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This Drawing Shows the Plan of Chateau

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Château de Chanteloup
Château de Chanteloup - 1.jpg

View from the north in 1767

Château de Chanteloup is located in France

Château de Chanteloup

Location inside France
General data
Architectural style Baroque and Neoclassical
Town or city Amboise (Indre-et-Loire)
Country France
Coordinates 47°23′44″N 0°58′12″E  /  47.39548°N 0.96988°Eastward  / 47.39548; 0.96988 Coordinates: 47°23′44″Due north 0°58′12″E  /  47.39548°N 0.96988°Due east  / 47.39548; 0.96988
Construction started 1583
Renovated c. 1700, 1711, 1762
Demolished 1823
Design and construction
Architect
  • 1711: Robert de Cotte
  • 1762–1775: Louis-Denis Le Camus

The Château de Chanteloup was an imposing 18th-century French château with elaborate gardens, compared by some contemporaries to Versailles.[one] It was located in the Loire Valley on the southward banking concern of the river Loire, downstream from the town of Amboise and well-nigh 2.iii kilometres (1.4 mi) southwest of the purple Château d'Amboise. From 1761 to 1785 Chanteloup belonged to King Louis 15'southward prime number minister, the Duke of Choiseul. The château was mostly demolished in 1823, just some features of the park remain, notably the Pagoda of Chanteloup, a pregnant tourist allure.[2]

History [edit]

Origins [edit]

In the 16th century the site was nothing more than a tenanted farm, merely it was elevated to a fief in Jan 1668. François le Franc, a fruit seller to the Knuckles of Alençon (youngest son of Henry II of French republic and Catherine de Médicis), purchased it on vii June 1583 and erected a house with a chapel. He became the mayor of Amboise in 1588. Claude-Arnoul Poncher, who acquired the property by his wedlock to Marie-Madeleine le Franc (daughter of François le Franc, grandson of François le Franc, the fruit seller), sold information technology on 21 October 1695 to Louis le Boultz, the M Main of Waterworks and Forests of Touraine, Anjou and Maine.[three] Around 1700 Louis le Boultz created large, well-ordered gardens and added other structures, so that information technology was no longer a uncomplicated land house.[4]

  • "General perspective view of the house, courtyard, service courtyard, gardens, woods, vineyards, and park of Chanteloup from the entrance side with the environment, all situated near Amboise, and view toward the Loire River" (1708)[5]

1708–1761: D'Aubigny [edit]

Creation of the château [edit]

On 22 February 1708, Louis Le Boultz sold the house and seigneury of Chanteloup to Jean Bouteroue d'Aubigny, who as well acquired the office of Grand Master of Waterworks and Forests of France for the département of Touraine, Anjou and Maine. D'Aubigny was the secretary for the Princesse des Ursins from 1701 to 1714, a flow when she was very influential at the court of Philip V of Kingdom of spain, the grandson of Louis Xiv. D'Aubigny hired the well-known French architect Robert de Cotte in 1711 to remodel the business firm into a château. Robert de Cotte likewise worked on the Princess'due south apartments at the Imperial Palace in Madrid and on designs for the Spanish king's country manor on the outskirts of Madrid, the Buen Retiro. The Château de Chanteloup was probably intended for her future utilise, simply she was never to see it. At her death in 1722, as her sole heir, d'Aubigny retained sole possession of the château and its park.[6]

D'Aubigny's focus in 1711, when construction began, was on Spain and the south. Robert de Cotte modified the cardinal part, the corps de logis and the two pavilions at its ends (most of which already existed), and added the lateral wings flanking the cour d'honneur, a design typical of a château, so that the ensemble faced due south. The principal entrance to the forecourt leading to the château was on the south side, on the road to Kingdom of spain.[7] There was a passageway from the cour d'honneur through the westward wing to the service court (basse cour) and stables on the westward.[8] The remodeling included the cosmos of an due east-facing gallery in the east wing and a chapel in the northwest corner, both with a projection of decoration entrusted to Henri de Favanne, d'Aubigny's favorite painter, who had already worked on d'Aubigny's Parisian hôtel.[ix]

  • Plan of the premier étage (first flooring), 1711 (Bibliothèque de l'Institut de French republic, Paris)

  • Plan of the deuxième étage (second flooring), 1711 (Bibliothèque de l'Institut de French republic, Paris)

  • The Battle of Almança or The Boxing of Villaviciosa, study by Henri de Favanne for the Grande Galerie (private collection)[10]

  • The Kingdoms of Valencia and Aragon Surrender to Philip V, King of Spain, by Henri de Favanne for the Grande Galerie (Palais des Beaux-Arts, Lille)

Creation of the French formal gardens [edit]

D'Aubigny also extended and enhanced the gardens and the park, which due to the terrain and the river were more often than not to the south. The park was divided into numerous geometrically arranged groves of tall trees (bosquets), bordered by alleys lined with a variety of species of trees, and decorated with ornamental ponds. It was enclosed on the e, west, and s by a wall and on the north by a moat, and encompassed an expanse of about 500 arpents (380 hectares, 940 acres).[11]

D'Aubigny died in the Château de Chanteloup in April 1732.[four] Saint-Simon, who died in 1755, described Chanteloup in the period after d'Aubigny's decease, as "one of the virtually beautiful and singular places in all France, and the most superbly furnished."[12]

A program of 1761 from the Municipal Library of Tours shows gardens around the château in the formal French way, perfected by André Le Nôtre in the latter half of the 17th century, with parterres of broderie and lawn, galleries of topiary, all-encompassing bosquets (especially to the east and southeast), water basins, tree-lined paths and kitchen garden (potager) on the west side, south of the stables and other service buildings.[13]

  • Detail from a plan of 1761 (northward to the left), showing the French formal gardens (Bibliothèque Municipale, Tours)[fourteen]

1761–1785: The Knuckles of Choiseul [edit]

General site plan of the domain of Chanteloup in 1761 (north at the bottom), showing the development of the Grand Park with geometric patterns of avenues and alleys (Département des Cartes et Plans, Archives Nationales, Paris) [15]

Yard Park [edit]

The Marquise d'Armentières, a descendant of d'Aubigny, sold the château in 1761 to King Louis XV's prime government minister, the Duke of Choiseul, who also acquired adjoining land, increasing the size of the estate to 6,000 arpents (4,600 hectares, 11,000 acres).[16] For comparison, the  gardens and park of Versailles, when they reached their greatest extent nether Louis XIV, covered an expanse of ii,473 hectares (6,110 acres).[17] A 1761 general site plan, from the French National Archives in Paris, shows that one of the first changes Choiseul made was to cut numerous tree-lined avenues and alleys in circuitous geometric patterns in the newly acquired Forest of Amboise to the southward of the château, creating a Thou Park. Vii of the avenues converge on the one-half-moon (demi-lune) parterre of the Spanish Gate, forming a classic French patte d'oie (goose-human foot pattern), a feature seen at several grand French châteaux of the 17th century, including the Château de Richelieu, Vaux-le-Vicomte, and Versailles.[18]

Main plan [edit]

Choiseul engaged the builder Louis-Denis Le Camus to modernize and overstate the château.[19] A master plan (grand dessein) was developed which was never to be completely realized.[xx] A version of 1761 at the Bibliothèque nationale de France shows numerous proposed modifications and additions to the château of Robert de Cotte.[21] For example, this plan shows a theatre wing running e from the southern end of the e lateral wing, which is not seen in numerous later representations of the château. Other features, which were realized in one grade or another, included additional courtyards, stables, and service buildings to the west of the château. Six miniature paintings past Louis-Nicolas van Blarenberghe dated 1767, which decorate a gold snuffbox, show the architectural composition as intended by Choiseul and his builder, such every bit the theatre fly, rather than that which had actually been built.[xx]

North facade and entrance [edit]

In 1765, ane of the additions actually executed was the extension of the due north facade to the east and westward with two ix-bay, open up peristyles, recalling the Chiliad Trianon at Versailles. Each was topped with a promenade enclosed with balustrades busy with ornamental vases and terminated with rectangular pavilions, the one on the east with a Salle des Bains (Bathroom Hall), and the 1 on the west with a chapel. Each of the matching pavilions was raised by i storey and covered with a terrace with a balustrade.[22]

  • View of the north facade with the colonnades and pavilions added past Louis-Denis Le Camus

Choiseul and Le Camus also shifted the primary entrance to the north, allowing access from the road along the Loire past which carriages arrived from Amboise and Paris. The great entrance grille, the Grille Dorée (Gold Grille), was 12 toise (about 24 yards) in length and was flanked by two guard pavilions, which still exist. The gate was surmounted by the Choiseul artillery. Although the Choiseul arms accept been lost, the gate itself is now plant at the prefecture of Indre-et-Loire in Tours. The forecourt contained a sunken fundamental parterre, surrounded past a retaining wall (ha-ha), and in its center, an ornamental basin (pièce d'eau) with two water-jet fountains (jets d'eau). The carriage drive forked, passing to either side of the parterre and crossing two parallel bridges over the moat into the entrance court, which had a long cardinal parterre with broderie of cut grass and low bands of flowers and a round central ornamental basin with a single jet d'eau.[23]

  • View of the entrance courtyards and north facade (anonymous drawing with watercolor, Bibliothèque nationale de France)

Waterworks [edit]

The gardens of the Petit Parc (Minor Park) to the due south of the château were modified very picayune but there was a pregnant exception: a long terraced cascade running from the demi-lune parterre of the sometime Spanish Gate to a pièce d'eau just to the southward of the cour d'honneur. The demi-lune parterre itself was transformed into a lake.[24] The pour is depicted in ii of Van Blarenberghe's snuffbox miniatures and in a 1768 painting by Jean-Pierre Houël, part of a series of six overdoors for the music room of the château, of which iv survive.[25]

  • View to the due south, showing the garden cascade, the half-moon lake, and the patte d'oie (miniature painting by Van Blarenberghe for the Chanteloup gilt snuffbox, Metropolitan Museum of Art)

  • View of the south facade from the terraced garden cascade (overdoor of 1768 by Jean-Pierre Houël, Musée des Beaux-Arts, Tours)

Around 1770 some other important water feature was added, a canal, leading to the south side of the demi-lune lake and aligned on the central centrality of the château and the Grand Park. The canal is shown on a 1770 site program attributed to Le Camus and is depicted in paintings by Louis-Nicolas Van Blarenberghe and Nicolas Perignon.[26] The demi-lune lake and the culvert still exist, although the canal is filled-in and has go a lawn.[27]

  • Site programme attributed to Louis-Denis Le Camus, c.  1770 (collection of Thierry André)

  • The lake and canal of Chanteloup (painting attributed to Louis-Nicolas Van Blarenberghe, Musée du Louvre)

  • View of the canal and the patte d'oie (painting by Nicolas Perignon, individual collection)

Colonnades on the cour d'honneur [edit]

Colonnades were an architectural characteristic that seemed to please Choiseul.[28] Le Camus used them again to make full in the setback of one toise (about two yards) of the south facade of the corps de logis (facing the cour d'honneur) with a seven-bay colonnaded portico, including a cardinal avant-corps of iii trophy with a wider gear up of steps (perron) leading down to the courtyard.[29] The portico can exist seen in a view of the southward facade of the château taken from the eye of the cascade, painted around 1770 by Nicolas Perignon.[xxx] In the center of the corps de logis, Le Camus created a large antechamber, through which one could pass to achieve the courtyard on the south, the cour d'honneur. To the left of the vestibule was a series of three large rooms, and to its right a large dining room with windows facing north, rather than the cour d'honneur equally before.[31]

  • View of the south facade of the château from the heart of the cascade, showing the colonnaded portico topped with a balustraded terrace (painted c.  1770 by Nicolas Perignon)

  • View of the parterre of the cour d'honneur, the pièce d'eau, and the garden pour taken from the terrace above the south portico (painted c.  1770 by Nicolas Perignon)

Le Camus afterward added colonnades to ii new pavilions extending and terminating the south ends of the lateral wings flanking the cour d'honneur.[32] The one fastened to the east fly contained a consummate apartment, comprising an entrance foyer, entrance hall, grand bedroom (with windows facing east), and on the due south, a boudoir, office (cabinet), closet (garde-robe), and a staircase leading to the floor higher up. This apartment was used by Choiseul's sis, the Duchess of Gramont, when she came to visit. The erstwhile function of the e wing contained the flat for the knuckles, a large gallery, and the flat for the duchess, Louise-Honorine Crozat, daughter of Louis-François Crozat, marquis du Châtel, and heir to many of the Italian paintings from the collection of her slap-up-uncle, Pierre Crozat. Some of these paintings were displayed in the gallery. The matching pavilion attached to the west fly contained the flat of the officier de bouche (chef), an office and a laundry. The old office of the west fly contained a new kitchen (closer to the main dining room), offices, and the servants' dining room.[33]

  • Programme of the ground floor of the Château de Chanteloup (north at the bottom) with the colonnades added past Louis-Denis Le Camus to the cour d'honneur [34]

  • View of the south (garden) facade with the colonnades and pavilions added past Le Camus (undated drawing from the Bibliothèque nationale de France)[35]

Jardin anglo-chinois and pagoda [edit]

In December 1770, Louis XV banished Choiseul from courtroom and ordered him to retire to Chanteloup. Before returning to Paris in 1775, afterward the lifting of his exile by Louis Sixteen, Choiseul introduced a large, informal jardin anglo-chinois (replacing the French formal gardens east of the principal axis of the château) and deputed the construction of what is now the onetime château's almost famous feature, the seven-storey, 44 metres (144 ft)-alpine Pagoda of Chanteloup, congenital in 1775 by Le Camus.[36] The pagoda was located just to the north of the demi-lune lake. The garden cascade flowing down to the pièce d'eau nearly the cour d'honneur was suppressed at this fourth dimension and transformed into a bowling green (boulingrin), evidently due to a lack of sufficient water to go on it flowing.[37]

  • View to the eastward with the Bathing Pavilion and the edge of the jardin anglo-chinois (painting past Louis-Nicolas Van Blarenberghe)

  • View of the pagoda (painting attributed to Louis-Nicolas Van Blarenberghe, Musée du Louvre)

  • View of the pagoda from the thou salon of the château (undated drawing from the Bibliothèque nationale de France)[38]

1785–1823: Reject and demolition [edit]

Afterward Choiseul'southward decease in 1785 the château was purchased past the Duke of Penthièvre, who added to the collection of paintings, virtually notably works by François Boucher. The French Revolution began a flow of decline, the property becoming a public expert in 1797 and sufferering abandonment until 1802, when it was bought past the chemist-industrialist Jean-Antoine Chaptal.[39]

Chaptal, a rich man, was minister of the interior under Napoleon and became a member of the French Senate in 1804. He expended a considerable amount of coin restoring the property and in 1808 declared "information technology was fit to receive a male monarch."[twoscore] He raised sheep, distilled brandy, and experimented with beet farming and the large-scale production of beet sugar.[41]

In club to pay heavy debts owed past his son from investments in the chemical industry,[xl] Chaptal decided to sell. The Knuckles of Orléans purchased the department of the park with the Pagoda, but declined to buy the entire domain. In 1823 Chaptal sold the remainder of the park and gardens and the château itself to a consortium of appurtenances merchants, the "bande noire" ("blackness bandits"), including the socialist banker Barthélemy Prosper Enfantin and the speculator Baudrand, acting for the wealthy Alfred de Montesqiou-Fézensac [fr]. The group dismantled about of the château, dispersing architectural souvenirs throughout the Touraine, many of which tin even so be seen in public and individual places.[42]

1823–present: Domaine de Chanteloup [edit]

Simply some of the park, ii pavilions, a semicircular ornamental puddle, and a few other garden features survive,[43] the most important of which is the Pagoda, restored in 1910 by architect René Édouard André (son of the landscape architect Édouard François André).[44] The site, the Domaine de Chanteloup, was designated a French monument historique in 1937.[45]

  • Pagoda of Chanteloup equally sketched by Bergeron in 1845

  • Pagoda of Chanteloup in 2007

  • Pagoda and a pavilion

Choiseul-Chanteloup snuffbox [edit]

The château and its gardens were depicted by Louis Nicolas van Blarenberghe in six miniatures (1767, Metropolitan Museum of Art, deputed by the Duke of Choiseul), which were used to decorate a gold snuffbox.[46] The paintings show the architectural composition as intended by Choiseul and his builder, rather than that which had actually been built.[20]

  • Northern view of the château from the archway screen, the "Grille Dorée"[47] (snuffbox top)

  • View of the garden facade from the south (snuffbox front end)

  • View of the château from the eastward (snuffbox back)

  • View from the château toward the south, showing the site of the future Pagoda of Chanteloup (1775) in front of the semicircular lake (snuffbox bottom)

Notes [edit]

  1. ^ Watson 1966, p. 156.
  2. ^ Pagode de Chanteloup website.
  3. ^ Carré de Busserolle 1879, p. 110; André 1928, pp. 21–22; Chenu & Stainier 2014, p. two.
  4. ^ a b Chenu & Stainier 2014, p. ii.
  5. ^ "Veüe generale en Perspective de la maison cour bassecour Jardins bois Vignes et parc de Chanteloup du costé de fifty'entrée avec les surround le tout Situé près Amboise et veüe sur la rivière de Loyre", Bibliothèque nationale de France.
  6. ^ Chenu & Stainier 2014, p. ii; "Chanteloup History", Chanteloup website; Neuman 1994, p. 229 note four; Gallet 1995, p. 289–290.
  7. ^ André 1935, pp. 24–26.
  8. ^ Program of the premier étage of the Château de Chanteloup. Bibliothèque de l'Institut de French republic, Paris. Digital copy from the website of the Agence Photo de la RMN.
  9. ^ Moreau 2008, p. 1.
  10. ^ Sotheby's 2007.
  11. ^ André 1935, p. 26; Moreau 2008, p. 3.
  12. ^ Saint-Simon 1857, p. 100.
  13. ^ MBA Tours 2007, p. nine; Grateau 2015, p. 70 (source of the reproduction); André 1935, p. 35 (garden plan drawn past André later the original); Watson 1966, p. 157 (manner).
  14. ^ Reproduced past Grateau 2015, p. 70; also by Moreau 2008, p. ii.
  15. ^ Reproduced past Grateau 2015, p. 76; also by Moreau 2008, p. iii.
  16. ^ André 1935, p. 27; Watson 1966, p. 156.
  17. ^ Hoog 1996, p. 372.
  18. ^ MBA Tours 2007, p. 9; Moreau 2008, pp. iii–4; Watson 1966, p. 157.
  19. ^ Gallet 1995, p. 290.
  20. ^ a b c Grateau 2015, p. 84.
  21. ^ "[Plan du château et du parc de Chanteloup], 1761", Bibliothèque nationale de France, département Cartes et plans, GE A-1124 (RES).
  22. ^ André 1935, pp. 28–29; Watson 1966, p. 156; Grateau 2015, p. 84.
  23. ^ André 1935, pp. 28–29, 32–33; Moreau 2008, p. 5; Watson 1966, p. 156.
  24. ^ Grateau 2015, pp. 84, 86; Watson 1966, p. 157.
  25. ^ Conisbee 1996.
  26. ^ André 1935, afterwards p. 28; Watson 1966, p. 157, plate 750; Grateau 2015, pp. 82, 89 (Van Blarenberghe), 96 (Perignon).
  27. ^ Moreau 2008, p. five; Watson 1966, p. 157; Satellite view of the Canal de la Pagode at Zoom Earth.
  28. ^ According to André 1935, p. 28.
  29. ^ André 1935, pp. 28–29; Watson 1966, p. 156.
  30. ^ Grateau 2015, pp. 96–97.
  31. ^ André 1935, pp. 28–29.
  32. ^ The design of these pavilions differs from that shown on the primary plan of 1761.
  33. ^ André 1935, pp. 28–29; Watson 1966, p. 156 (Italian paintings).
  34. ^ André 1928, Fig. 7 (after p. 44).
  35. ^ Published past André 1928, Fig. eight (later p. 58).
  36. ^ Watson 1935, p. 157; MBA Tour 2007, p. 4.
  37. ^ Moreau 2008, p. 9.
  38. ^ Published past André 1928, Fig. 9 (afterwards p. 58).
  39. ^ MBA Tours 2007, p. 2; Crosland 2008.
  40. ^ a b Crosland 2008.
  41. ^ MBA Tours 2007, p. iv; Crosland 2008.
  42. ^ MBA Tours 2007; Andreé 1935, p. 22 ("bande noire"); Gallet 1995, p. 290 (Enfantin); Watson 1966, p. 158 (Baudrand and Montesqiou).
  43. ^ Watson 1966, p. 158; Gallet 1995, p. 290.
  44. ^ Holmes 2008, pp. 124–125.
  45. ^ Base Mérimée: Domaine de Chanteloup, Ministère français de la Civilization. (in French)
  46. ^ Watson 1966, pp. 145, 158; "Snuffbox with views at the château of Chanteloup", The Metropolitan Museum of Fine art website.
  47. ^ Today there is a street virtually this location, the Avenue de la Grille Dorée.

Bibliography [edit]

  • André, R. Édouard (1928). "Le Domaine de Chanteloup", pp. 19–96, in Chanteloup by André Hallays, R. Édouard André, and Roland Engerand. Tours: Maison Alfred Mame et fils. OCLC 494077689.
  • André, R. Édouard (1935). "Documents inédits sur l'histoire du château et des jardins de Chanteloup", pp. 31–35, in Bulletin de la Société de l'Histoire de l'Fine art Français, no. 1 (ane March 1935). ISSN 0301-4126.
  • Carré de Busserrole, Jacques-Xavier (1879). Dictionnaire géographique historique et biographique d'Indre-et-Loire et de l'ancienne province de Touraine, volume 2. Tours: Imprimérie Rouillé-Ladevèze. Copy at Google Books.
  • Chenu, Rachel; Stainier, Lauranne (2015). Les vases des jardins de Versailles à  Chanteloup, Primary Histoire de l'art, François Rabelais University, Tours. Online pdf at ash.univ-tours.fr.
  • Conisbee, Philip (1996). "Hoüel, Jean-Pierre-Louis-Laurent", vol. 14, p. 799, in The Dictionary of Art, edited by Jane Turner, reprinted with minor corrections in 1998. New York: Grove. ISBN 9781884446009. Also at Oxford Art Online (subscription required).
  • Crosland, M. P. (2008). "Chaptal, Jean Antoine", Complete Dictionary of Scientific Biography. Charels Scribner'south Sons. Archived copy (13 December 2017) at the archive.org.
  • Gallet, Michel (1995). Les Architectes parisiens du XVIIIe siècle. Paris: Mengès. ISBN 9782856203705.
  • Grateau, Alexandre (2015). De la Pagode de Chanteloup à Chanteloup, travail personnel de fin d'études. Ècole nationale supérieure d'compages et du Paysage de Bordeaux.
  • Hoog, Simone (1996). "Versailles", vol. 32, pp. 369–374, in The Dictionary of Fine art. New York: Grove. ISBN 9781884446009. Also at Oxford Art Online (subscription required).
  • Holmes, Caroline (2008). Follies of Europe: Architectural Extravaganzas. Suffolk: Garden Art Press. ISBN 9781870673563.
  • John, Richard (1996). "Le Camus, Louis-Denis", vol. 19, p. 26, in The Dictionary of Fine art, edited past Jane Turner, reprinted with minor corrections in 1998. New York: Grove. ISBN 9781884446009. Also at Oxford Fine art Online (subscription required).
  • MBA Tours (2007). Chanteloup, united nations moment de grâce autour du duc de Choiseul, press release for the exhibition held from 7 April to viii July 2007, Musée des Beaux-Arts, Tours. Online copy at the museum website.
  • Moreau, Véronique (2008). "Les jardins du duc de Choiseul à Chanteloup", Colloque l'Camaraderie des jardins : entre tradition et création, five–half dozen September 2008, Conseil Général d'Indre-et-Loire. Online copy.
  • Neuman, Robert (1994). Robert de Cotte and the Perfection of Architecture in Eighteenth-Century France. Chicago/London: The University of Chicago Press. ISBN 9780226574370.
  • Saint-Simon, Louis de Rouvroy, duc de (1857). The Memoirs of the Duke of Saint-Simon on the Reign of Louis XIV and the Regency, translated and abridged from the French past Bayle St. John, volume 3. London: Chapman & Hall. Copy at Google Books.
  • Sotheby'south (2007). La bataille d'Almança or La bataille de Villaviciosa, Sotheby's Old Master and 19th Century Drawings and Paintings, Paris, 19 June 2007.
  • Watson, F. J. B. (1966). "Choiseul Boxes", pp. 141–158, reprint from Eighteenth Century Gold Boxes of Europe, edited by A. Kenneth Snowman. Boston Book and Art Shop. ISBN 9780571068005.

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Source: https://en.wikipedia.org/wiki/Ch%C3%A2teau_de_Chanteloup

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