The most beautiful religious buildings Picardy

The side door of the church of the Grand-Place, by hanging your eyes, is noticed also the tower of the entrance… And the antennas on the castle of water. Rebuilt at the same time as the city hall in a neo-Byzantine style of the early th century hosted by the architect, the church hides a beautiful alignment of stained glass windows depicting the history of Bailleul.

It was built in the 100 th century, less than m from the church of St. Martin. The proximity between the two buildings is a miracle, at least if one believes the legend: in 1532, during Christmas festivities, a canopy containing consecrated hosts was stolen. The thieves suffered the object of worship, but were did from the hosts in a bush. The inhabitants found them not covered by the snow and saw a miracle. Six months later, a stone chapel and brick were built. Inside, stained glass windows trace its construction.

Consecrated to Saint Lucien (Lucius), first bishop of Beauvais (Caesaromagus) in the year 1000 and martyr. The Church has been enlarged and transformed over the centuries. Inside the building, there is a very beautiful mise stone tomb dating from the th century, classified in historic monuments as well as other "remarkable curiosities" such as wall woodwork, the bench and the chair.

The church dates back to the 1515 th century, with a armure of François I, the sacred king of France in. Let us remember that he was part of the Valois-Angoulême branch of the Capétiens dynasty, which reigned from 1328 to 1589. There is also a sculpted wardrobe of Renaissance style, statues of Saint Bernard, statues of the Virgin. The, vaulted dome of the nave is a ship's free.

Villers-Saint-Paul, a commune of 6 000 inhabitants, existed at the time. The church with its "T" plan presents two distinct parts. It is evidence of two construction campaigns to monitor the evolution of religious architecture in an extremely fertile period of innovation: on the one hand, the nef and côtés of Romanesque style built around 1130 and the chevet and transept, Gothic style, built around 1225.

A testimony of flamboyant Gothic art, the church gradually built between the th and th centuries. By its size and richness (the statues are no longer in the niches, but the paintings still present are very beautiful), it recalls the historic importance of the village which received a title of the duchy and whose castle (which was demolished in 1734) served as a date of arrival to Henri IV (see the buried parts, behind the retaining walls on the terrace).

Like the vast majority of the villages in Oise, Rieux has a history of almost 1 000 years old. It was in 1061 that the first mention of the village was served in the cartulaire of the priory of Saint-Christophe-en-Halatte (now dependent on the commune of Fleurine). From the Middle Ages, an important vineyard stretched on the slopes dominating the valley of Oise. In the mid th century, the land of Rieux still represented eight hectares of vines. The heritage of the village: The church Saint-Denis, built between the beginning of the th century and the th century. It owes its pride to the romans and clocher novels, which testify to the size and quality of the building and its volumes. The church (like that of Rousseloy) has one of the very few ancient bells of the Oise, melted in 1550. On the street, the inas will appreciate the stone facades of the houses, in good condition, as well as the ancient porches.

Upstream of the autumn valley, the building is part of the th century Romanesque style in the vein of the th century Romanesque style. It is built on the straight straight of the choir and consists of two floors of géminées bays with capitals and skid, and ends with a stone arrow, marked as a needle. Shortly after the boom was completed in the 1130 s, the northern flank of the church received a vaulted chapel with a full hanger. In the middle of the th century a portal beautifully decorated in "diamond spikes" came to replace the somewhat austere facade before it. This formula was a resounding success in the th century. It will be in turn of the apse to cede the square to 1170 to a more elaborate choir, composed of a straight span and a apse in the chamber decorated with three windows.

The building, built in several campaigns in the th century, is based on the western slope of the St. Mary Valley. The church has a lovely Romanesque-style steeple with a span and dotted apse, both of which have marked the beginning of its construction. The nave, remarkable of elegance and sobriety, will be founded shortly afterwards. The large arcades, which occupy more than two thirds of the total height, are double jumps softened by an tore. The octagonal basket capitals allow the arcades to return to circular batteries. The facade has a striking look thanks to a majestic portal with gâble and a large pink rose located just above. The facade and its interior rise give the nave of Gothic features that once again refer to the influence of the th century. Another crucial step in the construction process will be to the choir; two chapels will be annexed to it to solidify the base of the bell. The latter, in conclusion, has two floors: the first is pierced to the north and south by glass windows, while the upper floor is that of the belfry filigree of géminées baies bays.

Again, Villembray was a place of pilgrimage. It is reported that, in 1566, Protestants who wanted to destroy the statue of the Virgin who were sitting in the doorway of the church were miraculously prevented. The following day, the merisiers around the church were all flowering. That is why we called the Notre-Dame-des-Fleurs building. A first chapel, probably from the ninth century and became church in the 1495 th century, was rebuilt in. In the xviiith century, the church was rebuilt and looted. All the interest of the monument, open during the day, lies in its stained glass windows, especially those of Roussel (1888) and its paintings depicting the mysteries of the Rosary. See also, the master altar in 1891, the side chapels of the Sacred Heart and Saint Joseph, the barrier of the Virgin (1702) and the chapel of the pilgrimage.

The church bears the name of the first bishop of Senlis. Its steeple of the Xe was raised around 1140. Refined sculptures on the second floor of the steeple are remarkable, such as in its bays, bordeaux leaf capitals. Gothic style is shown on double-lancets windows surmounted by a rose, typical of the time. A transept and a new flat-hung chorus were grafted to the church around 1240. The cure is one of the oldest in Valois.

In this village located at the eastern end of the forest of Compiègne, a church crowned with the Romanesque amphitheatre arched in three large windows dating from the 1945 th century and restored after. Also note the th century painted wooden calvaire and the nave of large warheads, cylindrical pillars and lambris of the th century. Hiking and mountain biking tours from the village.

If the choir, transept and nave date back to the th century, each part was modified according to different restoration campaigns carried out in the th and th centuries. The bas were built in 1753 and the porch between 1839 and 1840. To see: a statue from the Virgin to the Child of the early 81st of a cm high in polychrome and gilded wood. The church's bedside gives in the courtyard of the former presbytery and is now converted into a cottage.

This church, built in 1185, is reminiscent of the cathedral of Senlis by its top, which receives an arc from the left of the choir. In the south, there are two capitals with a high historical value reminiscent of one, the Nativity, for the other Fuite in Egypt. The exterior, of Romanesque inspiration, is dominated by a steeple flanked by two long géminées bays which, again, resemble the two towers of the cathedral of Senlis. Also note the doorways in columns open to the south and in front of the nave.

Nestled in the green countryside of Valois, the municipality has a parish parish between two periods: the th century for its nave and the th century for its choir. The rectangle-shaped nave is preceded by a portal with gâble en and a triplet of windows on two floors. On the very harmonious choir, two spans of three vessels are drawn, culminating in a transept form. The steeple, which is a kind of strategic defensive tower (in the image of the belfries of the forts), also contains bays and mouldings from the end of the th century which show that a bell similar to that of Rhuis and Pontpoint existed before the one that currently dominates the church. Visit the Presbytère presbytery to visit.

The Rhuis Church is one of the oldest Romanesque Romanesque buildings. It dates from the th century and is classified in Historical monuments. Its architecture: a nave of four spans ends by a chorus in the Chamber. Above the last span of the north-side and the th-century chapel is the-storey clocher tower, the oldest in northern France. The nave, built in the mid th century, deserves special attention by its astonishing simplicity: poles with lively angles and no drop, columns or pilaster crossed the walls. These same arcades sit on rectangular stacks thanks to impostes. On the south side, one of the oldest vaults of known warheads.

Saint-Hubert was the chapel of the castle of Beaurepaire. It was built by Adrien of Hénencourt in the 1510 s, author of the famous stalls of Amiens Cathedral, of which he was the dean of the chapter. She became a parish church in 1662. Its architecture boils down to a vaulted nave finished by a apse with three parts. Its only ornament is the ancient portal, to the west, once surmounted by three statues crowned with canopy. We still see the Escutcheon crest. A small chapel with a stately cloister, decorated with Louis XIV woodwork, was infused in the north.

It is discovered by arriving through the forest of Halatte. Located in the middle of the th century, it places her majesty at the heart of the rustic landscape. In flowery Romanesque style, his choir (1170) is polygonal. The steeple, in the same vein as those of Noël-Saint-Martin and Morienval, kube against the southern flank of the choir and consists of two floors of géminées bays. A third floor complements harmony with triples. A small pyramid of stone stone.

Church located south of Clermont. In Renaissance style, the walls of the polygonal chorus are in grey and pink marble. The white marble statues of Charles de Plessis, lord of Liancourt, and his wife Antoinette Pons were made in 1623. Note the beautiful font baptismal.

Under the invocation of Saint Peter, she is the priory of the priory. A th century side chapel, lit by three Gothic windows, now serves as chore; she was called the ducal chapel because she was owned by the Dukes of Fitz-James. There are still fragments of the stained glass windows of the past and three beautiful th-century stained glass windows still set the apse windows: in the middle, Christ in cross and his feet Marie-Madeleine, two other women and soldiers; the soul of the good thief is thrown in heaven by an angel, while that of the bad thief is brought to hell by a devil; in the left window, Saint Peter and Saint Paul, parish bosses; in that of the right, the tomb of Christ, the Resurrection, and St Christopher who crosses a river bearing the child Jesus on his shoulders. The conversion of Saint Paul, stained glass stained glass, orne one of the windows of the Ducal Chapel.

The construction of the church, begun at the end of the 1239 th century, could be completed in thanks to Mathilde de Bourgogne, widow of the Earl of Clermont, Philippe de France, one of Philippe Auguste's sons. The building is admired by connoisseurs because it is one of the most beautiful in the department. He has been classified as a Historic Monument since 1875. In rectangular form, it is 42 metres long and 14 metres wide; the tip of the arrow is 32 meters from the ground. The church situation allows you to see the bell tower in the Brêche valley and on the plateau. Remnants of paintings are visible in various places of the walls and voûte of the choir, as well as a large th-century fresco adorning one of the walls of the nave. It represents Christ presiding over the last Judgment. The church contains the burials of noble local families: Hédouville, Villain, etc.

Its nave dates from the Romanesque era (th-century). It was burned in 1798 and remained in ruins until 1850. It was then rebuilt and amended to finally be spent in 1856. There are several primitive windows of the th century, a funeral inscription and a death head indicating the grave of Etienne Goullet, magister of the parish, a Renaissance fresco representing the conversion of Saint Hubert, the drawings of two superimposed frescoes. The stained glass windows were recently redone according to the plans of the old ones.

This chapel bears the name of Saint Arnoult in tribute to the bishop of the same name who lived under the reign of Clovis. This missionary, who carried out numerous pilgrimages between Tours, Poitiers and Reims, was massacred in the Yvelines forest and buried in Saint-Arnoult-en-Yvelines in the th century. The chapel belonged to the Clermont Hospital in 1686, it was destroyed in 1783 but another was raised in the same year a little above the former.

It is also called the Linden Chapel (the tree was shot in 1990 but another was replanted in the same place), it is dedicated to Saint André. It was built in 1651 and has a framed door of bosses, surmounted by a niche that houses a statue of Thérèse. On the pignon, a small bell houses the bell bell bell cloche on August 25, 1944.

This church was once the chapel of a priory of the order of Saint Augustine, founded at the end of the th century and dependent on the abbey of Saint-Quentin in Beauvais. She was promoted to the rank of church in the th century. Dedicated to Our Lady and Saint Fiacre, she is classified in Historical Monuments.

This charming village, located at the foot of Mount Saint-Mard (and its magnificent licorne) has a curious church that is owed to Jean-Louis Grisart, architect of Napoleon III. You get there by the famous Eugénie Road, a path by Napoleon III for the Empress. Regular services always take place.

The abbey of Saint-Martin of Ruricourt, built towards the late th century for the canons of Saint Augustine, is classified in Historical Monuments. It was in the late th century that it took the name of Saint Martin-aux-Bois, "Santus Martinus in Bosco". Henri IV said from her: " She is the most beautiful lantern of my kingdom. " Very famous for its stalls, it is Gothic style.

On the southern edge of the Laigue forest, this picturesque village has a th century church. The sanctuary has a large altar from the Sainte-Croix priory of Offémont founded by Jean'in 1331. Inside: numerous inscriptions and stained glass windows dating back to 1552. Near: Offémont Castle, an ancient medieval fortress restored in the th century.

Dating back to the th, th and th centuries, the building has a splendid Gothic transept. Inside: beautiful statues including a Mater Dolorosa. On the south door, a epitaph of the th century.

On the right of the choir, one can see a statue of the holy. The stained glass windows represent Saint Pierre and Sainte Cécile, the musicians of the musicians. The th century dental Nave. There are the statues of Saint Antoine and Saint John-Baptiste. The steeple is the oldest part of the church. He sits on four big ogival arcades at the entrance of the choir. On the pillars, the statues of the Virgin Mary and Saint Peter can be seen.

The chapel of the Holy Virgin is a flamboyant ogival style built in the th century: It was the chapel of the lords of Liancourt, of which one of the members, Robert Ellman, was buried in 1579. It is lit by three windows with arcuate beams. The stained glass windows represent the handing over of the rosary to Saint Dominique by the Virgin Mary, the Annunciation by Angel Gabriel and the death of Saint Louis.

It is believed that the current building was raised in the th century. Its height is 26,40 metres and its total length is 30 metres. Around the altar, the statues of Saint Roch and the Holy Virgin have been there since the th century. The stained glass windows represent the marriage of the Virgin and its crowning by the Holy Trinity. The last reshuffle dates back to 1898, the choir's vault was replaced by a Gothic stone Arch.

The church has several works of art, the principal of which is a reliquary since the th century and which contains a bone of the arm of the Saint Germain d'Auxerre, patron of the parish. It has been a historic monument since 1904. A great canvas, classified since 1912, representing Our Lady of the Rosary above the altar of the manor chapel, a altarpiece representing the Resurrection of Christ over the master altar, a Virgin of l'Assomption, in the southern chapel, an array of the beginning of the th century, painted on wood, the Adoration above the altar dedicated to San Sebastian. Note the soft stone statues dating from the th century: Saint Michel, Saint Madeleine, Saint Germain, San Sebastian and Saint Roch. In front of the entrance, a stone baptismal stone is placed at the beginning of the Renaissance.

Majestic church, located at the corner of Solferino Street and National Street. It is a far cry. It was erected at the end of the th century, at the initiative of the Ladies of Mary's Children's Association of the Sacred Heart, to preserve Lille from the Prussian invasion. In neo-Gothic style, it is one of the largest churches in the city: 90 m long, 24 m wide and 22 m high under the main vault. It was built by the architect Lillois Jules Batigny between 1875 and 1898. Its steeple, so high that it is visible at miles to the round, was completed in the mid th century on plans. In reinforced concrete, it did not withstand the weather and had to be restored entirely from 2005 to 2008. The Absidiale chapel is adorned with a remarkable set of eleven stained glass windows in Chartres around 1890, which have been classified as Historical monuments since 1983. Among the other jewels of the church, note the presence of an English accompaniment organ dating from the end of the th century, also classified as the stained glass windows of the transept representing the evangelists.

In 1928, a woman from Lille chose to donate a statue of Saint Rita to a humble parish in the region. She chose Saint-Eubert church in Vendeville, and Abbé Dumortier also obtained a relic of this "advocate of desperate causes" from the monastery in Cascia! Since then, the church has been the object of pilgrimage and devotion. The countless ex-votos that cover its walls bear witness to this. These thousand touching messages also tell the story of the region: many were donated during the Second World War.