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Château de la Tuilerie à Cauverville-en-Roumois dans l'Eure

Patrimoine classé
Patrimoine défensif
Demeure seigneuriale
Château de plaisance
Eure

Château de la Tuilerie

    Allée de la Thuillerie
    27350 Cauverville-en-Roumois

Timeline

Temps modernes
Révolution/Empire
XIXe siècle
Époque contemporaine
1800
1900
2000
1773–1789
Construction of the castle
2e moitié XIXe siècle
Construction of the chapel
1er quart XIXe siècle
Adding a house
19 juillet 2011
Historical Monument
Aujourd'hui
Aujourd'hui

Key figures

Louis Chef-d'Hostel - Sponsor Protestant Jewish trader exiled.
Jean-Baptiste Le Brument - Architect Manufacturer of the neo-classical castle.
Bouël - Painter-Decorator Author of the trompe l'oeil.
Frérot - Ferronier Realizes the metal elements.
Le Sueur le jeune - Decorator Contributed to interior ornaments.

Origin and history

The Château de la Tuilerie is a neoclassical monument erected between 1773 and 1789 in Cauverville-en-Roumois (Normandie), commissioned by Louis Chef-d'Hostel, a Rouennais merchant from a Protestant family from Vatteville-en-Roumois. Exiled after the revocation of the edict of Nantes, Chef-d'Hostel entrusted the plans to architect Jean-Baptiste Le Brument. The archives keep an exceptional series of documents (original drawings, books of accounts) detailing the chronology of the works, the materials (stone and Norman brick), and the craftsmen involved, such as the Ferronier Frérot or the decorator Le Sueur Le Jeune.

The architectural complex includes, in addition to the main house, two wings of communes, a barn-pressor, and landscape facilities (basin, garden walls). The interiors, widely preserved, contain remarkable decorations, including trompe-l'oeil panels signed Bouël in the dining room. Kitchen and washing are the only deeply modified rooms. The estate was completed in the 1st quarter of the 19th century by a house, and in the middle of the 19th century by a chapel.

Ranked Historic Monument in 2011, the castle protects all its buildings, gardens, and floors. Its history reflects both the social ascent of a Protestant family after exile and the excellence of Norman artisanal know-how of the eighteenth century. Local materials (stone, brick) and the accuracy of archives make this a rare testimony of neo-classical provincial architecture.

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