Château de Pierrefonds, the medieval castle reinvented under Napoleon III

Château de Pierrefonds, as we know it today, is the fruit of a rich history that began well after the original 11th-century fortress. In 1397, under the impetus of Louis d'Orléans, Count of Valois and brother of Charles VI, construction of this new fortress began, with the aim of consolidating his influence and countering his rival, Jean Sans Peur, Duke of Burgundy. The château, part of a group with those of Coucy and La Ferté-Milon, represents a jewel of medieval architecture, with its defensive innovations such as round towers and high curtain walls, making it virtually invulnerable at the time.

However, after the assassination of Louis d'Orléans in 1407, the château remained unoccupied until the 17th century, when it served as a refuge for Louis XIII's opponents. This period marked the end of its medieval glory, as the advent of artillery made its defenses obsolete, leading to its dismantling by order of the king in 1617. The ruins, silent witnesses to this past grandeur, inspired the Romantic movement of the 19th century, attracting artists and the curious, despite their dilapidated state.

The rebirth of Pierrefonds began under Napoleon III, who, eager to transform the ruins into an imperial residence, commissioned Eugène Emmanuel Viollet-le-Duc, famous for his work at Carcassonne and Notre-Dame de Paris, to restore the site in 1857. It is said that Napoleon III hesitated between restoring the Château de Pierrefonds and the Château de Lavardin in the Loir-et-Cher region. Empress Eugénie, anxious to discreetly guide the decision in favor of her preference, is said to have suggested letting fate decide by drawing lots. However, to ensure the result, she cleverly inscribed "Pierrefonds" on the two pieces of paper used for the draw, thus sealing the château's fate.

Empress Eugenie's ruse not only determined the fate of Pierrefonds château, it also marked the beginning of a spectacular transformation. Under the leadership of Viollet-le-Duc, the château was transformed into a sumptuous imperial residence, reflecting a romantic medieval ideal. The project, begun in 1857, aimed to recreate an idealized chivalric past, perfectly in line with Viollet-le-Duc's restoration philosophy, for whom restoring a monument involved restoring it to perfect form. In the end, the Imperial family never lived here. After the fall of the Second Empire, work was halted and the château became the property of the State. It was opened to the public in 1867 as a museum of medieval art. For this reason, some of the rooms at Château de Pierrefonds are undecorated, and some of the furniture is missing.

Today, Château de Pierrefonds, managed by the Centre des Monuments Nationaux, stands proudly above the village, attracting thousands of visitors every year. They come to admire the successful blend of medieval and Second Empire architecture, and to immerse themselves in the history and culture of this reinvented place.

Visiting the château

Climb up to the château from the parking lot, and you'll discover the 8 great defensive towers that surround the building, each adorned with statues of Preux Chevaliers. Prince Louis d'Orléans had seven large "Preux" statues made, and placed in niches. The figures of Julius Caesar and Charlemagne dominate the highest towers, while King Arthur and Alexander the Great adorn the south façade. To the west are Godefroy de Bouillon, Joshua and Hector of Troy. Judas Maccabaeus is absent, and King David, the ninth knight, is celebrated in the chapel. These sculptures, severely altered by time, were faithfully reconstructed during the restoration work carried out by Viollet-le-Duc, with the exception of Hector, which dates from the 14th century and has survived the test of time. The carved Annunciation, a Gothic work located between the castle's Caesar and Charlemagne towers, was also created during the reign of Louis d'Orléans.

Viollet-le-Duc's entrance châtelet (a moat spanned by a drawbridge and double portcullis) leads to a courtyard of honor where medieval ruggedness meets Renaissance elegance, populated by the architect's imaginary creatures. The staircase behind the statue of Louis d'Orléans is guarded by four fantastic sphinx-like animals sculpted by Emmanuel Frémiet.

The barracks, converted into exhibition spaces, reveal the extent of the château's restoration, through plans, photographs and models.

The chapel, nestled in the Judas Macchabaeus tower, evokes the splendor of the Sainte-Chapelle, with an upper gallery and a statue by Viollet-le-Duc of Saint James the Greater. The chapel underwent a radical transformation to rise from the ashes. Its exterior, characterized by a finely worked porch, rose window and gargoyles, is a vibrant tribute to the Gothic style. It is probably the only known religious building in France to have a gallery above the choir.

The figures sculpted on the chapel portal pay homage to historical figures: on the left is Louis d'Orléans and, on his right, Princess Valentine Visconti, his wife. The central statue is all the more intriguing as it depicts a pilgrim from Santiago de Compostela, with features by Eugène Viollet-le-Duc. Far from vanity, this representation is in fact a tribute to his son-in-law Maurice Ouradou, who took over the project after Viollet-le-Duc's death in 1879.

Maison Monduit, renowned for its expertise in roofing, worked masterfully on the château's"plumbing d'art", executing Viollet-le-Duc's visions. With major works such as the statue of Archangel Michael on the spire of Mont-Saint-Michel, the Statue of Liberty and the Lion of Belfort already to its credit, this company confirms its prestige.

The exhibition upstairs features an impressive assortment of works in lead and hammered copper, the fruit of the studio's talent at the turn of the 19th century. The original plaster casts used to create the sculptures that adorn the building's walls are displayed in front of an imposing fireplace, along with models of the nine "Preuses". A model of the famous Salle des Preuses is also on display.

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The seigneurial dwelling houses richly decorated rooms in the neo-Gothic style, including the Hall of Coats of Arms, a forerunner of Art Nouveau. The Salle des Preuses (currently under renovation), inspired by the Château de Coucy, with its inverted ship's hull ceiling, is a dazzling example of Viollet-le-Duc's vision.

Beyond the immaculate white stone walls, the reception room dazzles with its colorful brilliance, a space once dedicated to the close relatives of the imperial dynasty. This vibrant universe was shaped by the imagination of Viollet-le-Duc, who drew his inspiration from medieval flora and fauna for the sculpted and painted decor.

Adopting the ancestral techniques of tempera painting, in vogue from the 15th to 16th centuries, the artist skilfully fused pigments with egg yolk, skin glue or gum arabic before applying them to prepared plaster, bringing the walls to life with remarkable intensity of color. Near the fireplace, period furniture captivates the eye, including an exceptional bench seat with adjustable backrest and floral motifs, designed by Viollet-le-Duc in harmony with the surrounding architecture and decoration.

The architect also scattered chimeras and fantastical creatures throughout the space, elevating the woodwork to the status of a work of art. Through these elements, Viollet-le-Duc expresses his passion for the Middle Ages and invites visitors to immerse themselves in the castle's fascinating history. Looking up into the Emperor's bedroom, we discover a narrative medieval frieze depicting the epic of a knight, from his birth to his heroic exploits.

Bees, the emblem of Napoleon's Empire, adorn the fireplace, while stylized eagles decorate the walls with stencils. Under the ceiling, an orange frieze with nature-inspired motifs evokes Art Nouveau rather than the Middle Ages to my eye. The walls are also adorned with several framed paintings, depicting the Château de Pierrefonds as a "romantic ruin" before its restoration, carefully hung on the woodwork.

We also discover the Salle d'Armes under construction, adorned with coats of arms and heraldic drawings. In the 19th century, this room displayed the Emperor's collection of arms, suspended from imposing wooden coats of arms.

Beneath the majestic Salle des Preuses lies the Salle des Gardes, designed by Viollet-le-Duc to house the mercenaries. Today, it displays fragments of the former château and an impressive model of the 1878 Universal Exhibition.

Also on display is the model of the château, built between 1967 and 1878 under the direction of Lucjan Wyganowski, Viollet-le-Duc's main assistant and inspector of works at Pierrefonds from 1858 to 1885, by stonemasons Amédée Selle père et fils, Lecot fils Victor et Léopold Devillers and Charly Demarle. It was exhibited at the Universal Exhibition of 1878 and at the Musée de Cluny in 1879.

The crypt, accessible by a discreet staircase, is a place steeped in mystery, where copies of recumbent statues from the Basilica of Saint-Denis are displayed against a captivating backdrop of light and sound, creating the "bal des gisants".

A film location

The Château de Pierrefonds has hosted a number of famous film shoots, including Jean Poiré's Papy fait de la résistance (1983), Jean Poiré's Les Couloirs du temps : les Visiteurs 2 (1998) and Besson's Jeanne d'Arc (1999), the soap opera Les Rois Maudits (2004) and the BBC series Merlin (2008)...

How do I get there?

To reach Château de Pierrefonds by car from Paris and the Ile-de-France region, take the Autoroute du Nord (A1), follow the A104 near Roissy-Charles-de-Gaulle, then take the N2 towards Soissons. Exit towards Crépy-en-Valois and drive through this town, following the signs for Pierrefonds, although the signposting is not perfect. After around 15 km of picturesque driving through the Automne and Valois valleys, the château comes into view, dominating the landscape. Free parking is available on rue Sabatier, close to the entrance. An alternative, using toll roads, is to leave the A1 at exit 9 towards Compiègne, drive through Lacroix-Saint-Ouen after crossing the Oise, then take the D85 through the Compiègne forest. Visitors coming from Lille or northern France can take the A1 to exit 11 towards Compiègne, bypass the town and follow the D973 to Pierrefonds. The site is not easily accessible by public transport.

Opening dates and prices

The château is open to visitors from May 2 to September 4, from 9:30 am to 6 pm, and from September 5 to April 30, from 10 am to 5:30 pm. It's important to note that last access to the monument is possible one hour before closing time, and that the park closes 45 minutes before the monument closes. Annual closing days include January 1, May 1 and December 25.

Individual admission is €9. Twin and triple tickets are also available, allowing visits to other nearby cultural sites: the twin ticket with the Cité internationale de la langue française at Château de Villers-Cotterêts is €15, and the triple ticket, which also includes the Domaine national du château de Coucy, is €20. Admission is free for under-18s, young people aged 18 to 25 from European Union countries or legally resident in France outside the EU, disabled people and their carers, jobseekers on presentation of a certificate less than 6 months old, and holders of a valid Education Pass. What's more, admission is free for all on the first Sunday of January, February, March, November and December, as well as on the Heritage Days.

In short, Château de Pierrefonds is a living testimony to medieval history and 19th-century creativity, offering us an experience rich in discovery. Within its walls, the past and an architect's vision come together to tell a unique story that we recommend you discover.