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| 0:00 | · | [Music] |
| 0:07 | · | sometimes the most surprising thing |
| 0:09 | · | about a place isn't what's visible but |
| 0:12 | · | what was hidden out here in the slow |
| 0:15 | · | heartbeat of the French countryside |
| 0:17 | · | people don't shout to be remembered they |
| 0:19 | · | preserve they endure they survive and if |
| 0:23 | · | there's any place that captures that |
| 0:25 | · | spirit best it's Chateau de Jesu a |
| 0:28 | · | castle that once hid its soul behind a |
| 0:31 | · | false wall for over a century only to |
| 0:34 | · | reveal it untouched vibrant and very |
| 0:37 | · | much alive if you're a castle lover or |
| 0:40 | · | just someone who believes that beauty |
| 0:42 | · | deserves to be remembered like this |
| 0:44 | · | video and subscribe to join us on the |
| 0:46 | · | journey because this is saving castles |
| 0:49 | · | and this is part one of Chateau de Jesu |
| 1:09 | · | so how long has your family been living |
| 1:12 | · | here uh the family of my husband is here |
| 1:16 | · | um since 1786 |
| 1:19 | · | 1786 so before the French Revolution |
| 1:23 | · | chateau often have far more to say than |
| 1:25 | · | what you see on the surface and thanks |
| 1:27 | · | to Stephanie Deafon whose family has |
| 1:30 | · | lived here for over 200 years we were |
| 1:32 | · | invited into the mysteries of Chateau de |
| 1:34 | · | Jesu a chateau in three acts one built |
| 1:38 | · | to defend one built to impress and one |
| 1:41 | · | built to serve and all of it still here |
| 1:45 | · | this part as the tower of the entrance |
| 1:48 | · | and has this wall are from the 14th |
| 1:51 | · | century but it doesn't look like to um |
| 1:55 | · | medieval castle now because during the |
| 1:58 | · | French Renaissance during the 16th |
| 2:00 | · | century the owner of the chatau change |
| 2:03 | · | it and during the French revolution this |
| 2:06 | · | part was destroyed in in fact not the |
| 2:09 | · | wall but inside there were |
| 2:11 | · | revolutionaries who came and would |
| 2:13 | · | destroy everything was |
| 2:15 | · | And after the French revelation it |
| 2:17 | · | become a part of the farm with the hay |
| 2:19 | · | at the first |
| 2:21 | · | floor and the and the cows at the ground |
| 2:25 | · | it's totally empty because in 1970 our |
| 2:29 | · | grandfather who was a farmer too say |
| 2:32 | · | stop I stop my farm and I don't continue |
| 2:36 | · | to keep it so no more roofer coming on |
| 2:40 | · | the roof and nothing happened so there |
| 2:42 | · | were small hole and bigger and bigger |
| 2:44 | · | and bigger a big storm um 20 years ago |
| 2:49 | · | and no more roof i see so we made a new |
| 2:52 | · | one but inside it was raining so much |
| 2:55 | · | that there is no more floor so all those |
| 2:58 | · | all this part is one room but we can't |
| 3:02 | · | walk inside it's really really dangerous |
| 3:04 | · | there is big holes and that roof looks |
| 3:06 | · | new this roof the right one is um |
| 3:10 | · | temporary roof temporary okay yeah but |
| 3:13 | · | it can stay during perhaps 20 years but |
| 3:16 | · | yes it's a good temporary we wanted to |
| 3:19 | · | make it very quickly because before to |
| 3:22 | · | more damage more damage exactly the part |
| 3:25 | · | where we are living and the part I will |
| 3:28 | · | show you the part where we have our |
| 3:30 | · | guest room um is this one is from the |
| 3:34 | · | French Renaissance from the 16th century |
| 3:38 | · | and at this time the family was was |
| 3:40 | · | living at the second floor and the |
| 3:42 | · | guards the kitchen all the servants was |
| 3:46 | · | at the first floor i see but the way of |
| 3:50 | · | life changed and at the middle of the |
| 3:53 | · | 18th century the family didn't want to |
| 3:56 | · | continue to live upstairs because the |
| 3:58 | · | room you will see are too big very |
| 4:00 | · | difficult to eat and um without |
| 4:05 | · | intimid so they decided to uh take off |
| 4:08 | · | all the servers from here and they made |
| 4:11 | · | new um living room dining room drawing |
| 4:15 | · | room more cozy room i see and at this |
| 4:18 | · | time they built so at the middle of the |
| 4:20 | · | 18th century this very large part with |
| 4:23 | · | the stable of course but also with a lot |
| 4:26 | · | of uh room for the servant um we've |
| 4:30 | · | found it with the fireplace a very large |
| 4:33 | · | one for the |
| 4:34 | · | blacksmith oven for the baker a special |
| 4:38 | · | thing for the to make wine and in fact |
| 4:41 | · | all the different people who was working |
| 4:43 | · | in the chatau has their own workshop |
| 4:46 | · | here at the middle of the 18th century |
| 4:48 | · | we we think that around 100 people was |
| 4:53 | · | living here oh yeah the walls they look |
| 4:56 | · | like they have a lot of age if you look |
| 4:57 | · | by the other side you will see I don't |
| 4:59 | · | know the word in English it's we call it |
| 5:01 | · | a contraer it's to it's to to to |
| 5:06 | · | maintain a buttress or just support |
| 5:10 | · | exactly at 250 m in length Chateau de |
| 5:14 | · | Jizu holds the distinction of being the |
| 5:17 | · | longest chateau in Trin on but beyond |
| 5:20 | · | its remarkable length the estate |
| 5:22 | · | encompasses expansive forests 1,000 |
| 5:25 | · | hectars around the 1,000 hectares yeah |
| 5:28 | · | of the most is the forest i see perhaps |
| 5:32 | · | when you arrive you go through a very |
| 5:34 | · | long forest forest exactly it is very |
| 5:37 | · | very big and large and too big for us |
| 5:40 | · | because we have more than two ectars of |
| 5:43 | · | roof for all the chateau so it's really |
| 5:47 | · | too big even if the chateau is too vast |
| 5:49 | · | to live in day-to-day it still holds the |
| 5:52 | · | warmth of family gifted in 1786 to Julie |
| 5:56 | · | Constantine de Laori upon her marriage |
| 5:58 | · | to Louie Gabrielle de Contad the estate |
| 6:01 | · | has remained within the family lineage |
| 6:03 | · | now stewarded by the Deafon on our way |
| 6:06 | · | inside the first thing that greeted us |
| 6:08 | · | were the emblems of the family's roots |
| 6:11 | · | the crests of the families that came |
| 6:13 | · | before uh yes it's two families and on |
| 6:17 | · | the left the eagle is a family of my |
| 6:20 | · | mother-in-law so the family will receive |
| 6:22 | · | the chat like a wedding present i see |
| 6:24 | · | and what I'm using here there is a date |
| 6:28 | · | 1685 so when you see this you can |
| 6:31 | · | imagine that the family is here from |
| 6:33 | · | 1685 but in fact the family arrived one |
| 6:36 | · | century after in 1786 |
| 6:41 | · | 1786 so why there is crest that's a good |
| 6:45 | · | word |
| 6:47 | · | and a date but in fact fact they are not |
| 6:50 | · | together it's because when they married |
| 6:55 | · | it's a it's a wedding uh they took off |
| 6:58 | · | the court of aru were here they put |
| 7:01 | · | there I see but they didn't change the |
| 7:04 | · | date like that everybody can say oh what |
| 7:06 | · | a very old family but in fact it just |
| 7:08 | · | arrived you see and the family duble in |
| 7:12 | · | France you have a poet very well known |
| 7:15 | · | with Joan dele you know the same yeah so |
| 7:18 | · | it's the same family and the point the |
| 7:20 | · | first room on the tour is La Gallery |
| 7:22 | · | Francois Premier it's where most |
| 7:25 | · | visitors begin and with 12,000 people |
| 7:28 | · | passing through each year it's easily |
| 7:31 | · | one of the most admired spaces in the |
| 7:33 | · | chateau but we were fortunate to see it |
| 7:36 | · | before the season began when the halls |
| 7:38 | · | were still and silent no footsteps no |
| 7:40 | · | chatter just time enough to absorb the |
| 7:43 | · | details and the stories they hold it's |
| 7:46 | · | very interesting you can see that the |
| 7:48 | · | walls the ceilings the |
| 7:50 | · | fireplace everything is with paintings |
| 7:53 | · | and what's happened here during the |
| 7:56 | · | French Renaissance so it was the family |
| 7:58 | · | duble who was here so a family with a |
| 8:00 | · | lot of culture and one of the men of the |
| 8:04 | · | family married a princess in the family |
| 8:08 | · | we say a small princess because her name |
| 8:10 | · | was Marifto ifto is a town in Normandy |
| 8:14 | · | so she was just the princess of one town |
| 8:17 | · | but she was a princess and they wanted |
| 8:19 | · | to have a sort of court life and they |
| 8:22 | · | asked Italian painters who were in the |
| 8:25 | · | valley to come and to decorate all the |
| 8:28 | · | chateau i show you this room because |
| 8:30 | · | it's a well preserved one but in the old |
| 8:33 | · | chat uh there were the same paintings |
| 8:36 | · | and during the French revolution the |
| 8:38 | · | revolutionaries broke all the paintings |
| 8:42 | · | this room nearly disappeared during the |
| 8:44 | · | French Revolution but it didn't and the |
| 8:46 | · | story behind how that happened is |
| 8:48 | · | nothing short of miraculous the wall on |
| 8:51 | · | the ceiling are the original so they are |
| 8:53 | · | more than 400 years old and why they are |
| 8:57 | · | so well preserved it's because during |
| 9:00 | · | the French Revolution seeing the |
| 9:02 | · | destruction of the old shadow the young |
| 9:04 | · | woman who was living here asked help |
| 9:08 | · | from the the villagers and the villagers |
| 9:11 | · | came here and made a false wall a false |
| 9:15 | · | ceiling to hide everything what a |
| 9:18 | · | wonderful story yeah exactly very clever |
| 9:20 | · | too very clever she let the file wall on |
| 9:24 | · | the file ceiling after the re French |
| 9:27 | · | revolution and it stayed during nearly |
| 9:29 | · | one century so during nearly one century |
| 9:32 | · | there is no damage and no light on all |
| 9:35 | · | of these that's why the colors are so |
| 9:37 | · | vibrant exactly throughout the century |
| 9:40 | · | following the French Revolution the |
| 9:41 | · | truth about the false walls and ceilings |
| 9:43 | · | weren't revealed and eventually |
| 9:45 | · | forgotten until recently at the end of |
| 9:48 | · | the 19th century our grandfather who was |
| 9:51 | · | a little boy was playing here and he |
| 9:54 | · | made a hole in the fool and so he made a |
| 9:58 | · | big hole he did like that and he saw |
| 10:00 | · | colors and it's like that that every |
| 10:03 | · | that they discover really discover all |
| 10:06 | · | the paint yeah that is just absolutely |
| 10:09 | · | wonderful what a day that must have been |
| 10:11 | · | when a simple hole in the wall opened up |
| 10:14 | · | an entire forgotten world behind it |
| 10:17 | · | color stories a room that had been |
| 10:20 | · | asleep for a hundred years suddenly |
| 10:23 | · | awake little did that boy know that was |
| 10:26 | · | only the beginning of his family's story |
| 10:29 | · | of rediscovering Jizu you have the name |
| 10:32 | · | of the princess M and Y mhm um and all |
| 10:39 | · | around the room you've got always her |
| 10:41 | · | name and never the name of her husband |
| 10:43 | · | and we are in the shadow of her husband |
| 10:45 | · | so we sing that she was the princess and |
| 10:48 | · | everybody have to know it |
| 10:51 | · | you have a lot of bouquet of flowers all |
| 10:54 | · | around the room uh they are all |
| 10:57 | · | different but nearly in each uh bouquet |
| 11:00 | · | you have a tulip mhm tulip now is a very |
| 11:04 | · | flower very common in all the garden in |
| 11:07 | · | in spring during spring but at this time |
| 11:09 | · | during the French Renaissance it was |
| 11:12 | · | very very very rare and very very very |
| 11:16 | · | expensive to have tulip so we think that |
| 11:21 | · | there is a lot of tulip all around to |
| 11:23 | · | show to your guests that you are very |
| 11:26 | · | rich you don't tell it you don't say I |
| 11:29 | · | am very rich but I have a lot of tulip |
| 11:31 | · | tulip tulip i am rich i am rich i'm rich |
| 11:34 | · | and the third thing it what we call in |
| 11:38 | · | French it's from a book of the |
| 11:41 | · | metamorphosis of Oid you know it's a |
| 11:44 | · | book with all the mythology the antique |
| 11:48 | · | mythology we are very very lucky because |
| 11:50 | · | few years ago we found not in our shadow |
| 11:53 | · | but in a museum a book with engraving of |
| 11:57 | · | the metamorphos of OID and if you do |
| 12:01 | · | like that you can see that's um the |
| 12:04 | · | model is it a good one model um of our |
| 12:09 | · | paintings in the book you have around |
| 12:12 | · | 100 engraving today in the chat you have |
| 12:15 | · | nearly 40 uh view of the book but we |
| 12:19 | · | think that at the origin when all the |
| 12:21 | · | old shadow was painted to you add 100 uh |
| 12:26 | · | you have all the history know all the |
| 12:29 | · | story of the metamorphosis of ovid all |
| 12:31 | · | around the world so the fireplace is the |
| 12:35 | · | only thing who has been restored at the |
| 12:38 | · | end of the 19th century and you have the |
| 12:41 | · | salamander of Francis the first the chat |
| 12:44 | · | never belonged to the king but when the |
| 12:49 | · | king came in your home you have the the |
| 12:52 | · | honor to put the rest of the queen i see |
| 12:56 | · | so we know that the king came twice but |
| 12:59 | · | we don't know if he came two hours or 15 |
| 13:03 | · | days but even if it's a very short time |
| 13:06 | · | he did he came he did visit exactly the |
| 13:09 | · | preference to live an opulent life took |
| 13:11 | · | a toll on the fair princess's family and |
| 13:13 | · | her husbands so when the finances got |
| 13:16 | · | tight they had to sell to the next |
| 13:17 | · | custodian of the chateau they sold the |
| 13:20 | · | chateau to this woman if you want I tell |
| 13:23 | · | you her name but don't try to remember |
| 13:25 | · | it her name |
| 13:29 | · | is Role okay it's not so easy to |
| 13:34 | · | remember and when she bought Jesus she |
| 13:37 | · | was a widow and it was the time of of |
| 13:39 | · | Louis the 14 okay so of Versailles mhm |
| 13:43 | · | but as a widow she was not obliged to go |
| 13:46 | · | too often to Versailles so she prefer to |
| 13:48 | · | stay here in the countryside is she the |
| 13:50 | · | one that had an art school here yes yes |
| 13:53 | · | okay and as she was living here all the |
| 13:55 | · | year long she asked an art she asked an |
| 13:59 | · | art school to come and if you want we |
| 14:02 | · | we'll have a look of what they were |
| 14:04 | · | doing |
| 14:05 | · | and here Stephanie showed us the real |
| 14:08 | · | treasure of Jizu the Gallery de Chateau |
| 14:10 | · | D Roa a 400 square meter hall of 17th |
| 14:14 | · | century paintings that with the help of |
| 14:16 | · | a community of donors have all been |
| 14:19 | · | carefully restored and maintained it's |
| 14:22 | · | the biggest place like that in France in |
| 14:25 | · | a private home |
| 14:28 | · | she asked the painters to make her |
| 14:30 | · | shadow and for for us this view of Jizu |
| 14:34 | · | is very very important because it's the |
| 14:36 | · | oldest view of the shadow that we have |
| 14:38 | · | we can see what doesn't move uh doesn't |
| 14:41 | · | change like the middle part the old |
| 14:45 | · | shadow was very nice at this time it |
| 14:47 | · | it's one century before the beginning of |
| 14:50 | · | it destruction and we can see better |
| 14:53 | · | than now the ramp parts of the middle |
| 14:56 | · | age you see with two towers it's more |
| 14:59 | · | middle age and the big big difference |
| 15:02 | · | it's here um now you have a gate here |
| 15:07 | · | you have the pass and the new stable and |
| 15:10 | · | out buildings are like that oh I see |
| 15:14 | · | it's 60 year before the construction of |
| 15:16 | · | the new out buildings i see so for us of |
| 15:19 | · | course it's very important because it's |
| 15:21 | · | the oldest view of the chat exactly |
| 15:24 | · | what's really amusing and rare it's a |
| 15:28 | · | real school who came here a master and |
| 15:30 | · | his students i see and they use the wall |
| 15:33 | · | like a studio to learn different |
| 15:35 | · | techniques so you have things a little |
| 15:38 | · | bit naive and other more elaborate |
| 15:41 | · | because you have young painters and old |
| 15:43 | · | painters older painters they painted |
| 15:47 | · | four shadow of the king this one is the |
| 15:50 | · | chat de Shambbor very well known in the |
| 15:53 | · | L valley but if you go in Shambbor now |
| 15:57 | · | there is no uh mountain right behind and |
| 16:02 | · | no uh river like that so it's a little |
| 16:05 | · | bit there is a lot of imagination a |
| 16:08 | · | little bit of imagination included yeah |
| 16:10 | · | and it's very flat there is no |
| 16:13 | · | perspective |
| 16:14 | · | because imagine it's your first um first |
| 16:18 | · | realization and you have um a paper like |
| 16:23 | · | that with an engraving of Shambborh |
| 16:27 | · | of this size and in front of you you |
| 16:29 | · | have a very big white wall of more than |
| 16:33 | · | 5 m yes so the first exercise is to put |
| 16:36 | · | the good proportion and to do the things |
| 16:39 | · | well to I see and and the trees and the |
| 16:43 | · | exactly yes all proportion and after you |
| 16:47 | · | will learn the the perspective |
| 16:51 | · | another shadow of the king it's a shadow |
| 16:53 | · | de vansen |
| 16:55 | · | um vansen now is inside paris so perhaps |
| 16:59 | · | you know metro de ven |
| 17:01 | · | metro and there is no the countryside |
| 17:04 | · | now around and here you have a |
| 17:07 | · | perspective simple but you have a |
| 17:09 | · | perspective our young painters learn a |
| 17:12 | · | little bit more in the middle of the |
| 17:15 | · | room you have two landscape and this one |
| 17:18 | · | is amusing because you have a hunting |
| 17:20 | · | but the hunt is not very important here |
| 17:23 | · | the most important is to see how the |
| 17:26 | · | young painters were learning the way to |
| 17:29 | · | make animals if you look at all the |
| 17:31 | · | animals nor those two but All the other |
| 17:35 | · | all the others have the same position |
| 17:37 | · | the tail like that and the legs with the |
| 17:40 | · | same angle okay and if you look uh well |
| 17:44 | · | you can see that the first dog is the |
| 17:47 | · | best one the first one was made by the |
| 17:50 | · | master and the student copy the best as |
| 17:54 | · | they can uh I see to duplicate exactly |
| 17:58 | · | exactly and to learn how to make an |
| 18:00 | · | animal moving because before the the |
| 18:02 | · | pictures it was very difficult to make |
| 18:05 | · | an animal moving because the animal |
| 18:07 | · | never stay like that that's wonderful |
| 18:09 | · | and this view is amusing too because you |
| 18:11 | · | have things very elaborate like all the |
| 18:14 | · | trees were very nice and other very bad |
| 18:17 | · | like this man on a pony of course you |
| 18:19 | · | don't go to hunt to the hunt on a small |
| 18:22 | · | pony like that so why there is so big |
| 18:25 | · | difference in the same painting is |
| 18:28 | · | because in that sort of school you |
| 18:31 | · | specialized very very young some of the |
| 18:34 | · | painters made only marble and what we |
| 18:38 | · | call trump others made only the trees |
| 18:41 | · | and landscape other made only animals |
| 18:44 | · | and other made only architecture so it's |
| 18:47 | · | not the same one we made the tree and we |
| 18:49 | · | met the animal |
| 18:51 | · | what's interesting here is on the top |
| 18:54 | · | you see this uh black line |
| 18:58 | · | it's because 10 years ago all the room |
| 19:01 | · | was dark and gray like this |
| 19:06 | · | this one is chat fonten blue fonten blue |
| 19:09 | · | is near Paris and you can see that the |
| 19:12 | · | painters learn a lot between the two |
| 19:16 | · | first is they started on this and |
| 19:18 | · | exactly and they continue like that and |
| 19:20 | · | they learn different techniques each |
| 19:22 | · | time so this is Fonten and on the on |
| 19:25 | · | this side is Chatau de Versail |
| 19:28 | · | and it is sort of bird side view of |
| 19:31 | · | Versailles and of course uh now we have |
| 19:36 | · | we we think to see things from the air |
| 19:38 | · | it's easy but at this time it was very |
| 19:40 | · | difficult you have no way to see the |
| 19:43 | · | perspective to understand the |
| 19:45 | · | perspective exactly exactly you can't |
| 19:47 | · | verify if it's good beautiful beautiful |
| 19:51 | · | the painters even learned how to create |
| 19:53 | · | optical illusions also called trump like |
| 19:56 | · | in this painting and everywhere you are |
| 19:59 | · | in the room on the right on the left in |
| 20:01 | · | the middle very close or very far you're |
| 20:04 | · | always in the middle of the garden it's |
| 20:06 | · | like the eyes of Mona you know it's |
| 20:09 | · | follow you yes so it was the technique |
| 20:12 | · | the most elaborate that our young |
| 20:14 | · | painters can learn and we think it was |
| 20:17 | · | the masterpiece |
| 20:19 | · | this gallery of murals wasn't built to |
| 20:21 | · | be lived in it was a corridor connecting |
| 20:24 | · | the old medieval chateau to the newer |
| 20:27 | · | Renaissance wing that's why there are no |
| 20:29 | · | fireplaces here it was built for wonder |
| 20:32 | · | a place to pass through slowly letting |
| 20:34 | · | the walls do the talking and in a shadow |
| 20:37 | · | this vast that was only the beginning |
| 20:39 | · | and we're not done telling the |
| 20:41 | · | [Music] |
| 20:46 | · | story in part |
| 20:50 | · | two we'll walk through the grand salons |
| 20:53 | · | step into the hunting room explore the |
| 20:55 | · | quiet cellar and witness the restoration |
| 20:58 | · | of the chapel if you're loving the tour |
| 21:00 | · | so far then like our video subscribe and |
| 21:03 | · | come along for part two we'd also like |
| 21:06 | · | to thank our Patreon subscribers who |
| 21:08 | · | continue to support us through our |
| 21:10 | · | journey there's more to discover right |
| 21:13 | · | here on Saving Castles |
The incredible survival story of the François I Gallery's 400-year-old painted walls
