The Barons of Castelnau de Bretenoux fortified this site, at the meeting place of several valleys, as early as the 13th century.  Around the strong keep, there grew up during the Hundred Years’ War a huge fortress with a fortified curtain wall.  The castle was embellished in the 17th century by the last of the Castelnaus with the addition of large windows, richly decorated salons and a balcony of honor.  Sadly, the castle was abandoned in the 18th century and suffered depredations at the time of the Revolution.  In 1851 it caught fire but was carefully restored between 1896 and 1932 when it took on a new lease of life after being purchased by Jean Mouliérat, a tenor at the Opéra-Comique de Paris.  The ground plan is that of an irregular triangle flanked by three round towers partially projecting from each side.  Three parallel curtain walls still defend the approaches.  Along the ramparts there are far reaching view of the Cère and Dordogne valleys to the north; of Turenne castle set against the horizon to the northwest; and of Loubressac castle and the Autoire valley to the south.  The oldest part of the complex is a tall square tower and seigniorial residence known as the auditoire made of red ironstone.  The interiors are remarkable for Jean Mouliérat’s enormous art collection.  The collection is disseminated across seven rooms on the first floor of the château and reflects the grand art collections of the 19th century.  It shows Mouliérat’s eclectic passion for objets d′art, furniture, glass, stone and religious carvings.  Before his death in 1932, he donated the château to the State under one condition: that the art collection should remain in its original arrangements.  The guided tour of the apartments begins along the eastern wing of the château.  Here Mouliérat laid out a sculpture garden, set out between plants.  For conservation reasons, part of this collection is now presented underneath the arcaded portico, the grand salle and the petite salle.   The great hall houses 13th to 17th century sculptures of various origins and an early Middle Age sarcophagus slab placed on a panel covering an old well.  In the small room, a former bakery, there are the 12th century capitals from the old Romanesque church in Sainte-Croix-du-Mont in the Gironde department and two 16th century capitals with Corinthian leaf patterns.  A late 15th century Lamentation Over the Dead Christ, a Languedoc sculpture influenced by Flemish art and of outstanding quality, still has some traces of color.  Beneath the gallery, there are two remarkable 12th century illustrated capitals from the old church at Sainte-Croix-du-Mont; the Resurrection of Christ and the Betrayal by Judas on the Mount of Olives, and a 15th century Archangel Michael flanked by recumbent statues.  After entering the antechamber, there is a large collection of cupboards and armoires to admire from the 15th to 18th century.  The beautifully painted, stained glass roundels in the windows represent the Archangel Michael as well as a 17^th century marriage.  Crossing through the vaulted 13th century keep, one enters the bedchamber of Mouliérat’s wife.  It has a richly decorated fireplace that was acquired by the tenor from a nearby mansion at Tauriac in the Dordogne.  The room features a Gothic style chest, a table decorated with columns, a canopied four poster bed (16th century), linen closets with diamond point décor, Spanish chairs with high leather backs (17th century), an early 18th century Aubusson tapestry and a wooden statue of the Virgin and Child from the 16th century.  Jean Mouliérat’s bedroom has a splendid combination of antique furniture and objets d′art.  It is filled with Gothic and Renaissance style furniture: chests, chairs and tables as well as an 18th century sofa.  Many 16th and 17th century paintings adorn the walls in particular a portrait of Henri IV and the philosopher Michel de Montaigne.  Throughout the room are statues of exceptional quality: Sainte Anne, Saint Sebastian and Sainte Catherine of Alexandra, Flemish altarpieces (1480 – 1530) and next to the mantelpiece, statues of the Virgin Mary and Saint John from a 16th century crucifixion piece.  The tin and porcelain room is decked out with 18th century furniture, an Abubusson tapestry, ceramics and a Dutch chandelier.  Inside the Salon de Luynes there is a richly painted ceiling and window frame decorated with gold leaf from the 17th century.  The 15th century mantelpiece displays the coat of arms of the Castelnau and Calmont-d’Olt families.  The Flemish tapestry of the late 17th century shows the goddess of hunting, Diana and the two giant sons of Neptune.  Along the walls are Gothic church stalls and a small 16th century table carrying a liquor box.  In the Louis XIV Salon, the ceilings, mantelpiece, painted wall panels and Versailles parquet flooring are remainders of the rich decoration of 1660 – 1670.  The room also houses photos and objects that relate to Jean Mouliérat’s life, his success at the Opéra-Comique de Paris and his subsequent purchase of the castle.  Flemish tapestries from 1605 depict stories of the goddess Diana.  Along with 17th and early 18th century chairs and sofas, there is a unique turned-leg table in the Louis XIII style.  The final part of the guided tour takes the visitor to the most lavish room of them all called the Oratory.  It was originally the former guard’s chamber above the castle’s entrance gate, equipped with its own drawbridge.  It served as Mouliérat’s dining room until 1930 and is filled with religious art.  There is a Spanish 15th century altarpiece showing the crucifixion, a polychrome statue of the Virgin and Child from the Limousin region (13th century), another 15th century Virgin and Child statue from Bohemia and a 15th century stained glass window depicting the crucifixion acquired by Mouliérat from the Cathedral of Quimper in Brittany.  On the opposite wall is another 15th century stained glass window of angels composing music.

Near the valley of the Dordogne as it makes a deep cut through the Gramat Causse, a series of caves was discovered in 1902 by Armand Viré, a student of the geographer and speleologist Édouard-Alfred Martel, at the foot of the cliffs beside the river.  Just before entering the cave, be sure to admire the Château de Belcastel nearby.  Constructed in 930 by Adhémar des Echelles, Vicomte of Turenne, only the eastern part of the main wing, the tower keep and the small chapel date from the Middle Ages; most of the other buildings were rebuilt later.  In order to reach the enormous caverns of Lacave, one must first take a train ride through a tunnel that was blasted through the hillside to provide easier access to the caves.  It extends for 450 meters and gradually rises about 50 meters.   After exiting the train, one reaches the galleries which extend for 1.6 km on foot.  If you don’t like stairs, this excursion is not for you.  Inside, the galleries divide into two sections: concretions and stalactites prevail in the first; in the second, underground rivers run in between natural limestone dams (gours) and flood out into placid lakes.  In the Salle des Merveilles, the stalactites are lit using a black-light.  In the eerie darkness, the tips of the stalactites gave the impression of being surrounded by fireflies.  Normal lighting is used to enhance the reflections of the concretions in the still waters of the lakes.  Flash photography is not allowed but I managed to get some nice photos using the timer on my camera.  Be sure to wear a jacket or sweater as the temperature inside never reaches beyond the constant 14 °C / 57 °F.

One of my favorite films is Ever After (À tout jamais in French) starring Drew Barrymore and Anjelica Huston.  The settings, the music, the costumes, the acting and especially the modern retelling of the Cinderella story have stayed with me these many years.  It wasn’t until recently I learned that much of the principal photography took place in the Dordogne region of Périgord.  The scene where Prince Henry plays tennis with another courtier takes place at the Château de Fénelon while many of the other castle scenes were shot at the Château de Hautefort.  Two years ago, I was fortunate enough to visit Fénelon and this summer I had to opportunity to visit Hautefort.  It was a fairy tale treat walking the same courtyards, French and English gardens, and elegantly decorated rooms that could be seen in the film.  Forgive me if I say this was, by far, one of the most beautiful châteaux in the region as it is unlike any other with their medieval-style architecture.  Château de Hautefort seems more like a château brought straight from the Loire region with its harmonious combination of architectural styles—Renaissance and Classical—which contributes to the building’s original and elegant appearance.  It is indeed a fine example of stately 17th century Périgord.  During the 16th and 17th centuries two architects, neither of whom were native to the Périgord region, Nicolas Rambourg (Lorraine) and Jacques Maigret (Parisian) transformed the defensive aspects of the château in keeping with the popular architectural forms found mostly in the Loire region.  A former medieval château existed here in its place, with a keep, drawbridge and several towers.  Today, the Tour de Bretagne is the only relic left of the former construction.  It dates back to the end of the 14th century or the beginning of the 15th century.  The cupola was added in 1678.  Here, the roof structure is on display to the public.  The beams are made from oak and chestnut.  On November 29, 1836, the famous Eugène Le Roy was born in this tower.  His parents resided here working as domestics for the owners: the Baron and Baroness of Damas.  He is most famous for his novel Jacques Le Croquant which has been made into a television movie, film and even a comic book for children.  During the 9th century, the fortress belonged to the powerful viscounts of Limoges and then, to the Lords of Born who fought over its possession in the 12th century.  The most memorable was Bertran de Born, who became a famous troubadour.  It wasn’t until the late 17th century that Maigret brought symmetry to the château by building a second wing (the chapel wing) with a tower to mirror the Tour de Bretagne.  Between the two towers, a terrace was set up to give a clear view of valley and woodlands to the south.  From the courtyard, one overlooks part of the French gardens planted in the early 20th century by Baron Henri de Bastard and his wife who bought the château and decided to restore it.  As its restoration neared completion in 1968, a huge fire swept through the main building.  With support from villagers living down below, national televised fundraisers, state funding and a huge volunteer force of specialized workers, the château was completely restored.  Before passing away in 1999, the Baroness de Bastard bequeathed the château and its grounds to a foundation established especially for its future preservation.  The terraces of the château are laid out as French-style gardens, planted with flowers and box shrubs forming geometric patterns and offering views of the surrounding countryside.  There is even a covered path along the left of the front courtyard.  On the east terrace, a box hedge is planted in the form of a gushing fountain, a symbol of Baroness de Bastard’s dream of building a fountain in this spot.  Inside the château, the apartments have been carefully restored and are on view.  On the first floor one can visit the grand fireplace room, master bedroom, drawing room, study and a ladies bedroom.  The drawing room is decorated with Louis XVI period furniture, which includes one couch and eight armchairs covered in Beauvais tapestry.  The décor of this particular room, thought to be that of Marie d’Hautefort, dates from the middle of the 17th century.  The walls are covered with an indigo and bright red Le Manach fabric.  On the ground floor is the dining room.  The 17th century panelling that had survived the fire of 1968 was reinstalled during the renovations.  It features trompe l’œil panels decorated with cartouches framing small landscapes.  Underneath the chateau is an underground network of tunnels leading to the former kitchen, as well as several storage rooms and serving areas, which are found underneath the present chapel.  The Baron of Damas installed the altar in the chapel during the early 19th century while its copula was painted in trompe l’œil so that it would appear to be a coffered dome.  It center is crowned with the symbol of the Holy Trinity.

Although I’ve visited many sites in and around Périgord in the past, this was the first time I went to Périgueux.  It is an ancient town situated in the fertile valley of the River Isle.  Its long history can be traced in its urban architecture and two distinctive districts, each of which is marked by the domes of its church: the Gallo-Roman district, overlooked by St-Etienne’s tiled roof, and the Renaissance district, with the Byzantine silhouette of the present Cathédrale St-Front bristling with pinnacles.  I followed the walking guide given to me by the tourist office and I found it to be quite informative and easy to use.  My morning started with the Gallo Roman itinerary.   The Vesunna Temple was constructed in the second century A.D..  All that remains at the present time is the “cella”, the sacred part where only the priests could enter to worship the Celtic goddess “Tutela Vesunna” who was later adopted by the Romans and associated with water worship.  Twenty-seven meters high and twenty meters in diameter, this tower was surrounded by a colonnaded ambulatory allowing the faithful to move in procession bringing their offerings.  Access was by a massive staircase to the east where the breach in the wall can now be seen.  A legend tells of a curse cast by Saint Front to bring down this pagan temple.  In fact the building served as a stone quarry up until the 19th century when the protection of historical monuments was established.  In the very heart of the old town is the Gallo-Roman Vesunna Museum designed by the architect Jean Nouvel.  The museum houses the remains of an opulent Gallo-Roman residence within its foundations.  Visitors walk on elevated ramps that allow for a birds-eye view of different buildings.  The Château Barrière was constructed in the 12th century and was embellished during the Renaissance with a staircase tower, a doorway in the Gothic style and mullioned windows.  Burnt down during the Wars of Religion in 1575, it has never been restored.  For many years, the site served as an open-air theatre.  During the 3rd century, after the Barbarian invasions, the city of Vesunna had a defensive wall constructed.  One of the gateways in the defensive wall, erected during the Late Roman Empire, is called the Porte Normande.  The story behind the name is that the gate is supposed to have played a part in the defence of the city against the Vikings who came up the River Isle in the 9th century.  The Gallo-Roman defensive wall served as the foundations for medieval buildings such as the Maison Romane built in the 12th century.  Les Arènes is a public park which occupies the space where the arena once stood.  Built in the first century, this amphitheatre, one of the largest in Gaul, had a capacity for 20,000 people.  During the Middle Ages it was adapted to a stronghold, then became a 17th century convent and finally was developed into a public garden in the 19th century.  Église St-Etienne de la Cité was the first Périgueux cathedral until 1577 when the Protestant forces destroyed two of its cupolas and the bell tower.  During the Fronde uprisings in the 17th century, the building was used as a cavalry training center and consequently yielded its status as cathedral to St-Front.  The West Cupola (11th century) follows the pure Romanesque tradition.  There are several things to see inside that are of interest such as the tomb of Bishop Jean d’Asside, a 17th century altarpiece in oak and walnut built for the seminary, a 17th century organ by Carrouges, and finally, a perpetual calendar marking the dates of Easter from 1163 to 1253.  After lunch in the jokily named restaurant, Hercule Poireau, I headed back toward the tourist office to begin the walk around the Renaissance part of town which begins with the Tour Mataguerre.  It is the last bastion of the medieval surrounding wall that formerly consisted of 28 towers and 12 gates.  The machicolations, cruciform archery slits and cannon ports bear witness to the embattled 15th century.  Walking toward the cathedral along rue de la Bride and rue Séguier one comes across the Place de Navarre and Hôtel de La Douze.  This is a 15th century fortified private residence that reminds us of the wealth of the merchants who lived here during the reign of Louis XI.  One of the rare examples of non-military architecture from the 12th century is to be found along rue des Farges at the House of the Ladies of Faith.  The building was turned into a convent during the 17th and 18th centuries, dedicated to converting young Protestants into proper Catholics.  The constable of France, Bernard du Guesclin, was said to have stayed here during the Hundred Years’ War on his way to ridding Chancelade of the English occupying forces.  Walking up the steps along the Taillefer Passage leads one to the Place de l’Hôtel de Ville and the Gilles Lagrange residence.  The residence dates from the 15th to 17th centuries and was occupied during the troubled times of the Fronde uprisings.  The tragic writer Lagrange Chancel, a pupil of Racine, once occupied the present town hall to the right.  Beyond the covered market, is Place St-Silain where the winter truffle market is held.  A large 19th century fountain marks the center.  The Maison du Pâtissier (14th century) beside the St-Louis Square, has a fine Renaissance door (16th century) crowned by a shell, symbol of pilgrimage.  During the 19th century, this building was the residence of a well-known pâtissier who made the famous Périgueux pâté de foie gras.  Before heading through the winding rue de l'Abreuvoir, I stopped to admire the Hôtel de Fayolle, a 17th century mansion overlooking the river.  Rue de l’Abreuvoir comes from the Occitan word for crow.  This narrow passage was used in the filming of Jacquou le Croquant in 1967.  An elegant group of three dwellings facing the river are commonly referred to as Maison des Consuls but are actually the Hôtel de Lur, Maison Brogliodie and Maison Lambert.  One can see them easily from the bridge.  Nearby, along the rue Sainte-Marthe is a remarkable half-timbered house, the remains of an old mill.  Along rue de la Constitution is the Hôtel de Gamanson, also called Logis St-Front.  It consists of two 15th century wings set at right angles, linked by a staircase tower, flanked by a corbelled turret and perforated by mullioned windows.  In the courtyard is a 17th century fountain and well which is sheltered by a Moorish dome.  Within the Galerie Daumesnil is a network of courtyards and small squares linked by alleyways.  The buildings, which were grafted on over the centuries, have been demolished, creating open spaces and revealing the fine 15th, 16th and 17th century façades.  At number 5, rue Limogeanne is a former medieval dwelling called the Maison Estignard.  The courtyard contains an impressive doorway with a super-imposed tympanum carved with the salamander, cherished symbol of François I, King of France.  The interior contains a superb fan-shaped spiral staircase.  Just across the Cloister Square is the Jardin de Thouin with its canons dating from the Wars of Religion.  It presents a fine view over the River Isle and an excellent view of the Cathédrale Saint-Front.  Classified as a UNESCO World Heritage Site in 1998, the cathedral is an important stage on the Chemins de Saint-Jacques-de-Compostelle which follows the Vézelay route.  Its Greek cross ground plan, similar to St-Mark’s in Venice, is the basis for the five cupolas constructed over the center of the cross and its own arms.  The architect Paul Abadie restored the building in the 19th century and used it as a model for the construction of the Sacré Cœur church in Montmartre, Paris.  The 12th century bell tower separates the former Roman Church from the Byzantine-inspired Basilica.  The stained glass windows in the eastern nave are dedicated to the history of St-Front.  The chandeliers were hung in Notre-Dame in Paris in 1853 in honor of Napoleon III’s wedding.  The central altar was installed in 1968 underneath the middle dome.  Behind it is the 17th century altarpiece.  Carved in the baroque style, it originates from the college of the Jesuits of Périgueux.  It is a celebration of the Virgin Mary, from the Annunciation to the Assumption.  At the top is Christ waiting for His mother, holding the crown he will lay on her head.  The great organ made by Joseph Merklin, was set on the western platform in 1875.  It was restored by Pascal Quoiron and opened in 1998,  The case is made up of 3000 pipes.  Underneath the southern dome is the cenotaph of Monseigneur Georges-Massonnais, bishop of Périgueux.  He, along with architect Paul Abadie, was responsible for the restoration of the cathedral between 1852 and 1901.  Just outside the entrance are the cloisters.  Its architecture is half Roman and half Gothic.  The top cone of the old bell tower can be seen in the center.

Afternoon on a Hill

I will be the gladdest thing

Under the sun!

I will touch a hundred flowers

And not pick one.

--Edna St. Vincent Millay