Le château de Romainville est un château français du xixe siècle situé dans la commune d’Ecquevilly dans le département des Yvelines et la région Île-de-France.
Histoire
L’origine de la propriété remonte au XVIe siècle.
À la suite d'une confiscation comme bien national, elle fut vendue et différents propriétaires se succédèrent, chacun l’améliorant et l’agrandissant.
Aimé-Philippe Roman (1798), Marie-Gabriel Perrier (1802) puis Jean Charles Joachim Davillier, régent de la Banque de France (1804) et enfin Henry Deutsch de la Meurthe, industriel et mécène en 1893 furent propriétaires du domaine.
Le château de Romainville et ses nombreuses dépendances constituent un ensemble architectural représentatif, de style anglo-normand, fait de pierres meulières, de colombages et de briques.
Depuis 2001, le château de Romainville est réservé à l’accueil de séminaires d'entreprises.

Château de Romainville

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Château de Jambville is a French castle located in the town of Jambville in the Yvelines department, 50 km northwest of Paris. The castle was built between the 15th century and the 18th century on the foundations of a medieval castle. The lordship was granted to the steward Antoine Le Camus de Jambville in 1650. It passed in 1769 to the Marquis Charles-Claude-François du Tillet, colonel in the Royal Regiment, and to the stewardship of Étienne Thomas de Maussion in 1775. It was sold as national property in 1793. Baron Antoine Adolphe Thomas Maussion became the owner in 1816. in 1904, it was acquired by Paul Fould (1837-1917), master of requests to the Council of State. It has hosted the National Scout Training Centre of the Scouts et Guides de France since 1952.

Château de Jambville

The Château de Saint-Germain-en-Laye is a royal palace in the commune of Saint-Germain-en-Laye, in the département of Yvelines, about 19 km west of Paris, France. Today, it houses the musée d'Archéologie nationale (National Museum of Archaeology).
History
12th–13th centuries
The first castle, named the Grand Châtelet, was built on the site by Louis VI in around 1122. The castle was expanded by Louis IX in the 1230s.
Louis IX's chapelle Saint Louis at the castle belongs to the Rayonnant phase of French Gothic architecture. A 1238 charter of Louis IX instituting a regular religious service at the chapel is the first mention of a chapel having been built at the royal castle. This was a Sainte Chapelle, to house a relic of the Crown of Thorns or the True Cross. Its plan and architecture prefigure the major Sainte-Chapelle which Saint Louis built within the Palais de la Cité at Paris between 1240 and 1248. Both buildings were built by Louis's favourite architect Pierre de Montreuil, who adapted the architectural formulae invented at Saint Germain for use in Paris. A single nave ends in a chevet, with almost all the wall areas filled by tall thin glass windows, between which are large exterior buttresses. The ogives of the vault rest on columns between the bays and the column bases are placed behind a low isolated arcade. The building can thus be open and empty of all internal supports. This large number of windows is also enabled by the pierre armée technique, with metal elements built into the structure of the walls to ensure the stones' stability. The west wall is adorned by a large Gothic rose window in the "rayonnant" Gothic style. It was in this chapel in 1238 that Baldwin II of Constantinople presented Louis with the relic of the crown of thorns and, though they were intended for the Sainte-Chapelle in Paris, they were housed here until the Paris chapel was consecrated in April 1248.
The castle was burned by the Black Prince in 1346; of it, only the Gothic chapel remains from the site's medieval phase. This Château Vieux was rebuilt by Charles V in the 1360s on the old foundations.
16th–18th centuries
The oldest parts of the current château were reconstructed by Francis I in 1539, and have subsequently been expanded several times. On 10 July 1547 a political rivalry came to a head in a bloody game here. Against the odds, Guy Chabot, 7th baron de Jarnac triumphed over François de Vivonne, seigneur de la Chasteigneraie, giving rise to the coup de Jarnac.
Henry II built a separate new château (le Château Neuf) nearby, to designs by Philibert de l'Orme. It stood at the crest of a slope, which was shaped, under the direction of Étienne du Pérac into three massive descending terraces and narrower subsidiary mediating terraces, which were linked by divided symmetrical stairs and ramps and extended a single axis that finished at the edge of the Seine; the design took many cues from the Villa Lante at Bagnaia. "Étienne du Pérac had spent a long time in Italy, and one manifestation of his interest in gardens of this type is his well-known view of the Villa d'Este, engraved in 1573."
The gardens laid out at Saint-Germain-en-Laye were among a half-dozen gardens introducing the Italian garden style to France that laid the groundwork for the French formal garden. Unlike the parterres that were laid out in casual relation to existing châteaux, often on difficult sites originally selected for defensive reasons, these new gardens extended the central axis of a symmetrical building façade in rigorously symmetrical axial designs of patterned parterres, gravel walks, fountains and basins, and formally planted bosquets; they began the tradition that reached its apex after 1650 in the gardens of André Le Nôtre. According to Claude Mollet's Théâtre des plans et jardinage the parterres were laid out in 1595 for Henry IV by Mollet, trained at Anet and the progenitor of a dynasty of royal gardeners. One of the parterre designs by Mollet at Saint-Germain-en-Laye was illustrated in Olivier de Serres' Le théâtre d'agriculture et mesnage des champs (1600), but the Château Neuf and the whole of its spectacular series of terraces can be fully seen in an engraving after Alexandre Francini, 1614.
Louis XIV was born at Saint-Germain-en-Laye in 1638. One of du Pérac's retaining walls collapsed in 1660, and Louis undertook a renovation of the gardens in 1662. At his majority he established his court here in 1666, but he preferred the Château Vieux: the Château Neuf was abandoned in the 1660s and demolished. From 1663 until 1682, when the king removed definitively to Versailles, the team that he inherited from the unfortunate Fouquet — Louis Le Vau, Jules Hardouin-Mansart and André Le Nôtre laboured to give the ancient pile a more suitable aspect.
The gardens were remade by André Le Nôtre from 1669 to 1673, and include a 2.4 kilometre long stone terrace which provides a view over the valley of the Seine and, in the distance, Paris.
Louis XIV turned the château over to King James II of England after his exile from Britain in the Glorious Revolution of 1688. King James lived in the château for thirteen years, and his daughter Louise-Marie Stuart was born in exile here in 1692. King James lies buried in the nearby Church of Saint-Germain; his wife Mary Beatrice remained at the château until her death in 1718. Their son James left the château in 1716, ultimately settling in Rome. Many Jacobites - supporters of the exiled Stuarts - remained at the château until the French Revolution, leaving in 1793. The Jacobites often consisted of former members of the Jacobite court, and the apartments left empty in the chateau by the Jacobite court pensioners upon their death, were often passed down to their widows and children by the caretaker of the chateau, Adrien Maurice, the Duke de Noailles. The Jacobite colony at Saint-Germain was still dominant in the 1750s, when they were however treated with increasing hostility. After the death of the Duke de Noailles in 1766, who had been responsible for the continuing Jacobite dominance because of his preference to give rooms to Jacobites, the British dominance quickly decreased and more French inhabitants were given lodgings in the chateau: the last member of the Stuart court was Theresa O'Connel, who died in 1778. The last descendants of the British Jacobites, by then mostly bearing French names, were evicted when the building was confiscated by the government during the French revolution in 1793.
19th–21st centuries
In the 19th century, Napoleon I established his cavalry officers' training school here. Napoleon III initiated restoration of the castle by Eugène Millet, starting in 1862. It became the Musée des Antiquités Nationales (National Museum of Antiquities) in 1867, displaying the archeological objects of France.[citation needed] Auguste Lafollye took over responsibility for the restoration on Millet's death in 1879, continuing until 1889. His goal, and that of his successor Honoré Daumet, was to restore the French Renaissance style of Francis I.
On September 10, 1919 the Treaty of Saint-Germain-en-Laye, ending hostilities between the Allies of World War I and Austria, was signed at the château.
During the German occupation (1940–44), the château served as the headquarters of the German Army in France.
The museum was renamed the Musée d'Archéologie Nationale in 2005. Its collections include finds from Paleolithic to Merovingian times.

Château de Saint-Germain-en-Laye

The Château de Monte-Cristo is a writer's house museum located in the country home of the writer Alexandre Dumas, père.
History
The château was built in 1846 by the architect Hippolyte Durand in Port-Marly, Yvelines, France. Dumas named it after one of his most successful novels: The Count of Monte Cristo (Le Comte de Monte-Cristo, 1845–1846). Durand also built a writing studio on the grounds, which Dumas named the Château d'If after another setting from the same novel. In 1848, short of money, Dumas had to sell the property.
The château fell into disrepair by the 1960s, it was restored with the patronage of King Hassan II of Morocco, who financed the restoration of its Moorish room. Since 1994, the two châteaux and gardens have been restored. The entire property is operated as a public historic museum memorializing Dumas, père.

Château de Monte-Cristo

The Château de Maisons (now Château de Maisons-Laffitte), designed by François Mansart from 1630 to 1651, is a prime example of French baroque architecture and a reference point in the history of French architecture. The château is located in Maisons-Laffitte, a northwestern suburb of Paris, in the department of Yvelines, Île-de-France.
History
The family of Longueil, long associated with the Parlement de Paris, had been in possession of part of the seigneurie of Maisons since 1460, and a full share since 1602. Beginning in 1630, and for the next decades, René de Longueil, first president of the Cour des aides and then président à mortier to the Parlement de Paris, devoted the fortune inherited by his wife, Madeleine Boulenc de Crévecœur (who died in 1636), to the construction of a magnificent château. By 1649 he was able to spend the summer months in his new house, but works on the outbuildings continued after that date. Louis XIV visited Maisons in April 1651.
The attribution to François Mansart was common knowledge among contemporaries. Charles Perrault reported its reputation: "The château of Maisons, of which he [Mansart] had made all the buildings and all the gardens, is of such a singular beauty that there is not a curious foreigner who does not go there to see it, as one of the finest things that we have in France." Nevertheless, the sole surviving document mentioning Mansart's name is a payment of 20,000 livres from Longueil in 1657, apparently occasioned by the final completion of the château. A pamphlet with the title La Mansarade accuses the architect of having realised, after completing the construction of the first floor, that he had committed an error in the plans and razed everything built so far in order to commence anew.
Perrault emphasizes that the architect had the habit of remodeling certain parts of his buildings more than once, in a search for perfection. This length of time the construction required.
At the death of René de Longueil, in 1677, the château passed to his heirs until 1732, and then in succession to the marquise de Belleforière, then to the marquis de Soyécourt. In 1777 it became the property of Louis XVI's brother the comte d'Artois, who carried out important interior transformations under the direction of his house architect François-Joseph Bélanger. These works were interrupted in 1782 for lack of funds. Maisons ceased to be kept up.
Confiscated during the Revolution as "national goods", the château was sold in 1798 to an army provisioner, M. Lauchère, again in 1804 to maréchal Jean Lannes, and finally in 1818, to the Parisian banker Jacques Lafitte. Starting in 1834, Lafitte proceeded to develop the surrounding park as building lots; he tore down the fine stables to furnish construction materials for the purchasers. After his daughter the princesse de la Moskowa sold the château in 1850, it passed to M. Thomas de Colmar, and to the painter William Tilman Grommé (ru), who farmed out the small park and demolished the entrance gateway to the forecourt, enclosing the severely reduced space with a wrought iron grille brought from the Château de Mailly in Picardy. Grommé died in 1900. In his last will, he ordered his whole property to the city of Vyborg, which decided to keep his art collection but sell the château.
In 1905, the State purchased the château to save it from demolition. It was classed a monument historique in 1914.
Architecture
The Château de Maisons was built between the Seine and the forest of Saint-Germain-en-Laye, with its garden front oriented to the southeast. Originally it comprised the garden, a small park of 33 hectares and a large outer park of 300 hectares. The visitor arrived by one of two avenues that crossed in a T intersection before the gate to the cour d'honneur. The principal central axis led to the forest, the cross axis through the village to the southwest and to the river, thence on to Paris. Three gateways stood at the far ends of the avenues.
On one side and the other of the avant-cour, Mansart constructed the stables, masterworks of architecture whose monumental character gave a preview of those that would be built at Versailles and Chantilly. Of these works there exists only a grotto, that served also to water the horses.
The château stood on a rectangular platform outlined in the French manner with a dry moat. The cour d'honneur was defined by terraces. The central block extends symmetrically into short wings, composed of several sections, each with its own roofline, with raked roofs and tall chimney stacks, in several ranges, with a broken façade reminiscent of the planning in work of Pierre Lescot and Philibert Delorme in the preceding century. The single pile construction typical of its epoch carries three storeys, a basement supporting a ground floor and piano nobile with three attic floors above.
Interiors
The grand central entrance vestibule of stone was originally enclosed by exceptionally fine wrought iron grilles, which are today at the Louvre. Large bas-reliefs of The Seasons were executed by Gilles Guérin after drawings provided by Jacques Sarazin, who oversaw all the sculpture provided for Maisons. There are lunettes representing The Elements, for which Sarazin's drawings also survive. This vestibule gives onto two state apartments. The apartment on the left, called the Appartement des Captifs was that of René de Longueuil; it has retained its original decor. The chimneypiece of the corner room, the chambre de parade represents a bas-relief medallion of Louis XIII supported by captives and a frieze of the triumph of Louis XIII, works of Gilles Guérin that have given a name to the suite of rooms.
The apartment on the right, called the Appartement de la Renommée was entirely redecorated by Bélanger for the comte d'Artois in a discreet neoclassical style quite in keeping with the general classic style of the château.
The staircase was of a type that Mansart originated at Balleroy, in which the central space is left open, so that the flights climb the four walls.
On the parade floor, the apartment to the right, called the Appartement des Aigles for the Empire style decoration effected by maréchal Lannes in expectation of the visit of Napoleon, is undistinguished. That on the left, on the other hand, the Appartement du Roi is also called à l'italienne in that it is covered in false vaulting. The apartment consists of a vast Salle des Fêtes employed also in the character of a guardroom, with a tribune for musicians. It opens into the Salon d'Hercule from the painting of Hercules defeating the Hydra that used to be featured on the chimneybreast, with sculptures by Guérin. In the end pavilion is a domed room articulated by therm figures, a precursor to the grand salon of Vaux-le-Vicomte. A small oval cabinet, or private withdrawing room, the Cabinet des Miroirs bears a refined decor, and a parquet floor inlaid with pewter and bone.
Influence on architecture
The Château de Franconville at Saint-Martin-du-Tertre (Val-d'Oise), built by Gabriel-Hippolyte Destailleur for the duc de Massa in 1876 takes Maisons for its model.
In the suburbs of Beijing, the Chinese multi-millionaire real-estate developer Zhang Yuchen built a copy of the Château, enhancing it by adding two wings from the Palace of Fontainebleau. The building cost $50 million, contains a hotel and seminar center and opened in 2004. It is called Zhang-Laffitte. (40°7′49″N 116°26′32″E)
The Plaza Constitución terminal train station (Buenos Aires, Argentina) opened on January 1. 1887 and rebuilt in 1900, is also an example of the influence of Maisons.

Château de Maisons-Laffitte

Château du Haut Rosay is a French castle of the seventeenth century which is located in Mantes Rosay, in the present department of Yvelines and the region Île-de-France. The castle and its park, with common, outbuildings, mills, ditches, terraces and surrounding walls, and water projects (ie. B 189-198), based on an earlier measure of inscription on the additional inventory ( decree of 1 June 1989) are the subject of a classification as historical monuments since 19 February 1992. The castle is located in a site registered by order of 18 January 1946.
http://www.frenchchateau.net/chateaux-of-ile-de-france/chateau-du-haut-rosay.html

Château du Haut-Rosay

The Château Louis XIV is a château constructed between 2008 and 2011 in the commune of Louveciennes in the Yvelines department in the Île-de-France region.
The chateau was built by the property developer Emad Khashoggi's property development company COGEMAD using traditional craftsmanship techniques and materials. Located between Versailles and Marly-le-Roi on a 23-hectare (57-acre) walled site, the property is surrounded by moats and has a constructed surface area of 7,000 m2 (75,350 ft2), 5,000 m2 (53,800 ft2) of which are living space. The property pays various tributes to Louis XIV of France, France's Sun King and stands on a land which once formed part of the Versailles estate.
Khashoggi had previously restored the Palais Rose in Le Vésinet and the Château du Verduron in Marly-le-Roi. The Chateau Louis XIV was built on the site of the former Chateau du Camp in Louveciennes, with the aim of building a modern house, with hi-tech controls incorporated within a 17th-century aspect, layout, and materials.
In 2015, the chateau was sold to a Middle Eastern buyer, identified by The New York Times as Saudi Crown Prince Mohammad bin Salman. The price of USD 301,000,000 was a world record for a residential property.
History
In the late 17th century, the property where the current Château Louis XIV was built consisted of several plots of land, chestnut groves and woodland. In the early 18th century, the royal regiment was in charge of participating in a major excavation project in Marly-le-Roi. They thus decided to set up camp in an existing clearing on these very plots of land.
During this period, Louis XIV decided to build a palace in Marly-le-Roi nestled in a lush green setting; a place where he would regularly go to find the peace and quiet that he lacked in Versailles.
Later, the Swiss Guards, assigned to ensure the security of the Château de Marly, set up their camp on the property. Also known as the “Royal Regiment Camp” or the “Marly Camp,” the camp disappeared in the mid 18th century, and the Château de Marly suffered in the French Revolution.
In 1797, during a settlement, the camp and land that were part of the property were sold to Françoise-Suzanne Guyhon Monthaut who, in turn, sold them to the Vicomte Charles-Gilbert Morel de Vindé (fr) and his wife in 1805. The Vicomte Charles-Louis Terray de Morel-Vindé, counselor at the royal court in Paris, inherited the property following the death of his grandfather in 1842, and sold it in 1848 to Jean-Pierre Blondi and Adélaïde Halguin, who had the first house and outbuildings built on the property.
The camp property became a large farm. Here, a cavalry regiment and several military companies would sometimes set up camp in what was then called “The camp farm” until 1863, when Dr Duborgia, mayor of Bougival, purchased and expanded the property.
In 1888, Charles-Emile Clerc, the new owner following the death of Duborgia, undertook the demolition of the initial buildings which, over the years, had only undergone a few scarcely noticeable changes. Having acquired several plots of land, Charles-Emile Clerc was able to expand the property, which he transformed into a residential domain with a large house surrounded by extensive wooded grounds.
The property remained in the family for over a century. During this time, it underwent a few modifications such as the addition of a stable, a caretaker’s house and a number of paths, before eventually being sold to a French couple in 1991. This would then give way to a succession of owners, until the site's purchase and rebuilding by Khashoggi.
COGEMAD
The Saudi-born French property developer Emad Khashoggi demolished the building and constructed a new house, built with respect to 17th-century craft traditions. Khashoggi employed craftsmen with traditional skills. He explained that he wanted to "give rise to a 'new structure,' for which one is able to create sustainable projects that will make their mark in the future as well as in the heritage of a region, a country." For the construction of the Château Louis XIV his company, Cogemad, employed an average of 120 workers every day, and included artisans such as: sculptors, mosaic artisans, painters, gilders, iron craftsmen, cabinetmakers, marble masons, landscapers, fibrous plasterers, clockmakers, bronze casting artisans, roofers, carpenters and coppersmiths. The property includes an underwater room built into the moats – the only one of its kind in Europe. The ceiling of the drawing room has a trompe-l'œil painting inspired by a fresco created by Charles Le Brun for the Château de Vaux-le-Vicomte, which took master painters several months to create. This, in addition to the fountain in the gardens, is one of the centerpieces of the château.
The trades and the artisans
Numerous companies certified as Living Heritage Artisans and Companies took part in this project, which enabled them to train new craftsmen. The construction project brought together several age-old trades, which produced the following key works:
Stonemasonry
860 m3 (30,370 ft3) of massive natural stone divided as follows:
80 m3 (2,800 ft3) of Lanvignes limestone
175 m3 (6,000 ft3) of fine Saint-Maximin limestone
605 m3 (21,300 ft3) of fine Saint-Maximin limestone
They were used to make balusters, sculpted tables, fire pots and capitals for sculpted pilasters.
On display in the château’s Garden à la française is a stone-sculpted reproduction of the Chariot of Apollo from the fountain in Versailles. The smaller-scale copy of this sculpted group, designed for the king’s gardens by the artist Jean-Baptiste Tuby, retained the proportions and details of the original. It was then gilded in gold-leaf.
Marble
The marble was crafted in various styles: delicate marquetry for the floors, mosaics for the garden level, book matched in the bathrooms, sculpted for the monumental statue of Louis XIV and molded for the Grand Siècle-style fireplaces.
List of marbles used and their place of origin:
Black Saint-Laurent: Hérault - France
Yellow Sienna: Tuscany - Italy
Antique Green: Aosta Valley - Italy
Cherry Red: Belgium
Collemandina Marble: Tuscany - Italy
Salome Marble: Turkey
Red Levante Marble: Liguria - Italy
Macauba Quarzite: Brazil
Pink Alpinina : Portugal
Moonstone: Brazil
Pink onyx: Iran
Rouge de France: Hérault - France
Calacatta Topazio : Tuscany - Italy
Bamboo Green: Brazil
Cabinetmaking and joinery
Many 17th-century decorations sculpted in wood embellish the interior. One of the centerpieces is found on the monumental entrance door sculpted entirely by hand in oak in high relief, and projects out by 17 cm (6.6 in). It depicts the Sun God on horse-back as a Roman Emperor crowned by Victory. This work was inspired by a model from the War Room at the Château de Versailles.
Clock-making
For the façade of the château, Emad Khashoggi commissioned clock-makers to create a genuine monumental bronze and enamel clock identical to the one on the façade of the Château de Versailles.
Painting and decor
Several of the ceilings in the reception halls and master suites depict themes that were dear to Louis XIV, and which are also often seen in Versailles. For instance, the imposing painted ceiling of the cupola in the main drawing room was influenced by an Allégoire de l’Aurore project that was conceived by Charles Le Brun for the Château de Vaux-le-Vicomte, but which never came to fruition.
Bronze casting
Works include the creation of 17th-century lamps and decorative hardware inspired by numerous archives from the History of France, notably from the 17th century under the reign of Louis XIV.
Iron-working
Works include numerous handmade curved banisters and balustrades reproduced from17th-century spirals and motifs. These assemblages are always created using tenons, mortises or pegs, without the slightest trace of welding, according to the finest French tradition.
Framework
A traditional frame was constructed for the dome, which was assembled the old-fashioned way using a system of tenons and mortises.
Roofing
In keeping with age-old techniques, the roofers hand-crafted the slate roof from Angers. The roof also boasts fire pots sculpted in stone and gilded metal spikes on the roof’s ridge beam.
Gardens
The Château Louis XIV, nestled in an authentic lush green setting, is consistent with the standards of the 17th century, and its parks and gardens are no exception. In line with André Le Nôtre’s theories for the Château de Versailles and the Château de Vaux-le-Vicomte, the grounds pay tribute to the French-style gardens. It boasts flower beds and embroidered box hedges, plays on perspective, topiary yew trees clipped into small pyramids, a tree-lined labyrinth, a small farmhouse with goats, a vegetable garden, stables and even an English-style garden on the lower level, all in keeping with the natural outlines of the property where the château is located.

Château Louis XIV

Le château de Béhoust est situé sur la commune de Béhoust dans le département des Yvelines, en France.
Localisation
Le château se trouve au cœur du village, le long de la route départementale D42 (Orgerus à l'ouest, Garancières à l'est), soit à une cinquantaine de kilomètres de Paris.
Histoire
Le château remonte au XIe siècle. Il fut démoli au Moyen Âge.
En 1767, le marquis François III de Lastic lança la construction de l'actuel château. Il fut construit dans un style totalement caractéristique du XVIIIe siècle. Il fut achevé en 1772. Cependant, deux ailes furent rajoutées au château en 1880. Ce château possède deux grandes écuries et un très grand parc. Il est aujourd'hui consacré à l'organisation de séminaires.
Il ne reste aujourd'hui comme vestiges du château du XIe siècle que les caves voutées.
Le château a fait l'objet d'une inscription au titre des monuments historiques par arrêté en date du 12 octobre 1976.
En 1986 y fut tourné Les Exploits d'un jeune Don Juan.

Château de Béhoust

The Château de Groussay is located in the town of Montfort-l'Amaury, in the Department of Yvelines, west of Paris, in France. The Château was built in 1815 by the duchesse de Charest, a daughter of Louise Elisabeth de Croÿ-Havré, marquise de Tourzel, the governess of the royal enfants de France of Louis XVI and Marie Antoinette.
History
The Château was purchased in 1938-39 by the French aesthete Carlos de Beistegui, who enlarged it, with the professional help of Emilio Terry. Cecil Beaton's inspiration for Henry Higgins' library in My Fair Lady was the library at Groussay.
Beistegui created new gardens, inspired by the Anglo-Chinese gardens of the 18th century and by an 18th-century copper tent in the royal gardens of Drottningholm Palace in Sweden. They feature a Chinese pagoda, a labyrinth, a theater of verdure, a Tartar tent, and other follies. The Gardens are classified by the French government as one of the Remarkable Gardens of France.
After Beistegui's death in 1970, the Château passed to his brother, and then his nephew, who sold it in 1999, realizing $26.5 million for the contents alone, many of which had come from another of Carlos de Beistegui's homes, the Palazzo Labia in Venice. In 2012, it was sold again and the owner is Rubis International managed by Bekhzod Akhmedov.
The château and park of Groussay appeared in Marc Allégret's last film Le Bal du comte d'Orgel (1970).

Château de Groussay

The Petit Trianon, built between 1762 and 1768 during the reign of Louis XV of France, is a small château located on the grounds of the Palace of Versailles in Versailles, France. The park of the Grand Trianon includes the Petit Trianon.
Design and construction
The Petit Trianon was built on the site of a botanical garden developed about a decade earlier by Louis XV, within the grounds of the Grand Trianon, Louis XIV's retreat from the Palace of Versailles to the southeast. It was designed by Ange-Jacques Gabriel by the order of Louis XV for his long-term mistress, Madame de Pompadour, and was constructed between 1762 and 1768. Madame de Pompadour died four years before its completion, and the Petit Trianon was subsequently occupied by her successor, Madame du Barry. Upon his accession to the throne in 1774, the 20-year-old Louis XVI gave the château and its surrounding park to his 19-year-old Queen Marie Antoinette for her exclusive use and enjoyment.
The château of the Petit Trianon is a celebrated example of the transition from the Rococo style of the earlier part of the 18th century, to the more sober and refined, Neoclassical style of the 1760s and onward. Essentially an exercise on a cube, the Petit Trianon attracts interest by virtue of its four facades, each thoughtfully designed according to that part of the estate it would face. The Corinthian order predominates, with two detached and two semi-detached pillars on the side of the formal French garden, and pilasters facing both the courtyard and the area once occupied by Louis XV's greenhouses. Overlooking the former botanical garden of the king, the remaining facade was left bare. The subtle use of steps compensates for the differences in level of the château's inclined location.
Marie Antoinette would come to the Petit Trianon not only to escape the formality of court life, but also to shake off the burden of her royal responsibilities. At Versailles, she was under considerable pressure and judgement from both her family and the court, and the Petit Trianon was her place of ease and leisure where she could rest from those trials. Since all was "de par la Reine" (by order of the Queen), none were permitted to enter the property without the Queen's express permission (not even, it was said, Louis XVI). Such exclusivity alienated the court nobility, which she did very willingly, since only the queen's "inner circle" (including the Princess de Lamballe, and Gabrielle de Polastron, duchesse de Polignac) were invited.
A house of intimacy and of pleasure, the building was designed to require as little interaction between guests and servants as possible. To that end, the table in the salles à manger was conceived to be mobile, mechanically lowered and raised through the floorboards so that the servants below could set places sight unseen. The tables were never built, but the delineation for the mechanical apparatus can still be seen from the foundation.
Within the queen's apartment, Marie Antoinette's need for privacy is apparent: the decor of her boudoir displays an inventiveness unique to the age, featuring mirrored panels that, by the simple turning of a crank, can be raised or lowered to obscure the windows and reflect the candlelight. Her bedroom, although simple, is also elegant in accord with her general style, provided with furniture from Georges Jacob and Jean Henri Riesener. The wallpaper was painted by Jean-Baptiste Pillement.
History after French Revolution
On 5 October 1789, Marie Antoinette was in the gardens of the Petit Trianon when a page brought news of the imminent arrival of an armed crowd from Paris. With the enforced departure of the royal family the next day the Petit Trianon was almost abandoned except for the gardeners and other staff who continued to live there. Renovations that had been underway were interrupted, leaving large sums owed to builders. The former Queen's gardener Antoine Richard was appointed as curator of the gardens and plant nursery in 1792 by the Minister of the Interior. After the final overthrow of the monarchy in July 1792, all of the furniture, art works and other valuables of the Petit Trianon were given to auction, under a decree of the Convention dated 10 June 1793. The auction began on Sunday, August 25, 1793 and continued until 11 August 1794. The properties sold were widely scattered. Silverware, lead and brass fixtures were requisitioned for use in the arsenals. The sculptor Amable Boichard was appointed in April 1794 to remove "emblems of royalty and feudalism" from the property.
Under the new Republic, the Petit Trianon underwent a number of changes. Declared national property, the land was divided into ten lots. The City of Versailles proposed that a botanical garden be established, but this plan was not adopted. In 1796, the land was leased to a tavern. By 1801, the use of the grounds for dances and festivals had led to neglect and vandalism. The buildings of the hamlet were reported to be dilapidated. Some improvements in the layout of the gardens were subsequently made and a school located in part of the complex.

Petit Trianon

Le château de Dampont, dit aussi château du Héron est situé à Us dans le Val-d’Oise en France. C’est un château de la fin du xixe siècle. Il bénéficie d’une protection au titre des monuments historiques : inscription par arrêté du 24 octobre 2002.
Situation
Le château est situé route de Marines à Us dans le Val d’Oise au cœur du Parc naturel régional du Vexin français. À l'emplacement de l'ancien manoir de Dampont. L’étang est alimenté par la Viosne qui traverse le parc.
Historique
Le château est créé sous l’impulsion de Charles Guy de Kersaint au milieu du xixe siècle. Il hérite des terres de Dampont par sa femme Laure de Tremblay de Saint-Yon. La construction dure de 1852 à 1872. En 1908 Jacques Potin achète le château à Raoul de kersaint.
En 1911 Jacques potin confie la création du parc à Edouard Redont : le parc domine le cours de la Viosne et abrite quelques fabriques : une fausse ruine de chapelle, un temple de l'Amour rond avec six colonnes corinthiennes, il crée un étang, plante de nombreux arbres rares, fait construire un embarcadère, des ponts et une roseraie.
Description
Ce château de style éclectique principalement néo-Renaissance mais aussi néo-gothique est attribué à l'architecte Eugène Viollet-le-Duc. L'édifice en pierre de taille s'articule autour d'une grosse tour rectangulaire de quatre niveaux, flanquée à une certaine distance par deux tours carrées plus petites de trois niveaux, disposées à un angle de 20° par rapport à la tour rectangulaire, et communiquant avec cette dernière par des éléments d'un seul étage, en léger retrait. Les angles des trois tours sont pourvus d'échauguettes en encorbellement, et les lucarnes devant les hauts combles à la française de frontons triangulaires aigus, garnie d'une riche ornementation sculptée. Les échauguettes de la tour centrale vont sur deux niveaux, et un balcon court devant l'étage supérieur. La façade côté jardin comporte en outre un double escalier desservant un étroit balcon devant la vaste baie du premier étage.
Le château au cinéma
Le château de Dampont à Us a servi de lieu de tournage dans L'Autre Dumas de Safy Nebbou en 2010.