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Heritage classified

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Origin and history

The Episcopal Palace of Viviers, built in the 18th century, is an example of a hotel between courtyard and garden, typical of Provencal Baroque architecture. Originally, the residence of the bishops was near the cathedral, but in 1540 Claude de Tournon, judging the building too old, settled in Bourg-Saint-Andéol. His successors followed this example until the 18th century, when François Renaud de Villeneuve, bishop of Viviers from 1723 to 1748, decided to build a new palace.

The construction was entrusted to architect Jean-Baptiste Franque, chosen probably thanks to the intermediary of M. de Linage, brother of a canon of Viviers. The work began in 1732, with the laying of the first stone on 15 January. Directed on site by Claude Projet, master mason of Nîmes, they underwent many adjustments requested by the bishop. The left wing was built in 1733, but the right wing, for lack of funds, never came into being. The palace was blessed in 1737, although the works were not officially received until 1741.

After the Revolution, the palace was confiscated in 1906, then bought by the diocesan association in 1927. In 1986, he became the town hall of Viviers, after an exchange with the hotel of Roqueplane. Ranked a historic monument in 1989, it preserves remarkable Baroque interiors, such as the Italian-style hall, decorated with paintings inspired by Raphael. Its park even hosted episcopal ceremonies in the 20th century.

The building, rectangular, is organized around a courtyard of honour preceded by an oval forecourt. The vestibule and the Italian lounge, aligned in the central axis, impress with their proportions and decoration. The chapel, located on the first floor, completes this architectural ensemble. Despite the absence of the planned right wing, the palace remains a majestic testimony of religious baroque art in Vivarais.

The interior decorations, executed around 1737, included wet paintings depicting biblical scenes inspired by the Vatican lodges. These works, attributed to a student Italian decorator by Charles-Joseph Natoire, were made according to drawings sent from Rome. The bishop's dining room and chapel complete this artistic ensemble, reflecting the episcopal fascist of the eighteenth century.

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