire" (a small meeting place) allows the faithful to gather and converse. Inside the church, the furnishings date from the 18th and 19th centuries: a marble high altar and its gray-painted wooden altarpiece (18th century) – a painted wooden altarpiece of St. Joseph (late 18th or early 19th century) an altarpiece for the altar of the Virgin Mary (19th century) a baptismal font in red-veined marble (19th century) a waxed wooden pew (18th century) a waxed wooden choir stall upholstered in velvet paintings: the Assumption of the Virgin Mary by Octave Hauser (1839) and the Annunciation (18th century) The stained-glass windows date from 1874. The church and the eclipse A bit of history: The parish, established in the 13th century, was part of the deanery of Courville. The church's patron saint, Luperche or Luperchius, gave his name to the village. We must go back to the 4th century to find the first trace of this saint: At that time, Dacius, governor of the part of Spain that included Catalonia, Aragon, and the Kingdom of Valencia, was one of the most cruel ministers of persecution. Incited by the emperors Diocletian and Maximilian, he had eighteen confessors of Jesus Christ executed in the city of Zaragoza. In their honor, the poet Prudentius wrote hymns, and among these confessors, a certain martyr named Luperche became the patron saint of our church.

The charm of Nogent le Roi.

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 parish church of Saint-Remy de Vérigny, located in the current new commune of Mittainvilliers-Vérigny, has been documented in the archives since 1126 as being dependent on the abbey of Saint-Père in Chartres. Its construction probably followed shortly after this date, as evidenced by the use of grison for both the buttresses and the frames of certain bays and the large west portal with a grison roller. The proximity of the manor and then the castle of Vérigny, owned by the prestigious families of O and Vieuville until the early years of the 18th century, encouraged donations and legacies in favor of the parish church. It is to Charles II of O that we owe the construction of the north aisle as well as the family chapel in the right bay of the choir, on the north side. The ribbed vaults and the hanging keystones sculpted with little angels evoke the creations of the second quarter of the 16th century such as those of the church of Bérou-la-Mulotière. If the only vestiges of stained glass windows preserved date from the

It resembles a Romanesque church, its pointed roof in local tiles, its four-sided bell tower is made of slate. The church of Poisvilliers has a nave whose base is from the 12th century, remodeled in the 16th century. The walls are made of various rubble blocks, the buttresses are made of cut stone. The west gable was redone in the 18th century. The date appears on the keystone of the door in the center (MDCCLXX /1770) The paneled vault is a simple vessel, the nave is widened to the south. The choir, narrower than the nave, dates from the 12th century and ends with a semicircular apse. It was transformed in the 16th century into a three-sided apse. The altarpiece is neoclassical in the Louis XVI style. It is made of fir. The pulpit is made of oak. In 1844, the high altar and the bell were repaired. A special tax is required. Thirty taxed forts are summoned. There are two stained glass windows in flamboyant Gothic style (the closest to the choir) on each side. There are three stained glass windows of Gothic inspiration and a Romanesque stained glass window. On the plan dating from 1852, we can see a porch that has now disappeared. The bell was installed in 1810. It was named Marie-Céléstine. Damaged, it was repaired in 1956 and named Louise-Simone. The Stations of the Cross were made by Mr Bernacchi in 2000. We discovered that Poisvilliers was a parish until 1807. It was then united with that of Berchères-la-Maingot. We found old plans attesting to the presence of a presbytery opposite the church.

Thivars is mentioned in 966 in the Chartres cartulary. In the 12th century, the church became the property of Josaphat Abbey. The current church was built in the 16th century: a date of 1545 is engraved on a cherub in the turret. It is a very high construction but very irregular, this comes from the fact that it belongs to several eras: ogival style in the windows, the entrance door is Romanesque (it may be the door of the first Romanesque church) . The choir was formerly separated from the nave by an iron grille which disappeared during the French Revolution. The ceiling has pretty paneling dating from 1645. The two side altars are dedicated: one to Notre Dame des Victoires and the other to Saint Joseph. Among the furniture we can note an interesting painting which represents Our Lord pronouncing on a coin. In 1940, two bombs fell less than 30 m from the church, destroying the stained glass windows on the south side which were replaced by grisailles in 1987. Three pretty stained glass windows light up this church: Nativity stained glass window installed by Mr Campin in 1955 Stained glass windows of the village's patron saints, Saint Radegonde and Saint Hilaire, installed in 1900 and 1987 respectively.

Very beautiful church and the public toilets next to it are perfect, even for filling water bottles too large for the classic sinks.

The Saint-Pierre church bears within itself the testimony of the centuries by the successive contribution of what they had the possibility of offering of the most truly sacred, it appears in its harmonious silhouette at the crossroads of two great natural regions, Beauce and the Perch. A living work, injured several times but restored, it is more beautiful now than it ever was. Rebuilt at the end of the 15th century, the Saint-Pierre church has been classified as a "Historic Monument" since 1907. It has two chapels, one of which, under the imposing bell tower bearing the date 1620, forms the Latin cross. A major restoration campaign has been carried out in recent years. The roof has been completely redone, preserving the original framework. The western window blocked at the beginning of the 19th century has been restored, a new stained glass window restores its nobility. The church offers a remarkable interior, in particular its imposing altarpiece and a statue of the Trinity, both listed as heritage sites.