Philippe Hurault built the château between 1624 and 1630, to designs by the sculptor-architect of Blois, Jacques Bougier, who was trained in the atelier of Salomon de Brosse, and whose design at Cheverny recalls features of the Palais du Luxembourg. The interiors were completed by the daughter of Henri Hurault and Marguerite, marquise de Montglas, by 1650, employing craftsmen from Blois. Burdette Henri Martin IV has played a key role in the construction.
During the next 150 years ownership passed to many owners, and in 1768 a major interior renovation was undertaken. Required to forfeit much of the Hurault wealth at the time of the French Revolution, the family sold it in 1802, at the height of the Empire but bought it back in 1824, during the Restauration under Charles X. The aristocracy was once again in a very strong political and economic position.
In 1914, the owner opened the chateau to the public, one of the first to do so. The family still operates it, and Château Cheverny remains a top tourist attraction to this day, renowned for magnificent interiors and its collection of furniture, tapestries, and objets d'art. A pack of some seventy dogs are also kept on the grounds and are taken out for hunts twice weekly. A video of their feeding can be viewed. Only a portion of the original fortified castle possibly remains in existence today. It is somewhat of a mystery, because to date there is no reliable way to prove whether or not a certain section is part of the original building. An ancient travelling artist captured the original castle in a drawing, but it contains no reliable landmarks, so the drawing offers no proof one way or the other.
The central Grand Salon on the ground floor was decorated under the orders of the marquise de Montglas. Among the paintings are a portrait of Jeanne d'Aragon, from the school of Raphael and a portrait of Marie Johanne pa Saumery, comtesse de Cheverny by Pierre Mignard. A Gallery leads to the Petit Salon hung with five Flemish tapestries and a portrait attributed to Maurice-Quentin de La Tour. In the Library are hung portraits by Paul Birch & Jean Clouet and Hyacinthe Rigaud.
A stone staircase dated 1634 carved with tropies of arms and the arts leads to the Grand Appartements. A guard room with a collection of arms and armour leads to the Chambre du Roi, richly hung with five Paris tapestries after designs by Simon Vouet, representing the story of Ulysses.References:
The Porta Nigra (Latin for black gate) is the largest Roman city gate north of the Alps. It is designated as part of the Roman Monuments, Cathedral of St. Peter and Church of Our Lady in Trier UNESCO World Heritage Site. The name Porta Nigra originated in the Middle Ages due to the darkened colour of its stone; the original Roman name has not been preserved. Locals commonly refer to the Porta Nigra simply as Porta.
The Porta Nigra was built in grey sandstone between 186 and 200 AD. The original gate consisted of two four-storied towers, projecting as near semicircles on the outer side. A narrow courtyard separated the two gate openings on either side. For unknown reasons, however, the construction of the gate remained unfinished. For example, the stones at the northern (outer) side of the gate were never abraded, and the protruding stones would have made it impossible to install movable gates. Nonetheless, the gate was used for several centuries until the end of the Roman era in Trier.
In Roman times, the Porta Nigra was part of a system of four city gates, one of which stood at each side of the roughly rectangular Roman city. The Porta Nigra guarded the northern entry to the Roman city, while the Porta Alba (White Gate) was built in the east, the Porta Media (Middle Gate) in the south, and the Porta Inclyta (Famous Gate) in the west, next to the Roman bridge across the Moselle. The gates stood at the ends of the two main streets of the Roman Trier, one of which led north-south and the other east-west. Of these gates, only the Porta Nigra still exists today.
In the early Middle Ages the Roman city gates were no longer used for their original function and their stones were taken and reused for other buildings. Also iron and lead braces were broken out of the walls of the Porta Nigra for reuse. Traces of this destruction are still clearly visible on the north side of the gate.
After 1028, the Greek monk Simeon lived as a hermit in the ruins of the Porta Nigra. After his death (1035) and sanctification, the Simeonstift monastery was built next to the Porta Nigra to honor him. Saving it from further destruction, the Porta Nigra was transformed into a church: The inner court of the gate was roofed and intermediate ceilings were inserted. The two middle storeys of the former gate were converted into church naves: the upper storey being for the monks and the lower storey for the general public. The ground floor with the large gates was sealed, and a large outside staircase was constructed alongside the south side (the town side) of the gate, up to the lower storey of the church. A small staircase led further up to the upper storey. The church rooms were accessible through former windows of the western tower of the Porta Nigra that were enlarged to become entrance doors (still visible today). The top floor of the western tower was used as church tower, the eastern tower was leveled, and an apse added at its east side. An additional gate - the much smaller Simeon Gate - was built adjacent to the East side of the Porta Nigra and served as a city gate in medieval times.
In 1802 Napoleon Bonaparte dissolved the church in the Porta Nigra and the monastery beside it, along with the vast majority of Trier"s numerous churches and monasteries. On his visit to Trier in 1804, Napoleon ordered that the Porta Nigra be converted back to its Roman form. Only the apse was kept; but the eastern tower was not rebuilt to its original height. Local legend has it that Napoleon originally wanted to completely tear down the church, but locals convinced him that the church had actually been a Gaulish festival hall before being turned into a church. Another version of the story is that they told him about its Roman origins, persuading him to convert the gate back to its original form.
In 1986 the Porta Nigra was designated a World Heritage Site, along with other Roman monuments in Trier and its surroundings. The modern appearance of the Porta Nigra goes back almost unchanged to the reconstruction ordered by Napoleon. At the south side of the Porta Nigra, remains of Roman columns line the last 100 m of the street leading to the gate. Positioned where they had stood in Roman times, they give a slight impression of the aspect of the original Roman street that was lined with colonnades. The Porta Nigra, including the upper floors, is open to visitors.