524:
536:
510:
496:
35:
236:
550:
411:
171:
81:
216:, enclosed a courtyard. The apartments were situated in the south and east wings, while the west wing contained receptions rooms, and the north wing was for the guards and security staff. The Duchess of Burgundy, who was energetic and a country lover, decided to develop at Germolles some rustic activities that would create a pleasant environment around her favourite residence, as well as developing local agriculture and providing some income for the maintenance of the domain. So she planted a large
340:. Today archaeological discoveries made in the château are displayed in the reception room. The château still has a large collection of medieval floor tiles that decorated the floors of the 1st and 2nd floors of the ducal residence. Made of enamelled terracotta, they are decorated with motifs such as daisies, lions that are the symbols of the rulers of the place as well as roses, thistles, sheep, suns, fleur-de-lis etc.
314:
139:
119:. Built during the second part of the 14th century, this château is important for the history of the region. Furthermore, it is a rare example of such a well-preserved residence in France in the 14th and the beginning of the 15th centuries, when most of the princely palaces of that period have almost entirely disappeared. This exceptional site evokes court life in France on the eve of the
390:, a noble flower with sharp prickles which is the emblem of Margaret of Flanders. This decoration which extended to the floor (with floor tiles showing thistles) can be found as well in the adjoining room. Cleaning has revealed wall paintings similar to those in the dressing room. Other wall paintings with roses and daisies have been discovered in other apartments on the first floor.
193:. Important and expensive transformations were immediately undertaken by her. They lasted for the next ten years. The aim of the duchess was to transform the austere and archaic fortress of the 13th century into a country estate. In order to achieve this, she enlisted the help of artists working in the service of the ducal couple: the architect Drouet de Dammartin, the sculptors,
273:. Different kinds of destruction, voluntary or accidental, due in particular to the lack of maintenance, led to the loss of certain parts of the building. The château was purchased at the end of the 19th century by the same family who still own it. Today it is open to visitors throughout most of the year, and a programme of cultural events takes place annually.
366:
internal spiral staircases cut in stone, gothic fireplaces... Its three floors are the architectural manifestation of the brilliant court of the duke and duchess: the ground floor was used for domestic activities, the first floor contained the ducal apartments and the second, the court apartments.
356:
and a private and comfortable oratory with its own fireplace. It was reserved for the devotions of the princess. At the end of the 19th century a fire destroyed this exquisite part of the building which was then exposed to the elements. In 2009–2010, restoration work under the supervision and with
365:
Today the main building is separated from the rest of the château that surrounded the courtyard. It is certainly the most remarkable part of the château. It is particularly well preserved with elements showing the quality of the construction: large windows opening to the outside, turrets with
321:
The reception room above the cellar was used in the 14th century to receive important guests. It was destroyed by a fire at the beginning of the 19th century but the remains indicate its original size. The south wall of the room was decorated with a monumental fireplace on top of which was a
401:
that accompanied the ducal couple. The ceiling built as an inverted hull of a ship was panelled and the walls were decorated with tapestries. One of these rooms, restored at the beginning of the 20th century is covered with copies of wall paintings from originals of the first floor.
157:
built by the local feudal lords of the manor: the seigneurs of
Germolles. In the 2nd half of the 14th century, their financial situation was so critical that they had to sell the domain of Germolles which was purchased by the Duke of Burgundy,
162:. We know very little about the appearance of the fortress of the lords of Germolles. It certainly had large towers and solid walls with only a few windows. All that remains of the original building are the lower chapel and the wine cellar.
269:. After the death of Charles the Bold in Nancy in 1477, the château became a possession of the King of France. Used by various families courtesy of the King until the end of the 18th century, the château was sold to the Nation after the
357:
the financial support of the government and the
Department of Saône-et-Loire, was carried out to restore the roof and top part of the turret and recreate the sense of the space of the nave with a modern protection.
385:
and his assistant
Armoult Picornet are very rare examples of princely wall paintings in France at the end of the Middle Ages. The motifs P and M, initials of the duke and the duchess, cover the walls, along with
523:
297:
The two towers at the entrance to the château certainly date from the original building but were reused and reinforced in the 14th century. Even if during the ducal period the château was no longer a
535:
286:
Two elements date from the first period of
Germolles (13th century). They are still conserved because they were integrated into the project of transformation in a ducal palace. The large
509:
232:
was built that reflected not only the
Duchess's interest in sheep, but also the important contribution of that animal, through its wool, to the fortune of Flanders, in Burgundy.
326:
for the musicians. The remains of this fireplace were removed in the 20th century to the great hall of the present château. It is adorned with capitals from the workshop of
765:
460:
1382: beginning of the renovation and re-building of the residence. The work lasted fifteen years during which the château was transformed into a luxurious country estate;
495:
290:
used for the storage of wine and food has conserved its medieval appearance with modern gothic next to traditional
Burgundian romanesque elements. The lower
373:
wall paintings with rose motifs were revealed during recent restoration work carried out in at the beginning of the 20th century. On the first floor, the
716:
381:(daughter in-law of the ducal couple and future duchess of Burgundy), still possesses its murals that have been recently restored. These paintings by
589:
P. M. de Winter, "Jean de
Marville, Claus Sluter et les statues de Philippe de Hardi et de Marguerite de Flandre au château de Germolles",
610:
C. Beck et P. Beck,"L'exploitation et la gestion des ressources naturelles dans le domaine ducal bourguignon à la fin du XIVe siècle", in
369:
In one of the kitchens on the ground floor, the large gothic fireplace still in its original position evokes the activities of the place.
549:
755:
600:, Saint-Cyr-sur-Loire, Editions Alan Sutton, 2002, 128p (monographie historique et archéologique sur le château de Germolles)
760:
659:
474:
carved the famous group showing Philip and
Margaret; the duke and duchess are seated under an elm, surrounded by sheep;
454:
190:
72:
348:
The duchess's architect created, above the old lower chapel, a ducal chapel. This is composed of a nave, as well as a
212:
The residence was slowly transformed into a sumptuous country estate. The large rectangular building, surrounded by a
257:
After Philip the Bold and
Margaret of Flanders, the château belonged to the following three Dukes of Burgundy :
420:
The garden created by
Margaret of Flanders and the large rose garden have disappeared. Transformed into a romantic
336:
477:
1399: a statue of the Virgin Mary was made by Sluter and his workshop and placed at the entrance to the château;
34:
623:, 166e session, 2008, Saône et Loire, publication Société Française d'Archéologie, Paris, 2010, p. 196–203
235:
130:
since 1989. The chateau is privately owned, but can be visited, by guided tour, most of the year round.
294:
has similar architecture but has sculptured decoration with both romanesque reliefs and gothic foliage.
189:
came to an end) purchased the domain of Germolles. After one year, he gave it to his wife, the Duchess
174:
The fireplace of the reception room (14th century) moved in the 20th century to the great hall of the
100:
424:
at the end of the 19th century, the park has some charming spots with old and rare trees such as a
96:
301:, the importance of the rulers of the place required the presence of an escort confined to the
206:
605:
L'art à la cour de Bourgogne. Le mécénat de Philippe le Hardi et de Jean sans Peur (1364–1419)
410:
323:
249:
was received at Germolles on 12 February 1389, at the invitation of his aunt and uncle.
644:
331:
464:
349:
246:
607:, Dijon, Musée des Beaux-Arts, Cleveland, The Cleveland of Art, 2004–2005, p. 146–150
8:
378:
104:
205:. These artists worked at the same time on another important project of the Duke: the
640:
270:
258:
127:
116:
382:
360:
266:
202:
194:
186:
170:
450:
262:
159:
80:
39:
The châtelet and the north-east bartizan from the lower court (13th–14th century)
421:
182:
708:
703:
698:
480:
1466: restoration of the group made by Sluter, protected against the elements;
749:
731:
718:
615:
433:
374:
165:
154:
471:
425:
415:
Medieval kitchen (14th century) transformed in a dining room (20th century)
327:
198:
542:
Detail of a capital of the fireplace of the reception room (14th century)
529:
Mural painting of the dressing room of Margaret of Bavaria (14th century)
287:
217:
120:
148:
614:, automne 2007 : La nature en partage, n°53, 2007, p. 93–108
429:
370:
225:
437:
229:
693:
387:
353:
298:
221:
25:
181:
In 1380, Philip the Bold (first Duke of Burgundy of the new royal
361:
Main building and the luxurious comfort of the court of Burgundy
568:
E. Picard, "Le château de Germolles et Marguerite de Flandre",
394:
313:
302:
291:
108:
49:
153:
The site of Germolles was occupied from the 13th century by a
591:
Actes du 100ème congrès national des Sociétés Savantes (1976)
398:
138:
397:
or rooms under the timbers on the second floor were for the
405:
213:
112:
166:
Country estate of Philip the Bold and Margaret of Flanders
516:
View of the ducal chapel after restoration (14th century)
317:
The entrance of the large spiral staircase (14th century)
352:
installed in the elegant octagonal turret built as a
149:
Origins: the stronghold of the seigneurs of Germolles
704:
Second part of a visit to Germolles by Asteria, 2007
584:
Le château de Germolles, demeure de plaisance ducale
699:
First part of a visit to Germolles by Asteria, 2007
281:
766:Historic house museums in Bourgogne-Franche-Comté
747:
240:The main building from the north (14th century)
598:Vie de cour en Bourgogne à la fin du Moyen Age
502:The lower court with the châtelet at the back
709:Quant la doulce jouvencelle by Asteria, 2007
308:
115:. It is the best preserved residence of the
483:1873: fires destroyed parts of the château.
305:comprising the towers and the guard room.
694:Official site of the Château de Germolles
252:
409:
406:Gardens to accompany the ducal residence
312:
234:
169:
137:
79:
619:M. Pinette, "Le château de Germolles",
572:, Autun, tome 40, 1912, p. 147–218
748:
577:Autour de la pastorale de Claus Sluter
647:, Ministère français de la Culture.
453:, purchased Germolles for his wife,
13:
14:
777:
687:
660:Chateau website, times of opening
548:
534:
522:
508:
494:
282:Remains of the original fortress
33:
621:Congrés Archéologique de France
562:
343:
337:Yvain, the Knight with the Lion
674:
665:
653:
634:
593:, Paris, 1978, p. 215–232
570:Mémoires de la Société Eduenne
276:
220:, and the petals were sent to
1:
443:
449:1380: The duke of Burgundy,
440:, and groups of lime trees.
7:
371:Gothic Revival architecture
111:, and 135 km north of
10:
782:
603:Catalogue de l'exposition
556:Floor tiles (14th century)
487:
133:
680:C. et P. Beck (2007), p99
309:Sumptuous princely palace
143:The cellar (13th century)
68:
60:
55:
44:
32:
23:
18:
671:C. et P. Beck (2007)p.99
627:
596:P. Beck (coordinateur),
330:representing a scene of
126:It has been listed as a
101:Bourgogne-Franche-Comté
417:
318:
253:After the ducal period
242:
207:chartreuse de Champmol
178:
145:
107:, 30 km south of
89:
756:Châteaux in Côte-d'Or
413:
316:
238:
228:. Similarly, a model
185:in France, after the
173:
141:
103:, 11 km west of
83:
761:Museums in Côte-d'Or
732:46.80583°N 4.75139°E
465:Charles VI of France
463:1389: visit of King
455:Margaret of Flanders
350:choir (architecture)
247:Charles VI of France
191:Margaret of Flanders
93:Château de Germolles
84:General view of the
73:Margaret of Flanders
19:Château de Germolles
728: /
379:Margaret of Bavaria
224:to be used to make
418:
332:Chrétien de Troyes
319:
243:
201:, and the painter
179:
146:
90:
737:46.80583; 4.75139
432:from Virginia, a
271:French Revolution
259:John the Fearless
128:Historic monument
117:Dukes of Burgundy
78:
77:
773:
743:
742:
740:
739:
738:
733:
729:
726:
725:
724:
721:
681:
678:
672:
669:
663:
657:
651:
650:
638:
552:
538:
526:
512:
498:
383:Jean de Beaumetz
267:Charles the Bold
203:Jean de Beaumetz
195:Jean de Marville
187:Capetian dynasty
105:Chalon-sur-Saône
37:
28:
16:
15:
781:
780:
776:
775:
774:
772:
771:
770:
746:
745:
736:
734:
730:
727:
722:
719:
717:
715:
714:
690:
685:
684:
679:
675:
670:
666:
658:
654:
648:
639:
635:
630:
565:
558:
557:
553:
544:
543:
539:
530:
527:
518:
517:
513:
504:
503:
499:
490:
451:Philip the Bold
446:
416:
408:
363:
346:
311:
284:
279:
263:Philip the Good
255:
241:
168:
160:Philip the Bold
151:
144:
136:
95:is situated in
40:
24:
12:
11:
5:
779:
769:
768:
763:
758:
712:
711:
706:
701:
696:
689:
688:External links
686:
683:
682:
673:
664:
652:
632:
631:
629:
626:
625:
624:
617:
608:
601:
594:
587:
580:
573:
564:
561:
560:
559:
555:
554:
547:
545:
541:
540:
533:
531:
528:
521:
519:
515:
514:
507:
505:
501:
500:
493:
489:
486:
485:
484:
481:
478:
475:
468:
461:
458:
445:
442:
422:English garden
414:
407:
404:
362:
359:
345:
342:
310:
307:
283:
280:
278:
275:
254:
251:
239:
183:Valois dynasty
167:
164:
150:
147:
142:
135:
132:
99:, now part of
76:
75:
70:
66:
65:
62:
58:
57:
53:
52:
46:
42:
41:
38:
30:
29:
21:
20:
9:
6:
4:
3:
2:
778:
767:
764:
762:
759:
757:
754:
753:
751:
744:
741:
710:
707:
705:
702:
700:
697:
695:
692:
691:
677:
668:
661:
656:
646:
642:
637:
633:
622:
618:
616:
613:
609:
606:
602:
599:
595:
592:
588:
585:
582:J. Devignes,
581:
578:
574:
571:
567:
566:
551:
546:
537:
532:
525:
520:
511:
506:
497:
492:
491:
482:
479:
476:
473:
469:
466:
462:
459:
456:
452:
448:
447:
441:
439:
435:
434:ginkgo biloba
431:
427:
423:
412:
403:
400:
396:
391:
389:
384:
380:
376:
375:dressing room
372:
367:
358:
355:
351:
341:
339:
338:
333:
329:
325:
315:
306:
304:
300:
295:
293:
289:
274:
272:
268:
264:
260:
250:
248:
237:
233:
231:
227:
223:
219:
215:
210:
208:
204:
200:
196:
192:
188:
184:
177:
172:
163:
161:
156:
140:
131:
129:
124:
122:
118:
114:
110:
106:
102:
98:
94:
87:
82:
74:
71:
69:Built by
67:
63:
59:
54:
51:
47:
43:
36:
31:
27:
22:
17:
713:
676:
667:
655:
641:Base Mérimée
636:
620:
611:
604:
597:
590:
583:
576:
569:
563:Bibliography
472:Claus Sluter
426:Bald Cypress
419:
392:
368:
364:
347:
344:Ducal chapel
335:
328:Claus Sluter
320:
296:
285:
256:
244:
211:
199:Claus Sluter
180:
175:
152:
125:
92:
91:
88:de Germolles
85:
64:c. 1385–1400
56:Site history
735: /
662:(in French)
649:(in French)
575:H. Drouot,
288:wine cellar
277:Description
218:rose garden
121:Renaissance
750:Categories
720:46°48′21″N
645:PA00113354
612:Médiévales
444:Some dates
430:Tulip tree
334:’s novel,
226:rose water
155:stronghold
438:araucaria
230:sheepfold
48:Medieval
723:4°45′5″E
388:thistles
354:bartizan
303:châtelet
299:fortress
222:Flanders
97:Burgundy
26:Mellecey
488:Gallery
324:gallery
176:château
134:History
86:Château
586:, 1972
579:, 1942
470:1393:
395:garret
292:chapel
109:Beaune
50:palace
628:Notes
436:, an
399:court
245:King
61:Built
428:, a
393:The
265:and
214:moat
197:and
113:Lyon
45:Type
377:of
752::
643::
261:,
209:.
123:.
467:;
457:;
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
