The best road cycling routes around Amilly

The main nave, ending in a semicircular apse, is preceded by a timber-framed porch and opens to the north onto a chapel through a wide archway. The timber-framed bell tower, clearly from the same period as the 17th-century wainscoting, rests on a base spanning the nave. A second nave is covered with quadripartite masonry vaults from different periods. Of a dressed stone tower, only the spiral staircase and the first level remain, built between the 11th and 13th centuries. The side aisle was built in the 14th century and enlarged in the 16th. 1660: Supposed collapse of the tower attached to the nave, of which only the first level remains. 1679: Paneling on the nave and probable construction of the small timber-framed spire. 19th century: Supposed construction of the timber-framed chapel. The church was under the jurisdiction of the chapter of Notre-Dame de Chartres (the chapter's name can be seen on the lock of the small door on the right and is painted on the walls of the capital with stars and the date 1733 L.M.M.P.).

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 church of Cernay is a small rectangular building standing in the middle of its cemetery, surrounded by fields. It consists of a single nave, the chancel of which was demolished at an undetermined time and replaced by a sacristy attached to the east. A small, round-arched window on the south facade, though quite wide and only slightly splayed, might suggest an earlier Romanesque origin. The other pointed-arch openings are likely later additions. The nave has a pointed barrel vault made of wood. The timber frame, independent of the masonry, reveals the tie beams and rests on a series of posts. The numerous mortise marks on the longitudinal beams support the hypothesis that a barn frame was reused, without reinforcement after the original frame burned down. The most charming part of the chancel before its restoration is undoubtedly the west gable surmounted by a bell gable pierced by two semicircular arched openings, an architectural form of which only three or four examples are known in the Eure-et-Loir department. The building is entered through a portal whose basket-handle arch structure is surrounded by a rood screen. Buttresses with sloping sides reinforce the structure and are doubled at the corners of the bell gable. Inside, a rood beam separates the chancel from the rest of the nave; the furnishings and altars appear to be part of the 19th-century alterations. A first campaign of work concerning the repair of the exterior masonry was supported by the Sauvegarde de l’Art Français with a contribution of 25,000 F in 1993. To preserve its originality to the vaulting, a second campaign was undertaken to restore the framework, an operation to which the Sauvegarde de l’Art Français contributed with a sum of 100,000 F also in 1993.

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.

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Unfortunately, the church was not accessible when I visited (mid-September 2024). You could only look in through a gate and the dance of death depictions on the left side were not really visible. In front of them were transparencies with skeleton drawings. Maybe those were the depictions...

A modest place of worship, built in the middle of a tiny village, the Favril church was there as early as 1250. Under the reign of Saint Louis, Saint-Pierre du Favril was already there. This is confirmed by a register of the diocese of Chartres, drawn up in 1250, which mentions a parish church dedicated to Saint-Pierre au Favril (Faverilium). The text adds that there was a priest and 56 parishioners.

This church has Saint Martin as patron or rather protector, chosen for his holiness, example of charity, faith and mercy. This charity he showed by offering half of his coat to a shivering poor man to warm him. His radiant faith as a hermit and monk, founder in Ligugé in 460 of the first monastic community in Gaul...