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Heritage classified

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Origin and history

The so-called château du Cros, located at Azolette in the Rhone, was built at the end of the 19th century (circa 1899) by Catherine Vacheron and her husband Julien Richard-Vitton, captain of the mobile guards during the 1870 war. This agricultural estate transformed into a luxury secondary residence combines various architectural influences: neo-Gothic, Art Nouveau, and Arts and Crafts, with neat interior decorations (woodworks, stained glass windows, cement tiles). The dark granite stone facades contrast with the white limestone frames, while bas-reliefs evoke the Belfort Lion and Fourvière Cathedral, in tribute to the couple's military commitment.

The project was jointly led by architect Jean Burel, known for his work with the Compagnie du Gaz de Lyon, and engineer Louis Lombard-Gérin, a specialist in electricity. The estate includes an independent pavilion with hybrid decorations, a wrought iron grid opening onto terraces, and innovative technical elements for the period (iron roller shutters, equipped bathroom). Although it was called a "castle" only from the 19th century onwards, the site retains traces of its agricultural past, visible on the Napoleonic cadastre. The owners, local figures (Julien was mayor of Azolette and general councillor of the Rhône), held receptions there, although Julien, less sociable, preferred to retire to his pavilion.

The building, registered with the Historical Monuments in July 2023, is distinguished by its architectural complexity, partly inherited from the old buildings. Inside, the living room features a terracotta fireplace and stained glass windows representing flora and fauna, while the dining room surprises with its self-supporting frame. Some spaces, such as a small living room with woodwork signed "Yung Lambert 1901", remained intact. The domain thus illustrates the eclecticism of the Lyon bourgeoisie of the time, mixing technical modernity, historical references, and residential comfort.

Unlike the Cros de Loupiac castle (Gironde), often confused with this monument, the house of Azolette has no military vocation. Its name, however, borrows a noble terminology, common for the bourgeois residences of the 19th century. Local materials (granite, limestone) and artisanal know-how (scarry of Jules Saint-Sorny, stained glass) underline its regional anchor, while reflecting the aesthetic and social aspirations of its sponsors.

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