Gardens of the Château de la Ballue

Mannerist garden

Like many French gardens, the gardens of the Château de la Ballue have experienced several lives since their first development in 1615. From abandonment to remodeling, they have gone through different states over the centuries, returning in 1973 to the Mannerist style, of which the Ballue gardens are one of the rare French examples.

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The gardens of the Château de la Ballue, unique gardens

Since their creation around 1615, the castle and gardens of La Ballue have been a Breton singularity. The new castle rises on the foundations of a pre-existing medieval fortress and at its feet, the land is remodeled into terraces created thanks to the medieval ramparts which serve as a buttress; a first garden of Mannerist inspiration was created. When Claude Artaud and her husband, François-Hebert Stevens, nephew of the architect Robert Mallet-Stevens, purchased the La Ballue estate in the 1970s, the garden, subject to the ravages of time, lost its coherence. Accompanied by Paul Maymont, utopian architect, they imprint their vision of the garden on the place: a subtle balance between mannerist stylistic affiliation and contemporary anchoring. This creative approach is all the more remarkable given that the art of gardens is an art that has been neglected or even ignored since after the Second World War. This is how the Château de la Ballue once again sees itself equipped with a garden, which was not designed with the idea of ​​restoring the 17th century garden but with the idea of ​​being faithful to the unique spirit specific to the Domaine de la Ballue since 1615. Marie-France Barrère and Alain Schrotter, owners between 1995 and 2005, made certain modifications and obtained the registration of the estate as a Historic Monument. Since 2005, Marie-Françoise Mathon has been the soul of Château de la Ballue and its gardens; that same year, the gardens received the Remarkable Garden label, then they distinguished themselves in 2017 by being awarded 2nd prize for the most beautiful historic garden in Europe (EGHN prize).

The Mannerist garden in France

The Mannerist garden is the predecessor of the French garden. Imported from Italy where Mannerism was already expressed in Bramante’s projects for the Belvedere of the Vatican (1502), the spirit of the Mannerist garden permeated the French creations of the 16th century and still exists in the creations of André Le Nôtre. But his facetious character, pleasant for a prince, will not be able to resist the desire for absolute majesty of Louis XIV who will impose the regular garden known as “French style” on Europe.
The Mannerist garden shares a common vocabulary with the French garden: parterre, perspective, axis, symmetry, geometry, topiary, grove, theater, spectacle, architecture, etc. It detaches itself from it by the treatment of Nature. Where the French garden favors straightness and infinity, mannerism delights in developing curves and irregularities.

The dialogue between the house and the landscape

Built on the site of an ancient fortress, the castle and gardens of La Ballue enjoy an exceptional panorama of Breton Tuscany evocative of the spirit of Italian villas. During the Renaissance, villas flourished on the hills surrounding Florence. A dialogue of mutual ornament is established between the countryside, which offers a view of the villa, and the villa, which embellishes the landscape. From the first floor of the Château de la Ballue as well as from the windows set in the vegetation of the hornbeam grove with a view – which are reminiscent of the hanging gardens of the dawn of the Renaissance whose surrounding walls were pierced with windows to see the landscape as in Urbino – the gaze is on the Couesnon valley. This spectacle, wrote the Renaissance authors, is a source of benefits for the soul. In order to allow the gaze to look far away, Marie-Françoise Mathon wanted to lighten the plant mass of the pines planted at the end of the garden. The arborist Claude Le Maut applied Japanese pruning to allow the sky to pierce again.

The spectacle of Nature

Built on the site of an ancient fortress, the castle and gardens of La Ballue enjoy an exceptional panorama of Breton Tuscany evocative of the spirit of Italian villas. During the Renaissance, villas flourished on the hills surrounding Florence. A dialogue of mutual ornament is established between the countryside, which offers a view of the villa, and the villa, which embellishes the landscape. From the first floor of the Château de la Ballue as well as from the windows set in the vegetation of the hornbeam grove with a view – which are reminiscent of the hanging gardens of the dawn of the Renaissance whose surrounding walls were pierced with windows to see the landscape as in Urbino – the gaze is on the Couesnon valley. This spectacle, wrote the Renaissance authors, is a source of benefits for the soul. In order to allow the gaze to look far away, Marie-Françoise Mathon wanted to lighten the plant mass of the pines planted at the end of the garden. The arborist Claude Le Maut applied Japanese pruning to allow the sky to pierce again.

The element of surprise and mind games

Surprise is a feeling that is unfamiliar to visitors to French gardens. However, it occupied an integral place in the design of the French garden until around 1685. André Le Nôtre liked to integrate surprise effects into his creations, either through the design of his paths which only revealed the spectacle at the very last moment, or through the presence of mischievous water games which sprayed the stunned walker with a sweet fear for his greatest pleasure. These artifices are a legacy of the Italian mannerist garden. The Villa d’Este presented examples of this and in the gardens of La Ballue, such is the promise of the “catching grove”.
Mannerism likes to challenge the mind through rebuses, riddles or word games. If there is a motif that symbolizes reflection and questioning, it is the labyrinth. The layout of the one located in the Ballue gardens is inspired by a sketch by Le Corbusier. In this modern creation, the mannerist common thread is perceptible in the aesthetic of the meanders seen from the sky.
The grove of hornbeams with a view combines optical games, as said previously, and mental games. Its name is a reference to the James Ivory film, Room with a View (1985), shot partly in Tuscany.
The playful dimension of the place is one of its main components; it makes the garden of La Ballue a garden of freedom.

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