Timeline

Key figures

Origin and history

The Château de la Souque was built between 1881 and 1884 in Coubouléux, in the Tarn, under the impulse of Baron Arnaud d'André, descendant of a Toulousan noble line enriched by the pastel trade. The Parisian architect Parent designed this Louis XIII style castle by combining local pink bricks with white stones, symbolizing family attachment to Picardia. This mixture of materials also reflects the cultural heritage and the marriage alliances of the d-André family, especially with the Falguières de Rabastens.

In 1900, an additional wing was added to the castle, which became the residence of Anne D'André, the only daughter of the Baron, after his marriage to Luis Count of Carné-Marcein. Their descendants, including Guyonne de Guerdavid (wife of Hervé Le Rouge), retained the property until 1971, when it was sold to Philippe Clermont. The castle then changed hands several times, passing among others to Robert Jammes (1983–1989) and Christian Hess (until 1997).

On 21 June 2002, a fire ravaged the castle, destroying its slate roof (replaced by zinc) and all its interior decorations, with the exception of the chapel Sainte-Anne, dedicated to the Countess of Carné-Marcein. This drama marked a turning point in the history of the monument, whose partial restoration could not recover the original brilliance. The exterior architecture, characterized by a central body flanked by two asymmetrical pavilions and an animated facade of bands and cornices, remains, however, a testament to the eclectic style of the late 19th century.

André's family, originally from Buzet and linked to Toulouse's capitals, played a key role in preserving local heritage. Arnaud of André, diplomat and patron, attended artists such as Franz Liszt and helped restore the frescoes of the Notre-Dame du Bourg church in Rabastens. His attachment to the Tarn was realized by the construction of the Souque, a symbol of a noble and regional heritage.

The castle, designed as a pleasant residence, housed on the ground floor three living rooms (white, red, blue), a billiard library-room and a large dining room. Its spatial organization, with an elevated central housing body and various skylights, illustrates the influence of Parisian architectural models adapted to local materials. Today, he embodies both the past greatness of an aristocratic family and the vagaries of heritage conservation.

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