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ENERGY

French chateaux brace for huge winter heating bills

Inside his French chateau on the riverbanks of the Loire, Xavier Leleve dreads to find out how much it will cost to heat the 12th-century building this winter.

General view of the chateau of Cheverny
General view of the Chateau of Cheverny taken in 2001. French chateaux, such as Cheverny, are grappling with spiralling energy bills. Photo: Alain JOCARD / AFP

Energy bills in France are expected to soar compared to last year, partly as a result of a hike in gas prices following the Russian invasion of Ukraine.

The prospect is particularly worrying owners and directors of large historical buildings dotted along the Loire.

Usually, Leleve pays 15,000 to 20,000 euros ($14,800 to $19,700) in heating, electricity and gas each winter to keep the Meung-sur-Loire castle up and running.

But this year, “it’ll be five to ten times more expensive. You simply can’t start spending that much on energy,” he said.

It would divert funds from other projects, including the much-needed conservation of some parts of the listed building.

In a wing of the castle closed off to the public, he pointed to the windows.

Some looked in bad shape, with duct tape covering some wooden frames and barely keeping out the outside cold.

Other windows were brand new, put in place after long discussions with the regional cultural authority on what they should look like to best respect the castle’s original aesthetics.

“A window costs around 10,000 euros and we have 148 of them, so you can imagine how much the window budget is,” said Leleve.

A man plants flowers at the Château de Cheverny. (Photo by ALAIN JOCARD / AFP)

‘Bare minimum’

An hour’s drive away down the river, Charles-Antoine de Vibraye has decided the best course of action to keep his huge family home heated this winter is to do nothing at all.

The Cheverny chateau, which inspired Captain Haddock’s family estate in “The Adventures of Tintin”, has belonged to the same family for six centuries, its website says.

Today some of the family still live in one wing of the stately home, but the rest of the building and its grounds include a restaurant and a Tintin exhibition, and are open to paying visitors.

De Vibraye says the business — one of the most visited Loire Valley castles — is successful enough for the family to be able to afford the extra cost of the 30,000 to 40,000 litres of heating oil needed each year.

He does not plan to increase the building’s insulation either.

“If you trap in the heat, you just help the possible fungi and insects that will eat up your wood,” he said.

“You need to limit heating to a bare minimum to not upset this healthy cycle of thermal exchanges inside a historical building,” he added, though admitting a constant temperature was better for old furniture.

He said two-thirds of the building was heated, “especially in the rooms that people visit and where there is historical furniture”.

People sit on the grass in front of the castle of Chambord

People sit on the grass in front of the Chateau of Chambord, on May 23, 2021, in Chambord, central France. (Photo by GUILLAUME SOUVANT / AFP)

New sawmill

A little further south, four large logs burn in the chimney at the bottom of a sweeping staircase in the state-owned Chateau of Chambord, the only source of heat for visitors.

But its offices, shops and some 40 houses on its estate are heated.

“The budget has doubled in two years. We’ve gone from 260,000 euros to more than 600,000 in the budget for 2023,” said Jean d’Haussonville, the director of the surrounding estate.

The castle, one of several on the section of the Loire Valley listed as a UNESCO World Heritage site, usually works with an annual budget of 30 million euros a year.

Of that, the energy bill is now expected to be equivalent to the cost of two temporary exhibitions and a festival, he said.

D’Haussonville said that had sparked serious thought about how to transition to alternative sources of energy, for example setting up solar panels on its hangars.

In the coming months, management will also build a sawmill in the chateau’s 50-square-kilometre (19-square-mile) forest, which could see its wood used for heating in the long run.

Until then, managers are hoping a new IT system might help avoid unnecessary expenses and are continuing a conversion to LED lights.

“It’s a programme that allows you, for example, to turn off lights when there’s no one in a room, and to reduce its temperature to just 8 degrees Celsius (46 degrees Fahrenheit) at night,” d’Haussonville said.

He said they planned this way to have reduced their energy consumption by at least 10 percent by next year.

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CULTURE

Why is the Mona Lisa so famous (and why is it even in France)?

Being lauded as either the greatest artwork in the world or the most overrated tourist attraction in France, Leonardo da Vinci's Mona Lisa does not struggle to get attention. But why is this small portrait so famous?

Why is the Mona Lisa so famous (and why is it even in France)?

Paris’ Louvre museum has recently announced that the Mona Lisa painting is to get its own room, a move that is at least partly in reaction to increasing complaints about the artwork being overrated, while tourists struggle to see it in the small, crowded space.

There aren’t many paintings that get a room of their own, so just what is it about Mona Lisa (or La Joconde as she is known in France) that attracts so many millions of tourists each year – and should you bother going to see her?

Why is it in France?

Let’s start with why the painting is in France in the first place, since both painter and subject are Italian (although Italy at that time was still a collection of city states which would not be unified into the modern country until 1861). 

In short, Mona Lisa is in France because her creator Leonardo da Vinci travelled with her, and he was in France when he died in 1519. The reason that he was in France is that he spent the last years of his life working on special commissions for king François I. He died at the Château du Clos Lucé in Amboise, in France’s Loire Valley. 

Upon his death Mona Lisa was taken into the French royal collection and various descendants of François I hung her in their palaces until the French Revolution happened in 1793.

After the Revolution, with the exception of a brief stint in Napoleon’s palace, the painting entered the collection of the newly-created Louvre gallery which – in the spirit of revolutionary equality – was opened up to the people so that they too could enjoy great art.

Various requests over the years – some polite, others less so – from Italy to return the painting have been firmly declined by the French state. 

When did it get famous?

In the 18th and 19th centuries Leonardo’s painting was a popular exhibit among museum visitors, but didn’t have any particular fame and wasn’t regarded as any more special than the numerous other artworks exhibited there.

Although some academic interest in the painting’s subject – most commonly thought to be Lisa Gherardini, wife of the Florentine merchant Francesco del Giocondo – stirred in the 19th century, her real fame didn’t arrive until 1911.

This is when the painting was stolen from the Louvre, a crime that became a sensation and a cause celèbre in France, even more so when the painting was finally found in 1913 after the thief had attempted to sell it in Italy.

The fame of the painting and the crime inspired contemporary artists such as Marcel Duchamp who created a playful reproduction of Mona Lisa (complete with beard and moustache) which in turn enhanced the painting’s recognition. The artistic trend continued with everyone from Andy Warhol to the ubiquitous student posters of Mona Lisa smoking a joint.

Former chairman of the French Communist Party Robert Hue views moustachioed Mona Lisa by dadaist painter Marcel Duchamp, lent out by his party for the first time for an exhibition in January 2002. Photo by NICOLAS ASFOURI / AFP

A tour of the painting to the US in 1963 and to Japan in 1974 further enhanced the celebrity status.

21st century

These days it’s perhaps accurate to say that the painting is simply famous because it’s famous. As the best-known piece of art in the world it’s automatically on many tourists’ ‘must see’ list when they come to Paris – and a lot of tourists come to Paris (roughly 44 million per year).

Meanwhile the Louvre is the most-visited museum in the world, attracting roughly 9 million visitors a year.

Although some visitors find the painting itself disappointing (it’s very small, just 77cm by 53cm) the most common complaint is that the room is too crowded – many people report that it’s so jammed with visitors that it’s hard to even see the picture never mind spend time contemplating the artwork.

Should I go and see it?

It really depends on what you like – if your taste in art is firmly in the more modern camp then you probably won’t find that this painting particularly speaks to you. You will, however, find a lot in Paris that is much more to your taste, running from the Musée d’Orsay (mostly art created between 1848 and 1914) to the Pompidou Centre (featuring contemporary and experimental art) and much, much more.

If, however, Renaissance art is your bag then you’ll struggle to find a finer example of it than Mona Lisa, with her beautiful brushwork, detailed and intriguing background and realistic presentation.

If you do decide to visit, then be prepared for the gallery to be crowded – the Louvre now operates on a pre-booking basis but even having a pre-booked ticket won’t save you from the crowds.

If possible try to avoid the summer and school holidays and prioritise weekdays over weekends – the early morning or late evening slots tend to be a little quieter than others, but you’re going to have to be prepared to share her with many other art-lovers.

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