Origin and history
The church of Notre-Dame d'Épiais-Rhus, located in the Val-d His stripped style, marked by persistent gothic influences (dogive vaults, penetrating veins), breaks with the adorned works of the regional Renaissance. The church, of a rare homogeneity for the time, was probably financed by the family of Montmorency, whose weapons appear on the key vault of the transept. Its bell tower, inspired by that of Chars, is distinguished by its stone dome decorated with lanterns, while the interior houses a 17th century baroque altarpiece and a carved frieze of the Apostles and Evangelists, similar to that of Ennery.
Ranked as a Historic Monument in 1911, the church reflects the transition between Gothic and Renaissance, with a symmetrical cruciform plane, a vaulted nave, and a pentagonal apse choir. The western portal, added around 1621 by Denis Le Mercier (Nicolas' brother or nephew), and the 17th century stained glass windows (including fragments dated 1642) complete his heritage. Outside, the cutting stone apparatus and the absence of superfluous ornamentation underline its sobriety, while the bell tower, the most prominent element, dominates the village on a hill.
The history of the parish dates back to 1161, with Notre-Dame as principal patron saint and Saint Didier de Langres as second patron saint. Under the Ancien Régime, the cure depended on the abbey of Saint-Quentin de Beauvais (Diocese of Rouen). The parish of Espias absorbed that of Rhus during the Revolution, inheriting its furniture, including an antependium of the 15th century and classified statues. Today affiliated to the parish of Averns and Marines, the church, although little used for the offices (3 annual Masses), retains remarkable furniture: 18 classified elements, including the altarpiece, 15th-17th century statues, and 18th century procession sticks.
The interior architecture, sober but structured, rests on large arches in the middle of the hangar, doric capitals, and vaults with penetrating veins. The transept, with square crosses, and the choir, decorated with a false triforium, illustrate the persistent Gothic influence. The frieze of the Apostles, arranged as a balcony above the high altar, is an iconographic rarity in the region, while the stained glass windows, reduced to greys and medallions, reflect the post-Tridentine aesthetic. The ensemble, restored in 1782 (dated engraved on a key arch), bears witness to a desire for architectural modernity without excess decorative.
The site, located in the heart of the Parc naturel régional du Vexin français, benefits from a terrace designed to compensate for the elevation of the land. The church square, below, highlights the building, visible from a distance thanks to its implantation on a hillside. Although the bedside is enclaved in private properties, the south and west elevations offer a clear view of the clean volumes and the bell tower dome, inspired by Saint-Maclou de Pontoise. The absence of low-sides around the choir and transept allows a set of split cornices, reinforcing the visual effect of the two elevation levels.
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