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Transcript
Visit Dual influence L Information Architecture and painting The dual influence of Classicism and Mannerism From 1540 onwards architects started travelling to Italy to study the Ancient ruins. They took inspiration from Classical architectural treatises as well as from the latest works on the subject. The facades of the château combine the three Classical orders* placed one above the other, each represented by a certain sort of capital around the windows. On the ground floor there is the Doric order, on the first floor the Ionic order, and on the second floor the Corinthian order. This principle of placing the orders one above the other is repeated inside the building (with the hearths of the fireplaces and the doors on the landings). History Visit Dual influence Bucrane or bucranium: ornamental motif depicting an ox skull. Caryatid: statue representing a female figure serving as a vertical architectural support. Honor, virtus et gloria: honour, courage and glory. Non nobis domine non nobis sed nomini tuo da gloriam: Not unto us, O Lord, not unto us, but unto thy name give glory. Order: with its proportions and ornamentations, this defines a style of building in Ancient and Classical architecture. Ovid: Latin poet of the first century A.D., author of the Metamorphoses, a set of Greek and Oriental legends written in poetic language. Patera: a small, shallow, circular libation bowl. Putto: figure of a chubby little cherub, putti in the plural. *Explanations overleaf. Visitor information Average length of visit: 50 minutes. Guided tours in French. Centre des monuments nationaux Château du Bas-Chareil 03140 Chareil-Cintrat tél. 04 70 56 94 28 www.monuments-nationaux.fr History L L Glossary Mannerism Mannerism is the term applied to artistic works created in Europe between 1515 and 1580, based on a rejection of the Classicism and Naturalism of the first Renaissance. The decors at Chareil present certain typical characteristics of Mannerism, with elongated bodies and serpentine shapes presenting figures from several different angles, and the mannered postures and fabulous creatures found in the grotesques. These grotesques were inspired by those discovered at Nero’s Domus Aurea in Rome, of which the buried remains resembled grottoes. In the 16th century artists incorporated fantastical figures into these Classical models, giving rise to the pejorative meaning of the word “grotesque”. Information crédits photos © Pascal Lemaître / Centre des monuments nationaux. conception Plein Sens, Anders. réalisation Marie-Hélène Forestier. traduction InPuzzle. impression Stipa, avril 2014. History Visit Dual influence Information Chareil-Cintrat Château English Amidst the vines The château of Claude Morin Western facade Standing at the foot of a vine-covered hill, the château was originally one of the fiefs of the Bourbon family. In the mid-16th century it was acquired by Claude Morin, Superintendent in Ordinary of the Wars. He had a new building erected against the enclosure of the mediaeval castle, of which only the towers still remain. In all probability his duties took him to Italy where Ancient ruins and Italian Renaissance buildings may well have inspired certain decors. During the Wars of Religion, the Protestants laid siege to the château but no damage was done to the building. The château passed into the hands of the Monamy family by marriage, before being inherited by the Langlois de Ramantière family. In 1815 it became the property of the Thonnier family, and remained so until 1923. The Schneider steelworks then acquired the château but never occupied it. Unique decoration The château was listed as a historic monument in 1958 when it was bought by the state. Major restoration works were undertaken, enabling part of its painted decoration to be revealed. History Visit L Dual influence Information Chareil château is remarkable for its interior decoration, which is characteristic of the second phase of the French Renaissance. Classical influences are combined with references to Roman architecture and the Mannerist style. The ground floor 1 The room houses a monumental fireplace. The lintel is supported by columns and decorated with a Doric frieze with alternating ornamental bucranes* and patera* . The mantelpiece is ornamented with a caryatid* at either end and a central decoration showing masks and putti* placed around the inscription “honor, virtus et gloria”* . 2 The vaults in the vestibule, the ceilings of the flights of stairs, and the walls on the landings are ornamented with a decor of grotesques. In the frieze running along the bottom of the vault in the vestibule, an elegant hybrid figure may be seen, composed of the bust of a woman, the wings of a butterfly, and a corolla of flowers. 3 Along the central axis of the first flight of stairs there are three birds representing Roman divinities, with the owl representing Minerva, the peacock Juno, and the eagle Jupiter. Along the edge of the flight, near the peacock and eagle is a misshapen, hermaphrodite figure. The whole flight is decorated with objects, plants and so on. The first floor This floor, which received the most elaborate decoration, is the stately floor of the château. 4 The corner tower houses a decoration of grotesques and two scenes telling the well-known legend of Adonis, from Ovid’s* Metamorphoses. N ground floor first floor second floor 7 1 4 6 3 5 9 2 The first scene shows the birth of Adonis. His mother Myrrha, half-woman and half-tree, is giving birth with the assistance of the goddess Lucina. The second scene depicts Adonis at rest in the arms of Venus. 5 In the North room the myth is continued on the mantelpiece where Adonis, having been wounded by Mars metamorphosed into a wild boar, is dying in the arms of Venus. 6 The room features a fireplace whose hearth is framed by pilasters doubled with columns and topped by scrolled capitals typical of the Ionic style. The mantelpiece bears the inscription “Non nobis domine non nobis sed nomini tuo da gloriam”* , taken from Psalm 115 of the Bible. 7 The room has a vault ornamented by grotesques that encircle astrological decors placed within medallions. Each decor shows a planet represented by a divinity, with for instance the sun in the centre, symbolised by Apollo. The wheels of the chariots bearing the divinities contain the signs of the zodiac. On the mantelpiece there is a gallant scene of Mars and Venus accompanied by Cupid. Two interior scenes above the door complete the painted decoration. 10 8 The second floor 8 On the landing the capitals with acanthus leaves are in the Corinthian style. 9 and 10 Here there is access to the attics where the upper roof timbers may be seen. They have been restored but retain original elements dating from 1548 to 1552. On leaving the château, the path follows the building and then turns left at the far end of the courtyard. The door leads to the vineyards of the conservatory for old vine varieties from the Chareil and Saint-Pourçain regions. The conservatory for old vine varieties In addition to enhancing the monument, the purpose of the conservatory is to present traditional varieties of vine (such as Romorantin, Melon, Saint-Pierre Doré, and Gamay Fréault) and to teach skills and techniques relating to the vine lifecycle. Since 2004 the conservatory has made a cuvée with its ten white grape varieties. *Explanations overleaf.