Château de Largoët

Elven, France

The Château de Largoët, also known as the Tours d'Elven (Elven Towers), is mentioned for the first time in 1020, belonging to the baron of Elven, Derrien I. The present building was constructed between the 13th and 15th centuries. The manor became the property of the Malestroit family in the 13th century. The houses of Blois and Montfort fought for it during the Breton War of Succession, before it came to the Rieux family in the 15th century. It was during this period (between 1474 and 1476) that Jean IV, lord of Rieux, protected Henry Tudor, Duke of Richmond, future King Henry VII of England. In 1490, Charles VIII of France, dismantled the castle, but it was restored under the influence of Anne de Bretagne.

Nicolas Fouquet bought it in 1656 and, after his death, it was sold to Michel de Trémeurec and stayed in his family. In the 19th century, it was proposed to demolish Largoët, given its dilapidation, but it was saved thanks to Prosper Mérimée, who had it classed as a monument historique in 1862. Beginning in the 1970s, there has been a programme of restoration.

The ruins of Largoët maintain their imposing aspect, notably because of the 14th century octagonal keep. At 45 m, it is one of the highest in France. There are five floors and the walls are between 6 and 10 m thick. On the sixth or seventh floor is the room where Henry Tudor stayed.

As well as this colossal edifice, Largoët also boasts a 15th-century gatehouse and a round tower of three storeys, from the 15th century, with cannon openings on the first level, and covered with a hexagonal building. It was furnished in the 20th century as a hunting lodge. The remains of the enclosing walls, dried up moats and a lake also exists.

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Address

Largouet, Elven, France
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Details

Founded: 13th century
Category: Castles and fortifications in France
Historical period: Late Capetians (France)

Rating

3.9/5 (based on Google user reviews)

User Reviews

P-ko I (2 years ago)
この場所がイギリスの歴史と深い関係がある場所だと言うことをほとんどの方が知らないと思います。ここは、みんな大好きヘンリー8世のお父さんヘンリー7世が、王様となる前に青春時代を過ごした場所です。キープと呼ばれる塔には、彼が過ごしたであろう部屋のサインがあります。スタッフさんのお昼休みがあるので、午前の部が終わるとサイレンが鳴る仕組みのようです。もちろんそのまま居続けることもできます。駅からバスですぐです。
luke gibson (3 years ago)
Very nice
Simon Hicks (3 years ago)
Quiet location - Well maintained tower ruins to explore
Morwenna L (3 years ago)
Awesome view
Karsten Hansen (5 years ago)
Impressive ruins. Nice visit. Fair price.
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

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Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.