The best traffic-free bike rides around Grandvilliers

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The church of Cintray has been listed as a historical monument since June 15, 1920. This building contributes to the beauty of the Eure landscapes and the richness of France's heritage. Over the centuries, the buildings that have been grafted or agglomerated in the surrounding area have been built within the framework of a social structure: the parish. These buildings constitute references in terms of local architecture, because they are often made with local materials: tiles or slates (from the 19th century), stones (flint, Grison, Seine Valley, sandstone, etc.), bricks or cob, lime plaster and nearby sand or earth. This gives colors that often range from beige to brown or red, and volumes perfectly suited to the Normandy climate (roof slopes, etc.). These churches have been the subject of specific analysis because their surroundings are not completely urbanized. The empty spaces or breathing spaces nearby help preserve their setting. The site of the church is very interesting because, located between the Iton and the very refined village square, it offers, to the south, large visual openings onto the monument. These spaces, little or not urbanized, must be preserved.

The current church was almost entirely rebuilt in 1542 on Gothic foundations. The Gothic church was reportedly destroyed in 1424 by the English. According to legend, Saint Lubin, Bishop of Chartres, came to rest in this place, which housed a recluse inhabited by a monk. A chapel was built there towards the end of the 6th century.

Built in the 15th century on the foundations of a chapel whose origins can be traced back to a papal bull from Pope Alexander in 1142, Saint Apollonia was worshipped there.

Notre-Dame-des-Puits Chapel. This Marian chapel, the foundation of which is the subject of a legend, dates back to the 12th century: while digging a well, a villager is said to have found a statue of the Virgin that he took to the parish church of Droisy, but which returned to the well three times at night, a miracle that reflected the Virgin's desire to see a chapel dedicated to her in this place. The building seems to have suffered heavy damage during the wars of the 15th century, like the surrounding villages, but, rebuilt in the following century, it was invoked against plague epidemics and was the site of new miracles. A brotherhood, created in the 18th century, ensured the organization of festivals and pilgrimages, and contributed to the purchase of the furniture: it is to them that we owe the order for the altar and its altarpiece, as well as the stained glass windows. Confiscated during the Revolution, the chapel was bought back by the faithful who reconstituted a brotherhood. In contemporary times, it was enlarged to the west by the construction of a porch, probably to facilitate access to the building on pilgrimage days, and two doors were opened there, one to the west, the other to the south. It is a building with a quadrangular plan of fairly large dimensions, with a modest wooden bell tower which has kept its bell from 1775. On the almost blind north facade, a small sacristy was added at the level of the choir. From its origins, it has retained, at the chevet, only fragments of masonry in grison and the trace of two bays. Renovations in the 15th and 16th centuries date several openings, including a pointed window with a trilobed network in the southern wall and a thick buttress halfway up the chevet. The interior of the building is covered with a wooden vault that was in poor condition. The church has a large amount of furniture, the masterpiece of which is undoubtedly the magnificent altarpiece, dated 1644, the work of Jean Racine, a painter and sculptor from Rouen; the iconography of the whole is dedicated to the Holy Family and the painting represents the Nativity. The work is set between two fluted columns and two pilasters, under a broken pediment and a niche in which a Virgin and Child, adored by two angels, has been placed. In front of each pilaster, two monumental statues have been placed, on the right Saint Anne and the Virgin, on the left Saint Joseph and the Child Jesus. The main altar is framed by two side altars, placed slightly back and at an angle and connected to each other by paneling; two doors were opened on the right and left in this woodwork to allow access, behind the altar, to the miraculous well which was located slightly below the apse For the repair of the covering paneling, the Sauvegarde de l’Art français granted aid of €10,000 in 2008.

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.