The best road cycling routes around Brinon-Sur-Sauldre

The two periods of construction of the chapel are clearly distinguishable: the timber-framed walls date from 1600, while the brick façade and walls date from 1863. The Chapel of Our Lady of Sorrows, which had been falling into ruin for many years, holds a special place in the heritage of Pierrefitte. Historians have pondered this legend, which is also found in other villages. Louis de la Saussaye (a 19th-century historian) offers a rational explanation for the chapel's location: Everyone knows that Pierrefitte owes its name to "Pierre fichée," meaning a planted stone. This stone marked the boundary between two Gallic tribes and also served as a religious monument. The Catholic religion was emerging and developing, but this stone remained an object of veneration until quite late in the Middle Ages (1100-1200). The presence of the legendary oxen licking the stone is explained by the fact that the local people secretly worshipped the last remaining monument of the ancient cult and, as tradition dictated, sprinkled milk and honey upon it. The chapel would therefore have been built on the site of this Gallic stone. All of this, of course, is only legend or hypothesis, but written documents dating back to 1600 (during the reign of Henry IV) allow us to glimpse the history of our chapel. In the 16th and 17th centuries, travelers taking the Orléans-Bourges road, whether on horseback or on foot, such as the stonemasons from La Marche who were returning in search of work, were accustomed to spending the night in one of the five inns or "hostelleries" in our village. The quality of these inns was indeed highly regarded at the time, and in the evening, people didn't hesitate to travel a few extra kilometers to stop at "La Croix Blanche," "Le Lion d'Or," "Le Sermon," "Le Trois Rois," or "Le Sauvage" (according to Henri Deletang). This was an opportunity to stop at the Chapel of the Leper Colony, and to care for their souls, Lord or peasant, merchant or beggar, didn't hesitate to throw a few offerings into it. There was a collection box placed within easy reach, but people preferred to toss coins through the bars onto the chapel floor.

The original church certainly predates the year 1000, not in its current form, but already in its design as a fortified church. The chancel was built in 1667. The church includes a large, square, keep-like tower, indicating a 12th-century origin. In 1881 and 1887, two chapels forming a transept were added at the end of the nave and in front of the chancel. The north chapel, dedicated to the Virgin Mary, was built in 1884/1885. The south chapel, dedicated to the Sacred Heart of Jesus, was financed in 1887/1888. Modern stained-glass windows, the one in the apse from the Dideron workshop and the others from the Lobin workshop in Tours, adorn several of the windows. All of these stained-glass windows were donated by prominent families of Nouan. Upon entering the nave, the first stained-glass windows are the work of Auguste Labouret, a renowned Parisian glassmaker and mosaicist. In the tower, above the entrance portal, is a 1930 stained-glass window depicting Our Lady of Mount Carmel (this is a listed work, included in the supplementary inventory of works of art). Then come the first two stained-glass windows, one on each side of the nave, one representing St. Anthony of Padua preaching to the fish, the other St. Thérèse of the Child Jesus entering the Garden of Carmel.

The church consists of two successive rectangles, formerly covered by a wooden barrel vault with exposed beams. The very prominent buttresses of the nave, doubled at the corners, date the construction to the 12th or 13th centuries. The bell tower is supported by internal timbers near the central gable. A document from 1489 informs us that at that time, the church of Sainte Montaine was in need of extensive repairs. The bell tower had to be rebuilt, perhaps following a fire. The current bell tower therefore dates from this period. The western door is also from the 15th century. Its leaves are adorned with nails of remarkable craftsmanship. The nave was surrounded to the north and west by a wooden porch, similar to that of Brinon, but of more refined and delicate workmanship. This extension, which serves as a hall and narthex, is called a "caquetoire" in the Sologne region. It dated back to the 16th century and was demolished during the years 1918/1919. The furnishings are very important in both quantity and quality. Among the 18th-century liturgical vestments are two dalmatics and an 18th-century pastoral stole. There is also a 16th-century statue of the Virgin Mary and a 17th-century statue of Saint Germain, a 17th-century painting of the miracle of Saint Montaine, and a 17th-century processional cross of Christ on the Cross.

The parish church of Saint-Étienne was at the disposal of the Abbot of Jargeau. Of Romanesque origin, the building has a single nave on which are grafted a chapel to the north and south, a straight bay under the bell tower, supported by a sacristy to the north and a polygonal choir. The latter belongs to the 16th century. It includes a three-sided apse preceded by a straight bay. The whole, vaulted with ribs, is lit by five bays with flamboyant tracery similar to the two windows of the bay of the bell tower, contemporary with the choir. This has a square plan. Four pillars projecting strongly from the interior of the nave, receiving the four arches which carry all the masonry of the bell tower, accentuate the tripartite division of the interior volume of the building. The open door, in the north gutter wall, on the sacristy rebuilt in the 20th century, is surmounted by two pinnacles resting on sculpted bases framing an accolade. The lintel was once decorated with a coat of arms. The nave, Romanesque in its external volumes, was necessarily reworked from the 16th to the 19th century. It was probably originally a simple framed vessel whose gutter walls were supported on the outside by flat buttresses with slight projections. In the 16th century, the paneled barrel vault, still preserved in the attic, was hidden by ribbed vaults; the engaged columns which receive the ribs, as well as the corner buttresses visible on the facade belong to this campaign of works. Subsequently, a rectangular chapel was attached to the north wall; the south chapel, built in brick and cut stone, dates from the 19th century, as do the six windows with trefoil lintels illuminating the nave, the rose window pierced in the facade and the gallery installed at its back. A brick vault replaced the 16th century vault on the nave. The semicircular portal, extensively reworked, was formerly protected by a timber-framed porch. The three parts of the building are clearly differentiated in the exterior elevation of the building. The nave, not very high, as well as the choir, with its more slender roof, are dominated by the silhouette of the bell tower. Square in plan, it has four levels punctuated by dripstones; the upper level is pierced with two twin bays per face. The bell tower is crowned by a timber spire. The Sauvegarde de l’Art Français granted aid of 50,000 F in 1993 for the repair of the exterior masonry.

Nestled in the heart of the peaceful Sologne countryside, the church of Souvigny-en-Sologne, a testament to the region's millennia-old history, is an architectural gem dating back to the 12th century. Built under the aegis of Guillaume de Bussy, Bishop of Orléans, it has survived the ages, preserving its charm and mystery over the centuries. Shrouded in legend and imbued with spirituality, this church contains artistic and religious treasures that captivate the imagination of visitors. Perched in the heart of Souvigny, an architectural treasure awaits visitors eager for historical and artistic discoveries: the church of Souvigny. Its aura of beauty has earned it official recognition as a Historic Monument since 1979, adding a touch of prestige to its timeless charm. This medieval gem gradually reveals itself to those who venture outside. Upon entering its gate, visitors are greeted by the majesty of its 12th-century nave, adorned with a semicircular arch that seems to invite further exploration. Its red and black brick walls form diamond patterns, adding a touch of elegance to its architecture. But it is the 16th-century choir that truly captures the attention, with its three-sided apse, testifying to the artistic refinement of the period. The molded pointed windows let light filter through, creating an atmosphere of mystery and serenity inside. Outside, the 16th-century timber-framed porch stands elegantly, enveloping the west and south facades of the nave in a remarkable architectural embrace. Also known as the promenade or the caquetoire, this porch offers a welcome pause to contemplate the surrounding beauty. The joists that compose it bear witness to the expertise of the craftsmen of yesteryear, captivating the admiration of visitors. The roof, crowning this architectural marvel, is a spectacle in itself, covered with tiles and supported by low posts and a balustrade with crossed timbers in an X shape, adding a touch of character to the ensemble. Finally, the gaze rises to the slate spire overlooking the church, a work of art in its own right. While access to this marvel was once reserved for the bravest, today its charm remains accessible to all those who wish to delve into the fascinating history of Souvigny.

"A very old church; two buttresses would allow us to date it to the 11th century," we learn. "Rebuilt in the 13th century, damaged during the Hundred Years' War, it was rebuilt again in the 16th century before being burned down during the Wars of Religion and then looted during the Revolution. Its last restoration dates back to 2014."

At the end of this alley, you will see the Château de Blancafort, a 15th century building built in place of an old lordship dating from the 11th century. Covered in bricks, the fortified house is surrounded by a beautiful French garden. The castle is currently private and inhabited but can still be visited.

Castle built during the Renaissance by Robert Stuart then Louise de Keroualle, Duchess of Aubigny and Porsmouth. Only the facade and one of the two wings exist today. It is one of the major witnesses to the historical presence of the Scots in this city of character. It can be visited and is worth a look, notably with the ceiling of its large room which is all made of wood, shaped like the hull of an upside-down boat. Good to know: Franco-Scottish festivals take place every year in July.