The church of Notre-Dame-et-Saint-Fiacre of Neuilly-sous-Clermont, located in the Oise, succeeds a chapel of the middle of the 12th century, whose facade has been preserved. Founded in the parish in the 13th century, she saw her three-ship Gothic choir hall built at that time, with partially radiant windows. The nave, destroyed during the Hundred Years' War, was rebuilt and vaulted in a flamboyant style between 1470 and 1540, requiring iron pulls to support the vaults. The bell tower, surmounted by an elegant octagonal arrow, dominates the building.
The church is listed as a historic monument on August 28, 1933 for its hybrid architecture, mixing Romanesque and Gothic influences. A priory-cured, rebuilt in 1769, was attached to it until the French Revolution. The marshy ground prevented the construction of a south side, explaining the asymmetry of the building. The massive arches-buttons to the south, rare for a church without a low side, and the curved vaults of the nave reflect successive structural adaptations. The furniture includes a 15th–12th century Virgin of pity classified in 2009, now absent from the church.
The choir hall, characteristic of the middle valley of the Oise, merges choir and collateral under the same height of vault. The interior supports, combining columns and columns with capitals, reveal partial repairs, especially in the southern collateral. The windows of the choir, of radiant and simple-launched styles, bear witness to a 13th century construction. The north chapel, vaulted in a broken cradle, and the modern sacristy complete the whole. The church, originally dedicated to the Virgin Mary and Saint Fiacre, patron of gardeners, depended on the diocese of Beauvais before its temporary attachment to Amiens (1801–22).
Historical sources remain limited: only Louis Graves (1835) and Jules Crépin (1906) studied the building, with sometimes imprecise descriptions. Graves notes a "tertiary ogival" facade and a "rosaceous" choir, while Crépin evokes a marshy soil explaining the absence of a south side. Janny Noblécourt (2013) provides illustrations but little new analysis. The church, now affiliated with the parish of Saint Martin of Liancourt, hosts irregular Sunday Masses. Its furniture, though modest, includes a 16th century Virgin with Child and a flamboyant Gothic cathedra of uncertain origin.
The exterior architecture is distinguished by atypical bow-buttons to the south, resting directly on the ground due to lack of bottom. The small bell tower is compensated by a 31.75 m frame arrow. The foothills of the west facade, not prominent with light retreats, and the blocked windows above the gate reflect the evolution of the early nave. Inside, the wavy pillars of the nave, typical of the flamboyant, contrast with the hooked capitals of the choir. The raised doubles and curved vaults, rare in the region after the 12th century, underline the constructive complexity of the building.
The local context explains certain peculiarities: the Oise valley has several choir halls (Nogent-sur-Oise, Villers-Saint-Paul), often associated with unstable soils. The absence of separate transept and flat bedside are recurrent in this area. Comparisons with neighbouring churches, such as Saint-Martin-aux-Bois for windows or Cambronne-lès-Clermont for dogive profiles, suggest exchanges between regional workshops. Despite its ranking, the church remains unknown, its history based on architectural assumptions more than on archives.
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