Often overshadowed by the neighbouring town of Saint-Saturnin and its Medici castle, the Château de Murol en Saint-Amant boasts a seldom-mentioned link to one of the most renowned cathedrals in the world: the Notre-Dame Cathedral in Paris. Between 1845 and 1865, the architect Eugène Viollet-le-Duc supervised a vast restoration and reimagining of the church, adding a number of gargoyles, spires, windows, and other Gothic features. Afterwards, Louis-Clémentin Bruyerre, one of Viollet-le-Duc’s students, set his eyes on Auvergne and employed his architectural training to restore dozens of local monuments, including the Château de Murol (not to be confused with the same-named ruined castle in nearby Murol).
Despite the castle’s central spot in the village of Saint-Amant-Tallende, much of the public remain unaware of its origins and cultural significance. To learn more about the Chateau de Murol’s heritage, I spoke with its current owners, members of the Giscard d’Estaing family.
A.D. Manns: In your opinion, what is most unique or surprising about the Château de Murol en Saint-Amant?
Angéline Dupont-Madinier, Constance Giscard d’Estaing, and Laurent Giscard d’Estaing: One of the most unique aspects of the Château de Murol en Saint Amant is the fascinating history of its chapel, which has evolved significantly over centuries.
Originally, the Château was referred to as a fortified house or as the “fortified church” as both structures were unified in layout. The local tradition holds that the fortified house was occupied by the Knights Templar, which would date its origins to well before 1312, the time when they were disbanded. As early as 1262, records indicate that the local lord held this church as a fief. This early configuration differed greatly from what we see today: in the nineteenth century, Anatole de Cousin de La Tour Fondue’s restoration efforts created a distinct separation between the church and castle, drastically reducing the church’s size.
The new chapel itself served as the village’s parish church until it became too small for the growing community in the nineteenth century, leading to the construction of a new neo-Gothic church beginning in 1858. Afterward, the castle’s church was privatised, and La Tour Fondue further reduced its size by removing most of the nave, nearly up to the choir.
In 1989, during restoration work, traces of remarkable wall paintings were uncovered. These paintings, which span five different periods from the twelfth to the eighteenth century, were carefully restored by art conservator Yves Morvan, revealing layers of history and artistry embedded in the chapel walls. This blend of religious, architectural, and artistic heritage makes the chapel — and the chateau itself — a place full of surprising historical depth and intrigue.
AM: Can you tell us more about its links to the architect Viollet-le-Duc?
ADM, CGD, LGD: The fortified house was transformed into a chateau during a major restoration led by Anatole de Cousin de La Tour Fondue, from 1870 to 1900. The work was carried out by Bruyerre, an architect and student of Viollet-le-Duc, in the neo-Gothic style, which was very fashionable at the end of the nineteenth century.
Anatole undertook an exceptionally ambitious renovation, inspired by the neo-Gothic Romantic style popular at the time: he added an extra floor, a dry moat, converted the towers into pepper-pot towers, and introduced numerous decorative elements — balustraded walkways, turrets, capitals, crenellated arches, artificial grottos, and an underground passage.
Nineteen gargoyles adorn the façades, a highly favoured decorative feature of the neo-Gothic restoration style. The castle also features a large number of carved stones depicting animals (lions, bats, dragons, hedgehogs, snails, salamanders, storks, etc.). There are coats of arms from over thirty different families and sculpted capitals representing trades (such as stonemasons), mythological figures, or young noblemen.
AM: What would you say is the most challenging aspect of managing the chateau?
ADM, CGD, LGD: The most challenging aspect of managing the chateau lies in balancing the preservation of its historic character with the demands of modern living. Maintaining a structure that dates back to the thirteenth century, with significant nineteenth-century restorations, is a constant and complex task.
For instance, essential elements like the roof, which is nearing the end of its seventy-year lifespan, will soon require a complete overhaul. Fragile architectural features such as gargoyles, stained glass windows, neo-Gothic cement tiles, and original wooden floors demand regular care, while safety issues from incomplete nineteenth-century renovations remain unresolved — some doors open to empty space, and certain staircases lead nowhere.
Adapting the chateau to modern standards presents additional difficulties. Installing features like an elevator is impractical, and heating remains a problem: the nineteenth-century system failed disastrously, and no radiators have been added since. Even Wi-Fi connectivity is hampered by the thick stone walls, leaving younger generations frustrated with poor signals.
These challenges are compounded by the significant financial costs and physical effort required for upkeep. Tasks as routine as cleaning gutters can entail renting specialised equipment, while large-scale projects demand constant time and resources. This echoes the experience of the nineteenth-century restorer, who spent over twenty years on restoration and nearly exhausted his fortune in the process.
AM: Is the chateau associated with any legends or ghost tales?
ADM, CGD, LGD: While no legends or ghost stories are officially associated with the chateau, there is certainly an air of mystery surrounding it. The village cemetery originally lay within the castle’s inner courtyard. It was later moved to what is now the castle garden, before finally being relocated to its current, more distant site. As a result, the château is encircled by two former cemetery grounds, and occasionally, small bones are known to emerge from the soil.
The crypt’s foundations were restored in the late nineteenth century and during this period, the cemetery that once surrounded the nearby church was excavated. This excavation unearthed several sarcophagi, which now rest in the castle courtyard — a haunting reminder of past centuries.
As for ghostly encounters, the only apparitions reported have turned out to be rather mundane: pigeons or owls nesting in the attic and making eerie sounds in the middle of the night. So, while the chateau’s setting invites stories, any spirits are yet to reveal themselves.
AM: As I understand it, the Château de Murol en Saint-Amant can be rented for various occasions, such as marriages and seminars. Does it also offer guestrooms for overnight stays?
ADM, CGD, LGD: The castle can be rented for events, such as weddings and seminars. It can also be booked for a week or two but not for shorter periods.
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