Château de Clermont was inherited by the de Funès family from an aunt, the Countess of Maupassant. It was built between 1643 and 1649 by the Chenu de Clermont, a family of important military administrators. René Chenu, (1599–1672) was a long-time governor of the fortified towns of Oudon and Champtoceaux which dominated the Loire upstream. His son Hardy Chenu (1621–1683) was in charge of the fortifications, cities, castles and fortified towns of Brittany.
The Chenu were vassals of the House of Condé, who had many holdings in the west of France, and this feudal relationship, so strong under Ancien Régime, was increased by a strong personal friendship. Rene Chenu was the contemporary and loyal ally of Henry II de Bourbon, prince de Condé. The birth and death of Hardy Chenu coincide with those of Louis II de Bourbon-Condé, the Grand Condé, whom he served. It is traditionally held that one of the Chenu, either the father or the son, saved the life of their master, and that Clermont was constructed to express his recognition of the act. In any case, the construction of Clermont, with its imposing proportions, testifies to some princely expenditure. The Château de Clermont was built shortly after the Battle of Rocroi (19 May 1643), where the Grand Condé, saved the throne of the enfant Louis XIV and merited a considerable reward. It reflects enthusiasm of a period filled with glory.
The appearance of the château has remained broadly the same since its construction at the time of the regency of Anne of Austria during the minority of Louis XIV. Its southern aspect, which overlooks the River Loire offers a panoramic view over the Pays des Mauges and the Pays de Retz. The northern aspect has a shaded avenue perpendicular to the Paris-Nantes road framed by the original wings of the château. It is surrounded by 3 hectares of parkland and a vineyard of 17 hectares. Louis de Funès had a rose garden planted, but nothing remains of it today.
The two wings contained the servants rooms: sleeping quarters, stables, and greenhouses, placed where they could be watched by the master of the house. Where the wings join the main body of the house are the kitchens on the right and on the left the chapel, the altar still displaying its original retable. From the centre of the wings arched passages arched lead out: on the right to the gardens and on the left to the farmyard. The two entrances provide both convenience and break the monotony of the formal lines. A gallery runs along the first floor of the right-hand wing.
The wings of Clermont are very different from those of other châteaux from the same period of the 17th century. Up until 1624, wings were designed to be of the same or very similar height to that of the main house, so the courtyard was enclosed on three sides, an echo of the former defensive role of castles. The Rocher-Portail, near Fougères, is a rare intact example of this kind of architecture. Clermont is one of the last châteaux to have wings attached to the central building in this fashion. They are, however, smaller, lower and have an Italian influence, natural enough at a time when many French architects were studying in Rome and Venice. Clermont was completed just before 1650, the year when, following the trend started by the builders of Vaux-le-Vicomte and François Mansart at the Château de Beaumesnil, the central bodies of the majority of new castles started to be built separated from the wings.
In a design that was, at the time, very modern, there are a number of features that are reminiscent of older architecture: corbelling is used on both the northern and southern sides, and on the Loire side machicolations are utilised to support the high roofs. Regardless of their architectural heritage, overall the features blend to a harmonious whole.References:
The Holy Trinity Column in Olomouc is a Baroque monument built in 1716–1754 in honour of God. The main purpose was a spectacular celebration of Catholic Church and faith, partly caused by feeling of gratitude for ending a plague, which struck Moravia between 1713 and 1715. The column was also understood to be an expression of local patriotism, since all artists and master craftsmen working on this monument were Olomouc citizens, and almost all depicted saints were connected with the city of Olomouc in some way. The column is the biggest Baroque sculptural group in the Czech Republic. In 2000 it was inscribed on the UNESCO World Heritage Sites list.
The column is dominated by gilded copper sculptures of the Holy Trinity accompanied by the Archangel Gabriel on the top and the Assumption of the Virgin beneath it.
The base of the column, in three levels, is surrounded by 18 more stone sculptures of saints and 14 reliefs in elaborate cartouches. At the uppermost stage are saints connected with Jesus’ earth life – his mother’s parents St. Anne and St. Joachim, his foster-father St. Joseph, and St. John the Baptist, who was preparing his coming – who are accompanied by St. Lawrence and St. Jerome, saints to whom the chapel in the Olomouc town hall was dedicated. Three reliefs represent the Three theological virtues Faith, Hope, and Love.
Below them, the second stage is dedicated to Moravian saints St. Cyril and St. Methodius, who came to Great Moravia to spread Christianity in 863, St. Blaise, in whose name one of the main Olomouc churches is consecrated, and patrons of neighbouring Bohemia St. Adalbert of Prague and St. John of Nepomuk, whose following was very strong there as well.
In the lowest stage one can see the figures of an Austrian patron St. Maurice and a Bohemian patron St. Wenceslas, in whose names two important Olomouc churches were consecrated, another Austrian patron St. Florian, who was also viewed as a protector against various disasters, especially fire, St. John of Capistrano, who used to preach in Olomouc, St. Anthony of Padua, a member of the Franciscan Order, which owned an important monastery in Olomouc, and St. Aloysius Gonzaga, a patron of students. His sculpture showed that Olomouc was very proud of its university. Reliefs of all twelve apostles are placed among these sculptures.
The column also houses a small chapel inside with reliefs depicting Cain's offering from his crop, Abel's offering of firstlings of his flock, Noah's first burnt offering after the Flood, Abraham's offering of Isaac and of a lamb, and Jesus' death. The cities of Jerusalem and Olomouc can be seen in the background of the last mentioned relief.