The Renaissance Splendors of Villandry

Over our week in the Loire Valley, we visited a dozen châteaus of all sizes and styles. Picking out the right châteaus could be a tricky thing for any visitor. As usual, I relied on advice from travel guru Rick Steves. We visited almost every château in his guidebook except Château de Cheverny. Each château may be unique, but I admit that “château fatigue” was real and unavoidable. For the most part, the highlight of these châteaus are their magnificent architecture and splendid interiors, but one stands out for its gardens: Château de Villandry. Rick also picked Villandry for his guidebook cover.

Located in a tiny commune of Villandry, Château de Villandry is the most visited chateau west of Tours. Not only are Villandry’s gardens the best of the Loire Valley, but many even consider them the best in France. I purposefully arranged our visit on our last day in Loire Valley. Knowing how much my father enjoyed gardens and horticulture, visiting Villandry would have been an excellent exclamation point before heading to Normandy. The night before our visit, I showed my sister Christine the garden pictures. Her immediate reaction was: “
Gosh! Dad will spend the whole day there, and we could never leave!”

Villandry is a charming little village with a one-street downtown with ample parking. A big modern tourism center signifies the importance of tourism here. Unlike many chateau we visited in the Loire, Château de Villandry does not seem to occupy a strategic or particularly scenic location. According to the guidebook, this is the last major French Renaissance château built in the Loire, making it purely a pleasure palace rather than a defensive structure. From the town center, the chateau was barely visible. The entrance to the château appeared hidden at an inconspicuous corner of the estate.

The main road in the village of Villandry.

Visitors could choose to visit the gardens only for €8 or combine them with the château for an additional €5. One of the best things about visiting France is how affordable these great monuments are. To put it in perspective, admission to a typical Gilded Age mansion in Newport, Rhode Island, costs $25 USD. The Breakers House’s standard admission is even higher at even a few dollars than that. Having been to many of these Newport mansions, I could tell you they can’t hold the candle to Liore’s grand châteaus. This is one of the reasons why we seldom travel domestically.

Like most châteaus in the region, Villandry has always been a private estate. While wealthy aristocracies or industrialists once owned these châteaus, most owners today are land-rich and cash-poor. As any homeowner could tell you, painting a single-family home is hard enough; maintaining a massive estate like the Villandry requires a dedicated team and enormous capital. In addition to revenue from ticket sales and concessions, the château also receives subsidies from the government as long as they keep their door open to visitors a certain number of days of the year. I would not be shocked if families who owned these popular châteaus could not turn a profit year after year.

The staff informed us that we should begin our visit at the château immediately to the left of the estate entrance. A medieval fortress has stood at this site since the 12th century. The original castle was noted to be the place where the Treaty of Azay-le-Rideau (or Peace of Colombier) was signed between warring King Philip II of France and King Henry II of England. The treaty ceded part of Henry’s territory to Philip and affirmed Henry’s son Richard, later known as Richard the Lionheart, the heir to the English throne.

The château we see today was a Renaissance building constructed in the 1530s by Jean Breton. Only the fortress keep was spared and was incorporated into the new palace. Interestingly, the keep was where the treaty was signed. I can’t help but wonder if Breton kept it for historical purposes. He was the finance minister under King Francis I, who brought Renaissance and invited Leonardo da Vinci to France. During Francis’s reign, Breton served as an ambassador to Italy. He became enamored with the Italian Renaissance. He did away with the turrets and pinnacles that had been so popular in the Loire thus far and favored the geometric symmetry.

Although the design followed the ethos of the Renaissance, the end result is distinctly French. The steep slate roof and slender pilasters became emblematic of the late French Renaissance. If the architectural style looks familiar, it is probably because of its resemblance to the Louvre in Paris. As if to emulate the heritage of the medieval fortress, an artificial moat surrounds the château to create a more foreboding presence. It was as if Breton knew he needed the moat to make it a passable château.

The Kitchen Ornamental Garden may just be the most beautiful vegetable garden in the world.

Immediately upon entry, visitors are greeted with a giant model of the whole estate. It gives visitors a good overview of the various gardens of Villandry. The scale of the garden is so immense that I could understand why some visitors decided to skip the château interior altogether. Villandry’s interior is quite special compared to the other châteaus. The castle appeared very lived in and tastefully furnished. The current owner is the grandson of Joachim Carvallo and Ann Coleman. Based on the restoration work and the furnishing, visitors could appreciate the care and attention that went into the estate. The architectural lighting and informational display here are top-notch.

The study is furnished in a way that feels very lived-in.

The first main room we visited was the drawing room. The interiors here date back to the eighteenth century with the period furniture. Even though these are antique pieces, they are arranged in such a way as if the owners would stop by and use the room in the evening. My favorite features are all the personal photographs on the piano and other furniture. Their wedding and vacation photos add a personal dimension to the place. Personally, I would have been a little uncomfortable to have personal photos on display for the thousands of tourists to see. For me, it demonstrates the family’s pride in their château.

The next room is the dining room, perhaps the most splendid room in the château. The room is gorgeously tiled and has beautiful rose-colored wood paneling. The room is decorated with a massive marble fountain and a wood-burning stove. Despite the size of the space, the room feels very intimate. The dining table is beautifully set with candles and monogrammed napkins. Just as I was saying I found this room particularly fabulous, I found out this room has been individually listed as a National Historic Monument since 1934.

The final room on this floor is the kitchen; it is said to be the least modified one on the floor. Ironically, the rustic appearance makes the kitchen look modern. In the center of the countertop is a display of period dinnerware and a bushel of produce. At first, they looked like a perfect wax model, but they were fresh from the kitchen garden outside. After all, what’s the point of having a vast garden? This is probably the most beautiful display of produce I have ever seen.

The kitchen with a bushel of fresh produce from the garden outside.

For me, the second floor, or the first floor in France, is the highlight of the château. Every room here is restored and refurbished to its appearance in the 18th century. The most important space is the personal bedroom of Jérôme Bonaparte, Napolean's younger brother. Prince Jérôme owned Villandry for a few years but is the most famous owner. Despite the rose-colored walls and ceilings, the room has plenty of motifs and references for the military triumph of the Bonaparte family. The room’s tone is regal, with a touch of femininity.

Faith plays a big part in the life of the Carvallo family.

In the middle of the room is a beautiful pedestal table by master cabinetmaker Jacob-Desmalter. Regarded as a fine example of French Empire furniture, the table was commissioned by Prince Jérôme himself and inlaid with precious porcelain medallions. This table was subsequently sold to several different owners. The current owners spent a considerable fortune to have the piece returned to Villandry.

The next series of rooms on this floor is dedicated to Joachim Carvallo and Ann Coleman. After Breton, they might be the most important owners of Villandry. Carvello was a successful doctor and a professor known for the invention of radio chronophotography. His wife Ann was also a scientist and a heiress of an American industrialist. Despite the couple’s successful medical careers, both were interested in religion and the arts. They decided it was time to look for a proper home to house their growing collections of paintings. When they first came upon Villandry, the entire estate had been abandoned for ten years.

Despite the overgrown gardens and threatened with demolition, they fell in love with the château. They fell in love with it and purchased it almost immediately for 120,000 francs. The couple began the long restoration project to bring the chateau back to its original Renaissance splendor by removing the 18th-century addition. As scientists, they are very studious in their research of the history of Villandry and the French Renaissance. The family library is a testament to the couple’s dedication to the research of the French Renaissance. A small selection of the château’s archive is presented here.

The glorious view of the Ornamental Kitchen Garden.

In the 19th century, the quintessential “French style” garden became outdated. The owner at the time, Georges-Tom Hainguerlot, had the garden razed and transformed into an English-style one. In addition to being in vogue, the pastoral landscape of the English garden also costs considerably less in maintenance. Looking at the pictures of the Villandry’s garden, it is clear that no trace of the Renaissance garden was visible by then. Carvallo and Coleman made it their lifelong mission to restore the Renaissance gardens that once stood here when the 16th-century château was inaugurated.

The remaining rooms on this level were the family private quarters for Carvallo and Coleman. All their bedrooms have wonderful views of the historic gardens and tastefully restored. But the most unexpected room in the château would be the Oriental Drawing Room. The spectacular Moorish ceiling came from the 15th-century palace of the Dukes of Maqueda in Toledo, Spain. The ceiling comprises about 3,600 pieces and took about a year to be back together at Villanry. On the walls of this room are various paintings describing the diplomatic career of Comte de Castellane.

The Moorish ceiling at the Oriental Drawing Room.

Up the stairs, visitors get to visit the children’s bedroom. The two tiny bedrooms are tastefully furnished with ornate wallpapers and toys. However, the most memorable objects are the collections of antique dolls. They are just beyond creepy if you ask me. For many visitors, the highlight was climbing up to the upper terrace of the medieval keep. The views from this spot were spectacular. The gardens are so organized and well-kept and look a little intimidating. According to the management, a team of full-time gardeners is working in Villnadry year-round. I thought this garden would need a bigger crew to care for everything.

The “Passionate Love” at the Garden of Love.

From my understanding, there are two planting seasons in the year. We happened to be there at the beginning of October, in time to catch the last bloom of the year. The appearances of Villandry changed greatly from month to month, so I am glad we caught one of the most beautiful days. The attention to detail here was mesmerizing; I had never seen such a neatly trimmed or complex topiary. As if to minimize disturbance, smaller paths between topiaries are closed to visitors. The gravel on the ground was pristine and neat, like a Japanese Zen garden.

The Garden of Love and the Garden of the Crosses in the back.

The Renaissance Gardens are divided into several sections: the Kitchen Garden, the Water Garden, and the Ornamental Garden. As the name implies, the Ornamental Gardens is the most embellished of the three and is further into “salons” of greenery. Carvallo and Coleman compiled historical materials and hired a landscape architect and artist for the reconstruction. The ornamental garden is subdivided into The Garden of Love and the Garden of the Crosses. The pattern is said to be the Andalusian style, a homage to Carvallo’s Spanish root.

The Gardens of Love are composed of four box beds, each representing a state of love: Tender Love, Passionate Love, Flighty Love, and Tragic Love. The symbolism for each stage of love is indicated in the official pamphlet. It was difficult for me to understand or remember the symbolism. I sometimes forget the importance of symbolism in the Middle Ages. I wonder whether causal 15th-century observers would be able to understand it. The marble fountains in the garden are another nod to the Moorish and Italian traditions.

Just behind the Garden of Love is the Garden of the Crosses. As the names suggest, this garden consists of a fleur-de-lys and three crosses: the Maltese Cross, the Languedoc Cross, and the Basque Cross. These three crosses are vital to French history, and I am glad to learn about the two new crosses I did not know about. More importantly, the composition nicely complements the Garden of Love.

Climbing a level up, we arrived at a belvedere sheltered by the trellises of grape vines. It was a welcomed respite from the blazing sun. All around the gardens are many motifs of nature’s bounties. Speaking of fruits and produce, one thing unusual about Villandry is the absence of any place to grab a quick lunch. I read at the ticket desk that picnicking is not allowed, so it was perplexing that the owners did not capitalize on the golden opportunity for food concession. I only learned afterward that the château allows same-day re-entry. In hindsight, we should have gone out for lunch!

There is something wonderfully French about this little pavilion.

Like any good Renaissance garden, the gardens at Villandry have a sizable forest that covers about eight acres. During the Renaissance, the contrast between the forest “wilderness” and the tightly controlled garden below has an allegorical symbolism. It signifies the triumph of human knowledge and god’s grace out of the darkness. While there are plenty of walking paths through the woods, I suspect few visitors took the time to do so. The designers strategically lined up viewpoints along the axis of the Renaissance gardens. I only wish we had more time to explore.

On the eastern end of the forest is Villnadry’s vast complex of greenhouses. Half of the garden’s 85,000+ plants are grown in-house here. The management decided to forego the use of pesticides and fungicides. That fact alone made Villandry one of the most impressive gardens in the world, right? Because we were at the tail end of the season, not much was inside these greenhouses. I imagine the staff found the wintertime particularly quiet

For those who prefer greenery more than flowers, the Water Garden may be your favorite space at Villandry. Situated on a terrace above the Ornamental Garden, it was first created in the 18th century and later restored by Carvallo in the early 20th century. It centers around a central sunken pool and four circular fountains. According to the brochure, the main pond is in the shape of a typical mirror in the style of Louis XV. Ironically, the rest of the family, except for my dad, agreed that the simplicity and tranquility of this garden were our favorite gardens in Villandry. Adding in a couple of swans in the pond, this is my ultimate dreamscape, with a little dose of melancholy added in.

The next section we came upon is the Music Garden. As the name suggests, the pattern incorporated various musical motifs. By then, we were very overwhelmed by all the symbolism. At least, the colors here are more muted and more agreeable to me. But if I were to nominate a favorite garden here, it has to be the Herb Garden and the Ornamental Kitchen Garden. In many ways, they are the origin of Renaissance gardens. The earliest gardens in Loire Valley were practical. Medieval monks grew their vegetables and herbs on the grounds of their monasteries. Back then, monasteries were the center of literacy and knowledge. They were the custodian of agricultural, culinary, and medical expertise. They often approach growing plants with a scientific lens.

Because of the monk’s knowledge of Roman and Greek culture, they followed the principles of symmetry and geometric order. Medieval gardens were usually laid out with strict geometrical, reflecting the disciplines of religious life. The design seems to echo the rigid layout of a Benedictine abbey. The vegetable garden here at Villandry takes it to a whole other level. The vegetables and herbs are in a way that dazzles. May I say they are even more ornamental and impressive than the Garden of Love nearby? Who knew everyday crops like cabbage and lettuce could look so beautiful?

Just as we thought we could exhaust the gardens, we noticed a couple more left to go through. There are Lberyinth and Sun Garden. The Sun Garden is the latest addition in Villandry and was only completed in 2008. It was commissioned to celebrate the centenary of Joachim Carvallo’s revival of the Renaissance gardens. The sunburst pattern is the original design of him a hundred years ago. Interestingly, one-half of Sun Garden pays tribute to the English-style garden replaced by Joachim.

The sunbird fountain of Sun Garden was the original design of Joachim Carvallo.

We were all thoroughly exhausted by the time we exited Château de Villandry. I am glad this was the last château we visited on this trip, as this is one of my favorites. Villandry may not be as grand as Chambord or as picturesque as Chenonceau, but it is the only place where I truly felt the passion of the family that owned the estate. None of this would be possible without their nearly obsessive dedication. We only wish every château and historic home could be lucky to have such wonderful owners.

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