Villa Ephrussi de Rothschild was designed by the French architect Aaron Messiah, and constructed between 1905 and 1912 by Baroness Béatrice de Rothschild (1864–1934) .
A member of the Rothschild banking family and the wife of the banker Baron Maurice de Ephrussi, Béatrice de Rothschild built her rose-colored villa on a promontory on the isthmus of Cap Ferrat overlooking the Mediterranean Sea. The Baroness filled the mansion with antique furniture, Old Master paintings, sculptures, objets d'art, and assembled an extensive collection of rare porcelain. The gardens are classified by the French Ministry of Culture as one of the Notable Gardens of France.
On her death in 1934, the Baroness donated the property and its collections to the Académie des Beaux Arts division of the Institut de France and it is now open to the public.
The villa is surrounded by nine gardens, each on a different theme: Florentine, Spanish, Garden à la française, exotic, a stone garden, a Japanese garden, a rose garden, Provençal and a garden de Sèvres. They were created between 1905 and 1912 under the direction of landscape architect Achille Duchêne.
The garden was conceived in the form of a ship, to be viewed from the loggia of the house, which was like the bridge of a vessel, with the sea visible on all sides. It was inspired by a voyage she made on the liner Île de France, and the villa was given that name. The thirty gardeners who maintained the garden were dressed as sailors, with berets with red pom-poms.
The Garden à la française is the largest garden and occupies the area behind the villa. Next to the villa there is a terrace with a formal French garden and topiaries. Beyond the terrace is a park with palm trees and a long basin, ornamented with fountains, statues, and basins with water lilies and other aquatic plants. On the far end of the park is a hill covered with cypress trees, surrounding a replica garden of the Temple of Love at the Petit Trianon palace. The slope below the temple has a cascade of water in the form of a stairway, which feeds into the large basin.
A stairway from the French garden descends to the circle of gardens on the lower level. The Spanish garden features a shaded courtyard and fountain, with aromatic plants, Catalan amphorae, and a Gallo-Roman bench. The Florentine garden, facing the rade of Villefranche-sur-Mer, has a grand stairway, an artificial grotto, and an ephebe of marble. Beyond the Florentine garden is the lapidary, or stone garden, with an assortment of gargoyles, columns, and other architectural elements from ancient and medieval buildings. The Japanese garden has a wooden pavilion, a bridge, and lanterns. The exotic garden features giant cactus and other rare plants. A rose garden with a statue surrounded by columns adjoins it, where pink, the favorite color of the owner, is the predominant color. On the east side of the villa is a garden of native plants of Provence and a garden with decorations of Sèvres porcelain.References:
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.
The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.
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.