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Origin and history

The castle of Branzac, built in the middle of the 15th century in Pleaux (former commune of Loupiac before its merger in 1972), overlooks the valley of the Maronne on its right bank. This fortified mansion, remodeled in the Renaissance, consists of two round towers, a body of rectangular houses with sill windows, and a tower of polygonal staircase. A towered enclosure protects the whole side of the plateau, while the steep slopes of the Maronne provide a natural defense. Originally dedicated to the disappearance, the site was partially saved by clearing and consolidation work carried out by a recent purchaser.

Inside, the castle housed exceptional humanist frescoes and currencies, commissioned in the 16th century by Camille Caracciolo, daughter of honour of Catherine de Medici and wife of Claude de Pestels, lord of Branzac. Among these works were allegorical representations (such as a hunting Diane or an astrologer holding a shield with the inscription "Don't trust"), moral scenes (a Swiss with a door with the motto "Who laughs at death, who meditates and brings back, between points"), and portraits such as that of a lady miring in front of a head of death. These frescoes, partially covered in 1610 by lighter scenes, were partly dismantled in the 19th century to adorn other castles, such as Pesteils and Conros.

Prior to 1789, Branzac was the seat of a vigerie (seigneurial justice) on the senate floor of Auvergne, with spring at the bailiff of Salers. The castle changed hands several times among the local noble families: the Pestels (as early as 1324), the Tubières de Grimoard de Caylus (17th century), then the Roberts de Lignerac and the Dinglars de Bassignac. In 1833 it was sold to Jean Servet, marking the end of his seigneurial use. Today in ruins, it has been classified as a historic monument since 1921, but remains inaccessible to the public due to the risks of collapse.

The building also owes its degradation to dynamite demolitions in the 19th century, when its materials were reused to build the nearby railway viaduct. Despite this, its remains and the archives of the frescoes (preserved by the departmental archives of Cantal) testify to its artistic and historical importance. The painted currencies, mixing moral reflections, humour and allegories, reflect the influence of Italian humanism on the Renaissance aristocracy.

The ancient forms of his name — Varanzac (1150), Vranzac (1580), or Brensac (1690) — illustrate his linguistic and administrative evolution. The site, although closed to the visit, remains a symbol of the medieval and reborn heritage of Cantal, linked to powerful families such as the Bourbon-Malause or the Faberts by matrimonial alliances.

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