La Bastie d'Urfé castle

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La Bastie d'Urfé castle, view from the southwest
View from the north

The castle La Bastie d'Urfé ( French Château de la Bastie d'Urfé ), also written Castle La Bâtie d'Urfé , is a French castle complex in the commune of Saint-Étienne-le-Molard in the Loire department . The Renaissance style complex is one of the Loire castles and was given its current appearance in the 16th century through renovations under Claude d'Urfé , the grandfather of the author Honoré d'Urfé . However, its roots lie in a permanent house from the 14th century. After the owner family died out, the property went from hand to hand, and from 1872 on, some of it even served as a factory. At the end of the 19th century, the owner at that time sold large parts of the precious interior to an antique dealer, who then sold the pieces to various collectors. In 1909 the Society for History and Archeology of the Forez La Diana acquired the three-wing complex including the outer bailey and thus saved it from demolition, which had already been decided. On October 25, 1912, the entire property was classified as a Monument historique and is therefore a listed building . Since 2007 the General Council of the Loire Department has been responsible for maintenance and administration. He had undertaken extensive restoration and restoration work since 1990 . The castle can be visited as part of a guided tour, the castle garden is accessible to everyone free of charge.

history

Beginnings

Already in the 11th century stood on the site of today's castle on the banks of the Lignon du Forez a barn that the priory of Champdieu belonged. She exchanged the building with Jean de Marcilly for other property. The building came from Jean through his brother Pierre to his daughter Marguerite. When she married Arnoul d'Ulphé, the property passed to his family in 1270, which gave it its current name: La Bastie d'Urfé. The family had their headquarters at Urfé Castle near Champoly, around 23 kilometers away . When Arnoul became the owner of La Bastie, it was just a simple country house with adobe walls, first mentioned in 1331. The Urfé family fortified the property with moats and a drawbridge and thus expanded it into a Gothic permanent house. At the beginning of the 15th century, she gave up her old ancestral castle and moved entirely to La Bastie d'Urfé after Guichard d'Ulphé was appointed Baillie des Forez by Duke Louis II de Bourbon in 1408 . The office was passed on from one generation to the next. Guichard's descendant Pierre II. (1430-1508) made a career at the French court and was accepted into the Order of Michael and in 1484 appointed Grand Equestrian of France . He was the first member of his family to change the spelling of his name to d'Urphé. Pierre II. Settled permanently in La Bastie d'Urfé in 1483 and completely rebuilt the simple manor of his ancestors. The subsequent two-wing complex was surrounded on all sides by a crenellated curtain wall, and a massive square tower on the northwest corner protected the adjacent access bridge. The lord of the castle was married to Antoinette de Beauvau, daughter of Pierre II. De Beauvau, the Seneschal of Lorraine , in his second marriage . She bought various properties and thus enlarged the previously rather small seigneurie .

Expansion and renovation in the style of the Renaissance

Claude d'Urfé expanded La Bastie in the Renaissance style; Portrait by Jean Clouet , around 1540

Pierre's only son, Claude, succeeded his father after his death in 1508, at the age of seven, as Seigneur of La Bastie d'Urfé. Claude grew up at the French royal court and was a close friend of Francis I appointed Baillie des Forez in 1535. From 1546 to 1550/51 he was first France's representative at the Council of Trent and then French ambassador to the Pope in Rome . From around 1535 he had his father's complex expanded and converted into a castle in the style of the French and Italian Renaissance. Antoine Jonyllon was the leading master mason. Claude had a two-storey gallery built in front of the western wing and, from 1548, a richly furnished castle chapel and a grotto were installed on the ground floor of the logis . By building an east wing, he had the castle expanded to a horseshoe-shaped three-wing complex around 1555. At the same time, a bastion tower was built on the south-west corner of the castle. In addition, Claude d'Urfé had an extensive Renaissance garden laid out west of the complex . In 1550/51 he was ordered back to France to take over the post of court master of the French heir to the throne Franz . From Italy he brought not only a fondness for the Italian Renaissance, but also the ideas of humanism , which were reflected in the architectural decor and the furnishings of his castle. For example, he set up a library comprising 4,600 books , which also included 200 valuable manuscripts .

Claude's eldest son Jacques I from his marriage to Jeanne de Balzac became his father's inheritance in 1558. However, he did not carry out any more extensions or alterations to the castle, only a garden temple came from him. On May 23, 1554, he married in Compiègne Renée de Savoie, granddaughter René de Savoies, half-brother of the queen's mother Louise de Savoie . One of the couple's nine sons was the author Honoré d'Urfé, who made the castle and the Forez famous with his shepherd's novel L'Astrée . He grew up in La Bastie d'Urfé and settled there around 1584 to write the shepherd's novel, but it was not he who owned the complex, but his older brother Anne. Like his father Jacques, he lived mostly in Paris and only used the family's country palace for short stays. He didn't make any structural changes or modernizations to the facility either, which could also have been due to the family's increasing financial difficulties.

Gradual decline

Bird's eye view of the castle by Étienne Martellange , 1611

In 1578 the seigneurie was raised to the status of marquisate . Anne d'Urfé transferred this together with the castle to his brother Jacques II in 1596 and became a monk in Lyon . From Jacques II the property came to his son Charles-Emmanuel, who from 1627 held the Bailliage des Forez. In 1633 he married Marguerite d'Alègre from a line of the Auvergnat nobility . The couple had some changes made to the interior of the castle, as indicated by their coats of arms in some rooms. When Jacques II died on November 11, 1685, he left six sons, but only one of them, Joseph-Marie, married. When he died on October 13, 1724, he did not leave any children, which meant that the male line became extinct. After that, the castle was uninhabited for a while. Via Joseph-Marie's sister Françoise, the Urfé inheritance passed to her grandson Louis-Christophe de La Rochefoucauld , Marquis de Langeac , who took the name of his new estates. When he died on January 7, 1734, he left behind only two daughters from his marriage to Jeanne Camus de Pontcarré. The older of them, Adélaïde-Marie-Thérèse, inherited the castle. Against her mother's wishes, she married Alexis-Jean, Marquis du Chatelet-Fresnière, on May 7, 1754. The newly wed couple chose La Bastie d'Urfé as their place of residence. The son Achille was born there on November 3, 1759. However, the couple had major financial problems. He went to Paris to sort out his money affairs. There the two were arrested by their creditors and forced to surrender all property that could be converted into money. Her lock was also seized . Adélaïde and her husband spent the last few years of their lives completely impoverished in Paris. Her son, who was left behind in La Bastie d'Urfé, was sent to a convent for education. After the death of his parents, his grandmother Jeanne Camus de Pontcarré provided for his further education. He fought in the American Revolutionary War and was imprisoned on his return to France for overly free ideas. There he committed suicide in prison on March 20, 1794.

Logis and west wing, 1858

The seized palace complex was acquired by François Louis Hector, Marquis de Simiane in 1764/1765. He had the living quarters on the first floor renovated , but sold the property to Louis François Germain Puy de Mussieu in 1778 for allegedly 500,000  livres . This also took on the name of his new property and was henceforth de La Bâtie. He was shot dead during the French Revolution in 1794 . Unlike many other aristocratic residences at the time, the castle was not confiscated , only its inventory was publicly auctioned in May 1794. The successor as the owner of La Bastie d'Urfé came Louis' son Pierre, who in 1836 for financial reasons was forced to sell the castle to the widow of Jean-Baptiste Nompère de Champagny , Duke of Cadore and Minister Napoleon Bonapartes . Her family planned to restore the castle , but they never did. Instead, the most necessary repairs and the restoration of the chapel windows were satisfied. The heirs of Louis Alix de Nompère de Champagny, who died in 1870, did not want to keep the property and sold it in 1872 to the lawyer and banker Verdolin from Montbrison . He cut up the property belonging to the property and sold the individual parts on. The castle buildings were meanwhile completely run down. Verdolin had the bastioned corner towers on the south side of the Logis demolished down to the first floor and set up a starch factory in part of the outer bailey. But business was bad, and so in February 1874 he began to sell the castle's art-historical furnishings, including the entire interior of the castle chapel, various doors decorated with carvings , a marble Sphinx statue and the paneling of the lower gallery in the west wing of the castle . The income from these sales could not save him from ruin. In 1884 he went bankrupt and La Bastie d'Urfé was auctioned. The buyer was Jean-Baptiste Courtin de Neufbourg, owner of the Beauvoir castle . He again forged plans to restore the facility, but these did not come to fruition either. His son Louis tried to sell the ruinous building from 1907, but could not find a buyer. At the end of 1908, the owner of the castle had therefore already commissioned a company to demolish the building.

Rescue, restoration and current use

The Society for History and Archeology of the Forez La Diana managed to raise enough money through donations to buy the castle in 1909 and thus save it from demolition. In the 1920s she began to restore the complex with the help of the French state and the General Council of the Loire Department. After the end of the Second World War , the remaining buildings received new roofs and the completely overgrown garden was partially restored. The company also bought furniture in the Renaissance style and achieved the return of various furnishings sold in the 1870s to the castle. A contract signed between the organization and the General Council in 1989 paved the way for a comprehensive restoration and restoration of the property. Work on this began in 1990. Archaeological excavations in 1993 revealed the structure of the former Renaissance gardens. On the basis of these findings and documents from the time of their creation, the Parterregarten was reconstructed in 2004 and its path system restored. The restoration of the grotto in the Logis followed in 2008. Between 2001 and 2007 the General Council invested 1,140,000 euros in the palace complex. In January 2007, he and La Diana changed their agreement so that the General Council has since been solely responsible for the care, maintenance and administration of La Bastie d'Urfé. In return, on January 1, 2039, the castle becomes the property of the Loire department for the price of one symbolic euro. Only the interior remains the property of the Forez History and Archeology Society.

In the summer, a culture and theater festival takes place every year in the castle courtyard. From 2001 to 2010 it was called Les Nuits de la Bâtie d'Urfé ( German  The nights of La Bâtie d'Urfé ). After changing the concept and expanding the festival to the entire department, it is now called L'Estival d'Urfé . Performances by musicians, dancers, actors and acrobats as well as events on cultural monuments take place on the castle grounds and in the communes of the Loire department for a month.

What remains of the precious furnishings

Much of the pieces of equipment sold by Verdolin went to the Lyons antique dealer DERRIAZ, which they resold to the two Parisian collector Emile Peyre and Alfred Beurdeley. Other customers of Verdolin were Count Jean-Baptiste Courtin de Neufbourg and several museums.

Front relief of the altar

In December 1874, Émile Peyre acquired almost all of the furnishings in the palace chapel. These included not only eleven paintings by Girolamo Siciolante , the altar decorated with marble bas-reliefs (for 12,000  francs ) and the pedestal of the holy water basin, but also a large part of the enamelled floor tiles and 37-piece walnut paneling with marquetry made from various other types of wood. It was made around 1547/1548 by the Italian artist and monk Fra Damiano da Bergamo (Damiano di Antoniolo de Zambelli) and his colleagues in the monastery of San Domenico in Bologna . A panel from the oratory of the chapel with a representation of the sending of the Holy Spirit comes from the Veronese Francesco Orlandini. The ensemble is one of the most extensive and perfect sets of wall panels with marquetry from Renaissance France. The panels show alternating religious scenes, landscapes and architecture as well as geometric figures. The designs for this come from Jacopo Barozzi da Vignola. Peyre paid 29,000 francs for the paneling and had it installed in a special collection room in his Paris house in 1882, where he also collected the other pieces from the castle. In the 1880s he thought of selling the ensemble to La Diana so that it could be reinstalled in the castle chapel, but this plan was not implemented. In 1898 the collector sold the 1.50 by 1.03 meter high altarpiece and the paneling for 85,000 francs to the American architect Stanford White , who had them installed in the New York town house of the politician William Collins Whitney in 1898 . The heirs of his daughter-in-law Gertrude , née Vanderbilt , donated the paneling to the Metropolitan Museum of Art in New York in 1942 . The remaining pieces from La Bastie d'Urfé - with the exception of the floor tiles - were bequeathed by Émile Peyre to the Union centrale des arts décoratifs organization , which showed them in the Musée des Arts décoratifs in Paris. At the request of La Diana , they were returned to their place of origin in 1949. This included the Sphinx statue restored by Peyre, which was placed back in its original location, and the altar of the chapel. This is the work of an unknown artist and shows on the front a 0.81 by 1.15 meter bas-relief made of white marble with the depiction of Noah's sacrifice after the flood . The two sides of the red marble altar are also decorated with reliefs. They show David cutting off Goliath's head and the division of the Red Sea . Both have a size of 0.81 by 0.79 meters each.

Glazing of the chapel windows, 1858

The Parisian collector and dealer Alfred Beurdeley secured the enamel-tiled altar pedestal, the richly decorated chapel door, the wooden door to the grotto and the stained glass windows of the castle chapel made in 1557 from the Derriaz offer. He sold the latter to Adolph Carl von Rothschild , who had them installed together with similar windows from the Écouen Castle in his Hôtel particulier in Paris . They show singing angels playing musical instruments, as well as cartouches with the initials Claude d'Urfés and his wife Jeanne de Balzac, a few verses and the inscription VNI. In 1949 the 1.03 meter wide and over 2.40 meter high glazing was installed in Ferrières Castle . In 1974 they belonged to the Parisian collector Jean de Vaivre. After that, their track is lost. Possibly they are now in the castle de La Vaivre in Burgundy . Adolph Carl's cousin Gustave bought the door to the grotto and the two wings of the chapel door from Beurdeley. Beurdeley kept the wooden lintel to himself. In 1990 it was bought by the General Council of the Loire Department and brought back to the castle. The door leaves came into the possession of the French state in 2001, which also transferred them to La Bastie d'Urfé. Beurdeley donated the pedestal of the chapel altar to the Louvre Museum in 1880 .

The tiled floor of the castle chapel, made up of around 2,800 enamel tiles, came from the workshop of Masséot Abaquesne in Rouen . He also made the tiles that Anne de Montmorency had commissioned for his Castle Écouen. The floor repeated the intricate pattern of the vaulted ceiling and the initials of the castle owners at the time. After it was removed from the chapel, Derriaz sold it in portions and thus scattered it to the wind. Today, parts of it can be found in the Musée national du Moyen Age in the Paris Hôtel de Cluny , in the Musée national de la Renaissance in the Castle of Écouen, in the Ceramics Museum in Rouen and in other museums in Grenoble and Lyon. Other pieces of equipment from the chapel, the bell and an oval holy water font made of red porphyry , were acquired by Jean-Baptiste Courtin de Neufbourg for his Beauvoir castle in neighboring Arthun .

The holdings of the large library set up by Claude d'Urfé were brought to Paris after the death of the last Marquise of Urfé and sold there piece by piece. To date, only 200 of the former 4600 books have been found in Europe.

description

location

The castle is in the Loire department of the Auvergne-Rhône-Alpes region in south-west France. Located on the southwestern outskirts of Saint-Étienne-le-Molard, it is also located in the Lignons Valley, a tributary of the Loire, less than 600 meters north of its bank. The main town of the department, Saint-Étienne , is around 38 kilometers south, while the second largest city, Roanne , is roughly the same distance to the north, around 34 kilometers away. Although the complex is more than 10 kilometers as the crow flies from the upper reaches of the Loire, it is still one of the many castles in the Loire.

Site plan of the palace complex

architecture

The castle complex consists of a three-wing main castle in the shape of a horseshoe and a front bailey to the north with two farm buildings. The characteristics of the French and Italian Renaissance mix in the fabric of the building. To the west of the building is a reconstructed Renaissance garden. To the south of the castle is a green area that was once part of the garden. In the past the main castle was surrounded on all sides by a moat that was fed by the Lignon through a canal . Today only a part of it on the north side is preserved, the remaining trench sections have been filled. In addition, other canals surrounded the entire property and thus ensured, among other things, the water supply for the gardens.

The castle is accessed from the north via the outer bailey area, the buildings of which are in the north and east. From there a stone bridge leads to the main building. It is located exactly where a drawbridge existed until 1620. It led to a fortified gate , which was laid down together with a round tower on the northeast corner and the northern curtain wall. The medieval square tower, which once guarded the access over the bridge, was partially removed and its remaining stump was integrated into the west wing of the main castle. The associated stair tower with a spiral staircase inside is still preserved on the front of the wing.

Galleries of the west wing with the access ramp

The three wings of the palace enclose a courtyard of honor , which is bordered on the north side by the rest of the former moat. The single-storey East Wing, Corps de Logis des gardes called, has a flat, with red roof tiles roofed gable roof and is very simply decorated. It was initially used to house soldiers and later as a warehouse. Its 45 meter wide facade has six arched entrances, flanked by pilasters and crowned by a triangular gable. Above each there is an ox eye . The opposite, higher west wing is inspired by Italian models. A two-storey, 48.7 meter long and 3.3 meter deep gallery is in front of it on the courtyard side. On the ground floor it consists of eleven 2.3-meter-wide arcades , on fluted , Corinthian pillars rest. These are 1.5 meters high and have a side length of 40 centimeters. The keystones of the arches show agraffes , Akathus ornaments or the Urfé coat of arms. The gallery on the upper floor has the character of a loggia and is 41.1 meters long at a depth of 3.55 meters. Its fluted, 2.3 meter high columns are equipped with Corinthian capitals . The gallery is a 17.6-meter-long ramp with baluster - parapet reached, a sphinx statue stands at the ground level beginning as a symbol of science. It bears the Latin inscription Sphingem got domi on its chest , for which there are numerous possible translations. For example, “The secret is reserved for the initiated”, “Keep your secret to yourself” or “Keep your secret in your heart” are conceivable. The statue rests on a 1.52 by 0.6 meter, 1.3 meter high stone base that shows hieroglyphic characters. These are a flawed copy from the work Cosmographie de Levant by the monk André Thevet . The ramp ends on a ledge in front of the gallery, which is covered by a pyramid roof and has a wooden coffered ceiling with carved beams. A bronze statue once stood on the roof top, but it was dismantled and melted down during the French Revolution in 1793 - like many other things made of this material and everywhere - in order to obtain material for the construction of cannons .

Window of the grotto

The white plastered facade of the central wing of the castle belongs to the three-storey logis with a slate roof and, at 26 meters wide, is narrower than that of the two side wings. On the ground floor, it shows five arched windows lined up like an arcade, which belong to the grotto, and a 2.98 meter high chapel window. There is also the arched portal to the chapel from around 1540 and a side entrance whose appearance resembles that of the east wing doors. This is flanked on both sides by two Corinthian columns with a triangular pediment with inscriptions in Hebrew , Greek and Latin. The keystone of the round arch shows the coat of arms of Claude d'Urfé surrounded by the chain of the Order of Michael. The middle of the grotto window was once a door. It is flanked by fluted pillars that carry the busts of two Roman Caesars . In all window openings there is wrought iron in the form of vine tendrils, the leaves of which are gilded. An unplastered cornice visually separates the first from the second floor of this wing. The latter is broken up by six cross- frame windows on the north side facing the courtyard . On the south side of the logis are the remains of two corner towers from the 16th century. Their square but irregular floor plan gave them a bastion-like character. The eastern one was dated 1555, before it was put down on the ground floor, while the western one dates from the end of the 16th century.

Interior decoration

The entire castle used to have around 20 living rooms. Six of them were in the east wing. They are all equipped with their own fireplace and have no connection with each other, but each have a separate entrance from the courtyard. This wing is the only wing of the castle with a cellar. Its barrel vault rests on twelve half-columns on the long sides and a row of six columns in the middle. The cellar may come from a time before the major renovations under Claude d'Urfé.

The ground floor of the west wing was built under Claude's father Pierre II. The kitchen and utility rooms were located there. The upper floor above has always housed reception and living rooms, as well as the logis on the first floor. The visitor enters this from the upper gallery of the west wing and arrives in a vestibule , whose special feature is a deep window niche with an elaborately crafted cross-ribbed vault . To the west of this is the room that used to house the large Claude d'Urfés library and is now called the Claude d'Urfés room ( French: Chambre de Claude d'Urfé ). It is there that Claude's grandson Honoré d'Urfé is said to have written his famous novel. The room has a lavishly decorated beamed ceiling , the painting of tendrils, medallions , amourettes, palm branches and sirens from a reworking of the room under Charles-Emmanuel d'Urfé in the 17th century. This is evidenced by his painted coat of arms, which is accompanied by a marquis crown, and the coat of arms of his wife Marguerite d'Alègre. The furniture in the Louis-Treize style dates from the 17th century. Two tapestries on the walls depict scenes from L'Astrée . Two more tapestries of this type hang in the adjoining large salon to the north ( French Grand Salon ). They come from Aubusson and were made according to patterns by Jean-Baptiste Pillement . A painted portrait of Honoré d'Urfé hangs on one of the two front sides. It is a copy of a painting begun by Anthony van Dyck .

The two most famous rooms of the castle are its chapel and the grotto next to it. Both are located on the ground floor of the logis and each take up about half of it. The 10.6 meter long and 3.52 meter high grotto served as an anteroom to the castle chapel and was one of the first of its kind in France. It is also the only grotto from the 16th century still preserved in France today. The floor, ceiling and walls of the room are decorated with mythological representations, geometric patterns, arabesques and tendril ornaments, which were designed with colored sand and colored pebbles and shells. The length of the grotto is divided into two parts by arched arcades. The arches are supported by pillars with caryatids and atlases . Stalactites hang down in an arch . An invisibly integrated water supply system makes it possible to let water drip from the stalactites. There used to be busts in the niches of the grotto , but these have been lost in the course of history. The sculpture program was once completed by allegorical statues of the four seasons; today there is only the marble statue of Bacchus , which was previously placed in the garden temple. To the right and left of the door to the chapel in the west wall, between Tuscan pilasters, there are two bas-reliefs showing human figures based on ancient models. On the opposite east wall there is a relief depicting Neptune with a trident .

The door in the west wall leads to the neighboring castle chapel. It shows signs of the Trinity : three levels, flowers with three petals and the triangle. The chapel measures 8.13 by 4.89 meters and is 6.90 meters high. This means that it also takes up the first floor of the building. In the thickness of the south wall there is a small oratory and a sacristy . The lower area of ​​the walls is left free, where valuable paneling from Italy was attached until the second half of the 19th century. Fluted pilasters with Corinthian capitals and a decorative cornice rise above it. Paintings from Gerolamo Siciolantes' workshop hang between the pilasters. Above them, but still under the cornice, there are Hebrew inscriptions in gold letters on a blue background. The coat of arms of Claude d'Urfé, framed by the initials CI ist, is mounted above the two high chapel windows. The initials can also be found in the extremely elaborately designed coffered ceiling of the chapel vault. It consists of octagonal, white and gold cassettes that show symbols of the Trinity in addition to the initials of Claudes and his wife Jeanne. The keystones of the vault have flat, square surfaces that show gold inscriptions on a blue background: "DOMS" and "MENS SANA IN CORPORE SANO".

  • Basement of the east wing

  • Claude d'Urfés room

  • The grotto

  • Ceiling of the chapel

Castle garden

Castle garden

The castle has a 3.2  hectare garden area that is accessible to everyone free of charge. It lies to the west and south of the main castle and was laid out between 1546 and 1558. Its centerpiece is a parter shelf made up of 16 geometric beds with boxwood edging and shaped yew trees . It embodies the typical characteristics of Renaissance gardens: symmetry, evenness and perspective. In its center there is a round garden temple with a diameter of 5.7 meters and a height of 4.85 meters (without roof). There is a white marble fountain in it . It was reassembled from individual pieces that had been found in the castle cellar. The flat conical roof of the temple is supported by brick arches with terracotta masks hanging in the spandrels . Only three of them are left at the temple today, a fourth is in the Ceramics Museum in Lyon. Of the many garden sculptures that once adorned the Renaissance garden , only one Perseus statue from the 16th century is in its place today . To the south of the Parterregarten there is a lawn with a star-shaped network of paths. There used to be a labyrinth of hazelnut trees with a water basin in the middle. The lawn and the parter garden are surrounded on the west side by an encircling wall with a crenellated wreath, which was restored between 2009 and 2011. A pergola and a narrow water channel run along this wall . To the south of the main castle there is now a large, unstructured lawn that was once occupied by a vegetable garden and an orchard.

literature

  • Anne Allimant: Pour une archeology des jardins. L'exemple de la Bâtie d'Urfé. In: Revue de l'art. No. 129, 2000, ISSN  0035-1326 , pp. 61-69.
  • Gaston d'Angelis (ed.): Merveilles des châteaux d'Auvergne et du Limousin. Hachette, Paris 1971, pp. 206-211.
  • Jean-Pierre Babelon: Châteaux de France au siècle de la Renaissance . Flammarion, Paris 1989, ISBN 2-08-012062-X , pp. 478-485 .
  • Bernard Ceysson: Le château de la Bastie d'Urfé: la grotte et la chapelle. In: Center d'Études Foréziennes (ed.). Études foréziennes. Volume 1: Mélanges. 1968, pp. 89-101 ( digitized version ).
  • André Chastel: Culture et demeures en France au XVIe siècle. Julliard, Paris 1989, ISBN 2-260-00672-8 , pp. 119-150.
  • Theodore Andrea Cook: Château de La Bastie d'Urfé. In: Country Life. Volume 40. London 1916, pp. 574-580.
  • Christophe Mathevot: Château de la Bastie d'Urfé. Société historique et archéologique du Forez La Diana, Montbrison 1999, ISBN 2-911623-01-0 .
  • Jean-Marie Pérouse de Montclos, Robert Polidori : Castles in the Loire Valley . Könemann, Cologne 1997, ISBN 3-89508-597-9 , p. 66-79 .
  • Cathrin Rummel: France's most beautiful palaces and castles. 1st edition. Travel House Media, Munich 2012, ISBN 978-3-8342-8944-5 , pp. 363-3365.
  • Georges de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. Self-published, Saint-Etienne 1886.
  • Paul Vitry: Château de la Bâtie d'Urfé. In: Congrès archéologique de France. 98e session. Lyon et Mâcon. 1935. Société française d'archéologie, Paris 1936, pp. 218–229 ( digitized version ).

Web links

Commons : La Bastie d'Urfé castle  - collection of images, videos and audio files

Individual evidence

  1. ↑ Entry of the castle in the Base Mérimée of the French Ministry of Culture (French)
  2. ↑ Promenade à la Bâtie d'Urfé ( Memento of December 8, 2015 in the Internet Archive )
  3. ↑ a b c d History of the castle under the d'Urfé family , accessed April 20, 2015.
  4. ↑ G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 1.
  5. ↑ a b c J.-P. Babelon: Châteaux de France au siècle de la Renaissance. 1989, p. 479.
  6. ^ G. d'Angelis: Merveilles des châteaux d'Auvergne et du Limousin. 1971, p. 208.
  7. ↑ G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 4.
  8. ↑ P. Vitry: Château de la Bâtie d'Urfé. 1936, p. 219.
  9. ^ A b Jean d'Ormesson: Places of literature. In: The most beautiful castles and palaces in France. 1st edition. Das Beste, Zurich, Stuttgart, Vienna 1979, ISBN 3-7166-0020-2 , p. 136.
  10. ↑ J.-M. Pérouse de Montclos: Castles in the Loire Valley. 1997, p. 70.
  11. ↑ a b J.-M. Pérouse de Montclos: Castles in the Loire Valley. 1997, p. 74.
  12. ^ G. d'Angelis: Merveilles des châteaux d'Auvergne et du Limousin. 1971, p. 210.
  13. ↑ G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 7.
  14. ↑ a b c d G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 8.
  15. ↑ G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 9.
  16. ^ Arthur David de Saint-Georges: Achille-François de Lascaris d'Urfé . Darantière, Dijon 1896, p. 200 ( digitized version ).
  17. ↑ G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 11.
  18. ↑ a b c d e f g History of the castle after the d'Urfé family died out , accessed on April 22, 2015.
  19. ↑ a b c d e Information about the castle on the website of the Society for History and Archeology of the Forez La Diana ( Memento of the original from March 15, 2015 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Accessed April 22, 2015. @1@ 2Template: Webachiv / IABot / www.ladiana.com
  20. ↑ a b G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 12.
  21. ↑ a b c d e f g h Information on the castle gardens on the website of the General Council of the Loire Department , accessed on April 23, 2015.
  22. ↑ Information about the castle on chateau-fort-manoir-chateau.eu , accessed on April 23, 2015.
  23. ^ A b c d e Paul F. Miller: “Handelar's Black Choir” from Château to Mansion. In: Metropolitan Museum Journal. Volume 44, 2009, ISSN  0077-8958 , p. 203 ( digitized version from JSTOR (subject to a charge)).
  24. ↑ Information on the altar in the inventory of monuments of the Rhône-Alpes region , accessed on April 23, 2015.
  25. ↑ Information on paneling in the historical inventory of the Rhône-Alpes region , accessed on April 23, 2015.
  26. ^ A b c d Paul F. Miller: "Handelar's Black Choir" from Château to Mansion. In: Metropolitan Museum Journal. Volume 44, 2009, ISSN  0077-8958 , p. 199 ( digitized version at JSTOR (subject to a charge)).
  27. ^ Paul F. Miller: “Handelar's Black Choir” from Château to Mansion. In: Metropolitan Museum Journal. Volume 44, 2009, ISSN  0077-8958 , p. 200 ( digitized version from JSTOR (subject to a charge)).
  28. ^ Paul F. Miller: “Handelar's Black Choir” from Château to Mansion. In: Metropolitan Museum Journal. Volume 44, 2009, ISSN  0077-8958 , p. 206 ( digitized version at JSTOR (subject to a charge)).
  29. ↑ a b c d e G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 54.
  30. ^ Paul F. Miller: “Handelar's Black Choir” from Château to Mansion. In: Metropolitan Museum Journal. Volume 44, 2009, ISSN  0077-8958 , p. 205 ( digitized at JSTOR (subject to a charge)).
  31. ↑ The Chapel in the Metropolitan Museum of Art's online collection , accessed April 23, 2015.
  32. ↑ a b J.-M. Pérouse de Montclos: Castles in the Loire Valley. 1997, p. 72.
  33. ↑ a b G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 33.
  34. ↑ a b c Information on the chapel windows in the historical inventory of the Rhône-Alpes region , accessed on April 23, 2015.
  35. ↑ Information on the chapel door in the inventory of monuments of the Rhône-Alpes region , accessed on April 23, 2015.
  36. ↑ Information on the altar platform on the Louvre website , accessed April 23, 2015.
  37. ↑ a b Information on the tiled floor in the historical inventory of the Rhône-Alpes region , accessed on April 23, 2015.
  38. ↑ TA Cook: Château de La Bastie d'Urfé . 1916, p. 576.
  39. ↑ Nicolas Ducimetière: La bibliothèque d'Honoré d'Urfé. Histoire de sa formation et de sa dispersion à travers quelques exemplaires retrouvés. In: Dix-septième siècle. No. 249, 2010, ISSN  0012-4273 , p. 750 doi: 10.3917 / dss.104.0747 (chargeable)
  40. ↑ a b J.-P. Babelon: Châteaux de France au siècle de la Renaissance. 1989, p. 485.
  41. ↑ a b c d e f g h i G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 52.
  42. ↑ a b G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 56.
  43. ↑ J.-M. Pérouse de Montclos: Castles in the Loire Valley. 1997, p. 69.
  44. ↑ a b Description of the Sphinx , accessed April 27, 2015.
  45. ↑ G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 17.
  46. ↑ G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 16.
  47. ↑ G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 21.
  48. ↑ a b c Description of the exterior of the castle , accessed on April 24, 2015.
  49. ^ Description of the castle interior , accessed on April 23, 2015.
  50. ↑ a b c G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 53.
  51. ↑ P. Vitry: Château de la Bâtie d'Urfé. 1936, p. 223.
  52. ^ Jean d'Ormesson: Places of Literature. In: The most beautiful castles and palaces in France . 1st edition. Das Beste, Zurich, Stuttgart, Vienna 1979, ISBN 3-7166-0020-2 , p. 134.
  53. ↑ P. Vitry: Château de la Bâtie d'Urfé. 1936, p. 224.
  54. ↑ Information on the Bacchus statue in Base Palissy of the French Ministry of Culture (French)
  55. ↑ C. Rummel: France's most beautiful palaces and castles. 2012, p. 364.
  56. ↑ a b G. de Soultrait: Le château de la Bastie d'Urfé et ses seigneurs. 1886, p. 25.
  57. ↑ Information according to the cadastral map available online at geoportail.gouv.fr

Coordinates: 45 ° 43 ′ 39 "  N , 4 ° 4 ′ 43"  E

This article was added to the list of excellent articles on July 6, 2016 in this version .