All language subtitles for Ancient.Superstructures.S03E06.Castle.Of.Chambord.1080p.NOW.WEB-DL.AAC2.0.H.264-RAWR_track3_[eng]

NARRATOR: Of all the chateaux
on France's River Loire,

Chambord is the largest,
most visited and most iconic.

Chambord is the largest,
most visited and most iconic.

- This was a major undertaking.

NARRATOR: A jewel
of French architecture

and a World Heritage Site.

and a World Heritage Site.

An extraordinary building,

embodying the remarkable skills
of its Renaissance builders.

embodying the remarkable skills
of its Renaissance builders.

TRANSLATOR: Chambord
is a real work of art.

Everything is by design,
from floor to ceiling.

TRANSLATOR: Just because
you can't see it doesn't mean

TRANSLATOR: Just because
you can't see it doesn't mean

it shouldn't be perfect:
everything is absolutely perfect.

NARRATOR: The chateau
is full of new ideas,

NARRATOR: The chateau
is full of new ideas,

beginning with
a remarkable staircase,

crowned by a magnificent tower.

TRANSLATOR: It's like a distillation

of the best
of Renaissance craftsmanship.

of the best
of Renaissance craftsmanship.

TRANSLATOR: The technological genius
is right in front of our eyes.

NARRATOR: Five hundred years ago,
to build this grandiose palace

NARRATOR: Five hundred years ago,
to build this grandiose palace

and impress his sworn enemy,
King Francois I organised

the biggest construction project
of his reign.

TRANSLATOR: There were
clearly several phases

in the design of Chambord, but of
course, that's hard for us to see.

NARRATOR: Many questions remain:

NARRATOR: Many questions remain:

how such marshy ground
was transformed

to support
this 200,000-ton colossus;

how such a complex staircase
kept its equilibrium...

how such a complex staircase
kept its equilibrium...

and which mind conceived
this swirling masterpiece.

TRANSLATOR: You can see
work's been done over a huge area

TRANSLATOR: You can see
work's been done over a huge area

to clear tons and tons of earth.

- It's got to be strong enough
to take, well, one, two, three...

large storeys,
plus the roof structure.

large storeys,
plus the roof structure.

- (speaking French)

TRANSLATOR: The shadow of Leonardo
da Vinci hangs over this castle.

TRANSLATOR: The shadow of Leonardo
da Vinci hangs over this castle.

NARRATOR: Thanks to the latest
laser scanning technology

NARRATOR: Thanks to the latest
laser scanning technology

used by archaeologists
and materials specialists,

we can X-ray this robe of stone...

..to uncover
the construction secrets within...

..and search for
the architectural geniuses

..and search for
the architectural geniuses

behind this jewel of the Loire.

In the distance, a fairy-tale
silhouette slowly emerges.

Then, above the trees,
a tiara of stone.

Then, above the trees,
a tiara of stone.

Slender white towers abound,
perched on black slate roofs...

..finally appearing to visitors
in all its magnificence.

In a necklace of green,

the Chateau de Chambord
is a jewel of world heritage.

the Chateau de Chambord
is a jewel of world heritage.

In this royal palace of excess,

In this royal palace of excess,

every dimension is breathtaking.

In the heart
of France's Loire Valley,

Chambord is set
in a 5,400-hectare forest estate,

Chambord is set
in a 5,400-hectare forest estate,

as large as Paris,
surrounded by a 32km wall.

This superstructure comprises
a rectangular enclosure,

This superstructure comprises
a rectangular enclosure,

whose north facade stretches 156m,

and a 44-metre-square
central building,

and a 44-metre-square
central building,

rising to 56 metres.

Inside, 381 rooms are spread over

Inside, 381 rooms are spread over

nearly 21,000 square metres
of floor space,

chiefly in the four towers
of the main building,

each nine storeys high.

each nine storeys high.

- ..by today's... where everything's
got to be accounted for,

it's got to be rational,
it's got to be profitable,

and Chambord is the absolute
antithesis of that way of thinking.

- (Bommelaer speaks French)

TRANSLATOR: It's this vastness,
with the forest, park,

TRANSLATOR: It's this vastness,
with the forest, park,

and chateau working together...

that makes Chambord an outstanding
piece of architecture.

TRANSLATOR: It's a kind of metaphor

for the best of the French
architectural tradition.

TRANSLATOR: At first sight,
it looks completely bizarre,

TRANSLATOR: At first sight,
it looks completely bizarre,

and you wonder
what it's doing there.

Like finding a UFO in a swamp
in the middle of the forest.

For 500 years, this superbly
preserved and restored chateau

has intrigued the experts.

- The original archives, very,
very few of them

- The original archives, very,
very few of them

have been preserved: they've
been lost throughout the ages.

TRANSLATOR: Chambord is a mystery:
we don't have the plans for it.

TRANSLATOR: Chambord is a mystery:
we don't have the plans for it.

We don't know who the architect was.

These is no record of any names,
of course.

We know that Francois I
commissioned it,

but we don't know
who actually built it.

NARRATOR: The castle
is adorned with strange emblems:

NARRATOR: The castle
is adorned with strange emblems:

hundreds of sculpted salamanders.

This fabled fire lizard -

This fabled fire lizard -

emblem of Francois I -

was his signature
on the testament of stone

he wanted to leave the world.

But he's not the only monarch
to have left his mark.

But he's not the only monarch
to have left his mark.

TRANSLATOR: The various monarchs
made additions

and contributions in an orderly way,
and that's what strikes you today:

and contributions in an orderly way,
and that's what strikes you today:

that the monument
is actually quite coherent.

But we couldn't have imagined
that over 500 years

there wouldn't be changes.

- Chambord has never really
been finished,

- Chambord has never really
been finished,

no-one project that has
been started and completed.

You get a build up of layers,
as it were,

of different projects,
different works.

NARRATOR: For a long time,
without precise records,

NARRATOR: For a long time,
without precise records,

the work commissioned
by Francois I remained an enigma.

How did this chateau,
intended in 1519 as a hunting lodge,

How did this chateau,
intended in 1519 as a hunting lodge,

turn 30 years later into such
a unique piece of architecture?

Historians are gradually
unlocking its secrets.

Historians are gradually
unlocking its secrets.

TRANSLATOR: You have to understand
the castle by really looking at it

and following the progress
of the restoration work.

and following the progress
of the restoration work.

The more you take the castle apart,
the more you uncover its mystery.

NARRATOR: Eric Johannot
knows Chambord inside out.

NARRATOR: Eric Johannot
knows Chambord inside out.

For more than 30 years,
this architectural historian

has recorded every detail,
every anomaly,

has recorded every detail,
every anomaly,

every clue left by the builders.

TRANSLATOR: Take this window,
for example.

It really is a sign
of the King changing his mind,

It really is a sign
of the King changing his mind,

since behind this wall, he decided
to build the grand staircase

serving the royal wing.

As it wasn't in the original plans,

As it wasn't in the original plans,

this fifth window in the gallery
was blocked up.

NARRATOR: The unplanned addition
behind this blocked-up window

NARRATOR: The unplanned addition
behind this blocked-up window

is a finely carved grand staircase,

decided by Francois I on a whim.

TRANSLATOR: You can
really read in the stone,

and the architecture itself,
about the various modifications

that happened when the King changed
his mind, or extended a wing.

that happened when the King changed
his mind, or extended a wing.

- We are starting to piece together,
little by little, of course,

the mystery of what was the original
project. How was it designed?

the mystery of what was the original
project. How was it designed?

NARRATOR: Tracing the history
of Chambord's construction

is no easy task,

but new technology
now allows its design to be mapped

but new technology
now allows its design to be mapped

with remarkable accuracy.

Civil engineering expert
Xavier Brunetaud

Civil engineering expert
Xavier Brunetaud

has a number of these new tools to
capture every facet of the building.

Today, he's using a laser scanner.

TRANSLATOR: Thanks
to this laser scanner,

we can establish the exact geometry
of the chateau as it is now,

and from that, recreate all the
architectural documentation we need,

and from that, recreate all the
architectural documentation we need,

like perfectly accurate plans
and elevations.

NARRATOR: In a matter of seconds,

NARRATOR: In a matter of seconds,

the castle facades
are recorded in 3-D

and to an accuracy
of just a few millimetres.

TRANSLATOR: There's
a whole host of measurements

that you can't make in the real
world - the thickness of floors,

of walls - all very easy to do
with a digital clone.

of walls - all very easy to do
with a digital clone.

NARRATOR: Analysing these
intricate plans,

Xavier Brunetaud was immediately
struck by the attention to detail

Xavier Brunetaud was immediately
struck by the attention to detail

shown by the builders of Chambord.

TRANSLATOR: Basically,
there were no limits

to their architectural ambitions
or how rigorously they applied them.

to their architectural ambitions
or how rigorously they applied them.

In other words,
all the shapes you might imagine -

straight, circular,
cylindrical, conical -

all these shapes
could be perfectly realised.

all these shapes
could be perfectly realised.

NARRATOR: With modelling,
the castle can be taken apart,

NARRATOR: With modelling,
the castle can be taken apart,

separating the upper sections rising
serenely above the terraces...

from the massive lower section:

a square keep,
flanked by four corner towers,

a square keep,
flanked by four corner towers,

placed in the centre of an enclosure
like a medieval fortress.

The walls of the keep,
between 1m and 3m thick,

are made from a mixture
of coarse rubble and mortar.

They then get
a final stone dressing.

They then get
a final stone dressing.

TRANSLATOR: All the load-bearing
walls are very, very thick,

showing the influence
of fortress castles on this project.

showing the influence
of fortress castles on this project.

It's a structure that combines
the massive appearance

of a fortification with the delicate
appearance of the roofs.

of a fortification with the delicate
appearance of the roofs.

NARRATOR: This massive fortress
is a typical Renaissance castle,

perhaps one of
its most beautiful examples.

TRANSLATOR: Francois I
wanted to preserve in stone

TRANSLATOR: Francois I
wanted to preserve in stone

a distillation of all
the innovations of the age -

the great architectural ideas from
Italy, the decorative ones too -

the great architectural ideas from
Italy, the decorative ones too -

but all the while,
remaining profoundly French.

TRANSLATOR: What we really have here
is a hybrid of the late Middle Ages

TRANSLATOR: What we really have here
is a hybrid of the late Middle Ages

and truly Italian modernity.

NARRATOR: High above the chateau,

the many decorations are a legacy of
the artistic and cultural revolution

that began in Italy and would later
be called the Renaissance.

that began in Italy and would later
be called the Renaissance.

TRANSLATOR: In a way, the Chateau de
Chambord embodies the Renaissance,

TRANSLATOR: In a way, the Chateau de
Chambord embodies the Renaissance,

how it evolves towards
the arts and architecture.

And it was Francois I
who created part of

And it was Francois I
who created part of

what we know
as the Renaissance today.

NARRATOR: After military victory
at the Battle of Marignano in 1515,

NARRATOR: After military victory
at the Battle of Marignano in 1515,

Francois I wanted to leave
an artistic mark on his reign.

He returned from Italy with
the best artists of the Renaissance

to help the king of builders
realise his dream.

TRANSLATOR: He planned to create a
unique property, away from everyone,

in which he would invest all his
grand ideas and architectural folly.

It's the dream of a king,
because that's how it was conceived.

- (speaks French)

NARRATOR: For Alain Salamagne,

NARRATOR: For Alain Salamagne,

King Francois' dream palace
stems from the skills

of the craftsmen
cutting this fine, luminous stone.

of the craftsmen
cutting this fine, luminous stone.

TRANSLATOR: It's a typical Loire
Valley stone that's easy to cut.

You can clearly see the marks
left by the hammers

You can clearly see the marks
left by the hammers

of the sculptors and stonemasons.

- (speaks French)

TRANSLATOR: It certainly is
the stone of kings,

because it enabled the Renaissance
to develop the ornamentation

that people came to appreciate.

that people came to appreciate.

It was this Renaissance Italian
decor which showed the modernity

of the construction
of these chateaux.

of the construction
of these chateaux.

NARRATOR: To find the limestone
for the castle walls,

the builders used quarries
along the Cher river,

the builders used quarries
along the Cher river,

50km south of Chambord...

..a labyrinth of galleries,
120km long,

..a labyrinth of galleries,
120km long,

that cut through
the hillside at Bourre.

TRANSLATOR: It's amazing -
this architecture is cyclopean,

TRANSLATOR: It's amazing -
this architecture is cyclopean,

with a quarry forming
its ceilings and walls.

NARRATOR: Every centimetre
of these walls

represents 1,000 years
of sedimentation.

represents 1,000 years
of sedimentation.

A quarry like this has tens
of millions of years of limestone.

A quarry like this has tens
of millions of years of limestone.

TRANSLATOR: Once it's dry,

this stone builds up
a thin protective crust

against the elements,
and will become perfectly white,

against the elements,
and will become perfectly white,

as well as very hard.

TRANSLATOR: It's a stone
with many qualities:

not too heavy, with a density of
around 1,500kg per cubic metre,

not too heavy, with a density of
around 1,500kg per cubic metre,

so it's easy to cut.

It can be cut
into medium-sized blocks

that master masons
will find easier to assemble.

NARRATOR: To remove
a block of stone with a pickaxe,

Renaissance quarrymen would dig
grooves in the wall 40cm deep.

Renaissance quarrymen would dig
grooves in the wall 40cm deep.

Oak pegs
driven into one of the grooves

put pressure on the block
and split it off.

put pressure on the block
and split it off.

It's then cut into smaller stones,

which dry out, before being
transported to the site by river.

At the time,
it was a real logistical challenge.

At the time,
it was a real logistical challenge.

The boats travel from the quarries
at Bourre down the Cher,

The boats travel from the quarries
at Bourre down the Cher,

then up the Loire for 80km
against the current

to the port of Saint-Dye.

The stones are then unloaded
and transported to the site by cart.

The stones are then unloaded
and transported to the site by cart.

Over 200,000 tonnes of stone

were quarried to build the walls
of Chambord.

were quarried to build the walls
of Chambord.

- It remains some
very dense forest marshland...

that poses its own problems
for accessibility:

the ever-presence of water,
rivers, marshes.

the ever-presence of water,
rivers, marshes.

It's a very unusual place
to build such a huge construction.

TRANSLATOR: This needs
a large workforce.

For Chambord,
there's talk of 1,800 workers.

It's estimated that in 1520,
at the very start,

It's estimated that in 1520,
at the very start,

many hundreds of workers
would have been recruited.

TRANSLATOR: Francois I was,

TRANSLATOR: Francois I was,

for architects of his time,
the prince.

He built several chateaux,

but it's this one that he considered
a complete work of art.

but it's this one that he considered
a complete work of art.

TRANSLATOR: Chambord is
a very special case.

It's an extremely ambitious project,

It's an extremely ambitious project,

perhaps the most ambitious
of Francois I.

NARRATOR: To achieve
this monumental aim,

Francois I surrounded himself with
the leading specialists of the day.

Francois I surrounded himself with
the leading specialists of the day.

TRANSLATOR: He would have
called on the best master masons

and carpenters to build
this truly remarkable edifice.

and carpenters to build
this truly remarkable edifice.

- (speaks French)

TRANSLATOR: This highly skilled,
highly qualified workforce

TRANSLATOR: This highly skilled,
highly qualified workforce

left the sites of the cathedrals
because they'd been completed,

and were now
ready to meet the demands

of the kings of France for castles.

of the kings of France for castles.

NARRATOR: Thanks to their ancestral
know-how,

the French master masons created
an architectural masterpiece...

the French master masons created
an architectural masterpiece...

inspired by the innovations
of Italian engineers.

TRANSLATOR: The subtlety of Chambord
isn't immediately obvious

TRANSLATOR: The subtlety of Chambord
isn't immediately obvious

because the first impression
is of a big keep.

But in fact this big keep
has a centred layout,

But in fact this big keep
has a centred layout,

which is all very Italian.

NARRATOR: Around
the central staircase,

the floors of the keep are
divided into four identical areas

the floors of the keep are
divided into four identical areas

linked by four arms of equal length.

Further divided
into a grid of 25 squares,

Further divided
into a grid of 25 squares,

each geometric element
is perfectly symmetrical.

The 9m size of each area
is the diameter of the staircase,

The 9m size of each area
is the diameter of the staircase,

around which
the whole design is based.

TRANSLATOR: What we have here
is a centred plan,

which imitates those of the churches
of the Italian Quattrocento -

the Italian Renaissance -
a church plan in a French chateau,

the Italian Renaissance -
a church plan in a French chateau,

that's the idea, with
the wonder of wonders at its centre.

NARRATOR: This world-famous marvel
is the staircase,

designed to confound and perplex,
but also to dazzle.

designed to confound and perplex,
but also to dazzle.

It is the greatest feat
of Chambord's master masons.

TRANSLATOR: It's a work of art
in its own right

that you won't find anywhere else.

You get the impression the castle
was built around the staircase,

You get the impression the castle
was built around the staircase,

which makes it
even more extraordinary.

NARRATOR: This is
no ordinary staircase...

but a double-helix structure,

but a double-helix structure,

made up of two rows of steps,
one above the other.

TRANSLATOR: The Chambord staircase
has two entrances,

TRANSLATOR: The Chambord staircase
has two entrances,

one to the north
and the other to the south.

The person using
the north or south staircase

will never come across
someone using the other staircase -

will never come across
someone using the other staircase -

they're above each other.

NARRATOR: When Xavier Brunetaud
scanned the chateau,

he paid particular attention
to the staircase.

he paid particular attention
to the staircase.

TRANSLATOR: This is
from a model of the chateau,

so it's the actual staircase
on a reduced scale.

so it's the actual staircase
on a reduced scale.

As you can see, the two identical
flights of stairs are interlocked,

As you can see, the two identical
flights of stairs are interlocked,

like two strands of DNA.

The model of the staircase
allowed us to see

the absolute regularity
of the banister:

the absolute regularity
of the banister:

it's a perfect design
from start to finish.

Of course, building a staircase like
this is a real technical challenge.

Of course, building a staircase like
this is a real technical challenge.

First you have to assemble
the steps,

which weigh between 500kg and 600kg.
That's heavy.

NARRATOR: The two spindles of
the staircase are built in parallel.

NARRATOR: The two spindles of
the staircase are built in parallel.

To one side, the steps are laid on
the walls of a hollow central core,

To one side, the steps are laid on
the walls of a hollow central core,

and to the other,
on curved balusters,

supported by eight lateral pillars
as they rise.

These buttressing pillars
form an octagon,

These buttressing pillars
form an octagon,

in which the two rows
of steps are set

over the three levels
of the structure.

TRANSLATOR: There've been
other double-spiral staircases,

but not on this scale, because here,
the diameter of the staircase is 9m,

but not on this scale, because here,
the diameter of the staircase is 9m,

which is extraordinary.

NARRATOR: The staircase
is carved out of the stone,

creating a lace-like structure...

creating a lace-like structure...

similar to elements
of Gothic cathedrals.

TRANSLATOR: It's in
a single piece in the centre,

which means you can walk all the way
round it and see it from all sides.

which means you can walk all the way
round it and see it from all sides.

It seems to hold together
in the middle miraculously.

NARRATOR: Only four of the eight
pillars around the staircase

are attached by buttresses
to the walls of the keep,

giving structural balance despite
the 600 tonnes of vertical load.

giving structural balance despite
the 600 tonnes of vertical load.

NARRATOR: Civil engineering today
has the staircase

NARRATOR: Civil engineering today
has the staircase

as a major structural element
that stabilises the whole building.

Here, you feel
that it's the building

that's trying to protect
the staircase.

that's trying to protect
the staircase.

TRANSLATOR: This project combines
all the difficulties

in creating a staircase -
the art of cutting stone,

in creating a staircase -
the art of cutting stone,

the double-spiral staircase,
the structural problems -

it's a kind of compendium of the
best techniques of the Renaissance.

- (speaks French)

- (speaks French)

NARRATOR: The epic
architectural tour de force

of the Chambord master masons
doesn't stop there.

of the Chambord master masons
doesn't stop there.

TRANSLATOR: From a distance,

you see a building
that looks like a fortified castle.

You go inside and see
a 15th-century Italian church.

You go inside and see
a 15th-century Italian church.

You climb the stairs and arrive
in a sort of heavenly city.

It's one surprise after another
until you reach the top.

TRANSLATOR: When you reach
the roof terraces,

you're in another world you couldn't
have imagined from down below.

And then you turn around
and there's a breathtaking view.

These roof terraces
really take you on a journey.

NARRATOR: Amid the forest
of chimneys and towers

rising above the terrace,

a monumental structure
extends the famous staircase.

a monumental structure
extends the famous staircase.

TRANSLATOR: Arriving on the terrace,

you soon notice that the central
staircase is crowned

by an enormous tower, much taller
than the staircase itself.

by an enormous tower, much taller
than the staircase itself.

NARRATOR: This 30m structure
above the keep is the Lantern Tower.

Shaped like an imperial crown

Shaped like an imperial crown

and topped at 56m by a fleur-de-lys,

it's the tallest part of Chambord.

On the first level
of this circular structure,

you feel as if you're caught between
the legs of a giant stone spider.

TRANSLATOR: The whole thing
is precariously balanced,

but still solid,
because these large pointed arches,

supported by the pillars, keep the
tower at the centre of the chateau.

supported by the pillars, keep the
tower at the centre of the chateau.

What's remarkable
about this tower is that,

despite its size, some 30m high,
it rests on just eight pillars,

despite its size, some 30m high,
it rests on just eight pillars,

which are eight pillars
of the staircase.

There's an architectural feat here,

which spans the full height
of the building

which spans the full height
of the building

from the lowest point of
the chateau, the ground floor,

to the fleur-de-lis at the top.

- Modern engineering does create
some absolutely amazing pieces of...

- Modern engineering does create
some absolutely amazing pieces of...

building engineering,
but to create something like this,

using the materials like that,

using the materials like that,

I think we'd find it
difficult to do.

TRANSLATOR: Today,
we couldn't do it any better.

Even with all our resources,
we couldn't make it any better.

Even with all our resources,
we couldn't make it any better.

TRANSLATOR: This staircase
is the royal image of Francois I.

He himself is represented here.

This staircase is only here
for that reason.

This staircase is only here
for that reason.

If you ask yourself what this
staircase is for and where it leads,

well, it leads nowhere,
except to the top, to heaven.

NARRATOR: Francois I commissioned
this majestic tower

to crown
an architectural masterpiece.

to crown
an architectural masterpiece.

But it was the master masons
of the Loire Valley,

with their precise
stonecutting skills, who built it.

TRANSLATOR: Chambord
is a complete work of art,

because everything
has been thought through:

the cross-shaped floor plan,
the double-spiral staircase,

the cross-shaped floor plan,
the double-spiral staircase,

the distribution of the floors,

and then this extraordinary roof
terrace with its unusual lantern.

NARRATOR: But which architect
could have come up with

such a grandiose creation?

The answer to this enigma
may lie not far from Chambord,

The answer to this enigma
may lie not far from Chambord,

at the Clos-Luce d'Amboise:

residence from 1516
of a certain Leonardo da Vinci.

residence from 1516
of a certain Leonardo da Vinci.

- (speaks French)

TRANSLATOR: He's
a marvellous figure.

He knew how to do everything.
He was a painter, of course.

He knew how to do everything.
He was a painter, of course.

He was an engineer, also
a military engineer, an anatomist,

a botanist, a geologist.

a botanist, a geologist.

He could do anything.

And Francois I gave
Leonardo da Vinci

the title of Painter, Engineer
and Royal Architect.

the title of Painter, Engineer
and Royal Architect.

NARRATOR: For Pascal Briorist,

NARRATOR: For Pascal Briorist,

one of the world's
leading da Vinci specialists,

the shadow of the Italian master
looms over Chambord.

the shadow of the Italian master
looms over Chambord.

The spiral staircase was Leonardo's
idea from the 1490s in Milan.

Leonardo was obsessed
with centred plans.

He loved hypersymmetry,

where the different elements
respond to each other

where the different elements
respond to each other

either in relation to an axis
or a central point.

You can clearly see that
in Chambord.

NARRATOR: But the Italian genius
would take no part in the work.

He died at Clos-Luce in May 1519,

He died at Clos-Luce in May 1519,

just a few months before
the project was launched.

TRANSLATOR: Leonardo was very close

TRANSLATOR: Leonardo was very close

to an Architect called
Domenico da Cortona.

The only Architect we know for sure
was involved in Chambord is...

The only Architect we know for sure
was involved in Chambord is...

Domenico da Cortona.

We can deduce from this...

that Francois I, Domenico da Cortona
and Leonardo crossed paths,

that Francois I, Domenico da Cortona
and Leonardo crossed paths,

and no doubt discussed
great ideas for their palace

to the glory of the Valois.

NARRATOR: Leonardo da Vinci
wasn't the architect of Chambord,

though his ideas
permeate this superstructure.

though his ideas
permeate this superstructure.

It's a building packed
with ingenious features

to accommodate the entire court
of Francois I.

to accommodate the entire court
of Francois I.

TRANSLATOR: The court was really
enormous in terms of numbers.

It had several thousand people and
could be close to 8,000 or 10,000.

It had several thousand people and
could be close to 8,000 or 10,000.

NARRATOR: Francois I,
who started the construction...

renovation of 11 chateaux...

moved with his court
from one palace to another.

moved with his court
from one palace to another.

Chambord, his biggest project,

was initially a residence
for hunting parties and banquets.

Housing hundreds of courtiers
required every nook and cranny

Housing hundreds of courtiers
required every nook and cranny

to be used as living space.

TRANSLATOR: Whoever designed
Chambord had a problem:

TRANSLATOR: Whoever designed
Chambord had a problem:

creating two different
types of apartment,

one fitting into a square,
the other into a tower.

NARRATOR: Inside the keep,

NARRATOR: Inside the keep,

each quadrant is divided
into two apartments,

one in the tower and the other
in a rectangular space.

one in the tower and the other
in a rectangular space.

Each has a separate entrance,

three small rooms,
and a large bedchamber,

measuring 80 square metres
or 120 square metres.

measuring 80 square metres
or 120 square metres.

This layout is the same
on each level.

TRANSLATOR: So the space
is optimised

to accommodate
as many people as possible

to accommodate
as many people as possible

when the court comes to stay.

NARRATOR: The courtiers aimed
to sleep as closely as possible

NARRATOR: The courtiers aimed
to sleep as closely as possible

to the sovereign,
so they slept several to a room.

But in a chateau of 381 rooms,

with 282 chimneys used for heating,

with 282 chimneys used for heating,

how do you get rid of all the smoke?

On the upper levels,

around forty chimney stacks pierce
the roofs of the superstructure.

Each of them is unique,

decorated with sculptures
and slabs of black slate

decorated with sculptures
and slabs of black slate

inlaid into the white stone.

These chimney stacks
hide an ingenious system

to evacuate the smoke.

On each floor of the chateau,

the fireplaces are carefully
positioned one above the other,

with a slight offset.

with a slight offset.

Each flue is then superimposed
on the previous one

in the thickness of the walls...
until it emerges through the stack,

so a single stack can contain
up to seven vertical flues.

The stone forest
that covers the roofs of Chambord

The stone forest
that covers the roofs of Chambord

is both aesthetic and functional.

TRANSLATOR: What we've got here
is some pretty brilliant thinking.

TRANSLATOR: What we've got here
is some pretty brilliant thinking.

In Leonardo's codices,
there are thoughts

on all these circulation
and fluid drainage principles,

including from the latrines,
down to the castle foundations.

including from the latrines,
down to the castle foundations.

NARRATOR: So to understand
one final detail

NARRATOR: So to understand
one final detail

of the technical system
of the chateau,

we need to explore its bottom.

TRANSLATOR: This place looks like
a cellar, but it's not.

TRANSLATOR: This place looks like
a cellar, but it's not.

It's actually the first of two pits
in a latrine system.

The first is a small reception pit

where the waste disposal pipe
comes in from the upper floors.

NARRATOR: In the basements
of each tower in the main structure,

NARRATOR: In the basements
of each tower in the main structure,

Chambord's designers installed
a sort of septic tank system.

The waste from the latrines
is evacuated from the top floor

The waste from the latrines
is evacuated from the top floor

through a pipe that leads to what
could be called the first decanter,

which is connected
to a larger room...

which is connected
to a larger room...

where the liquids are retained.

Another pipe
then ventilates the whole area.

TRANSLATOR: Leonardo da Vinci
actually devised

an effective latrine system, which
he described as a two-pit system,

an effective latrine system, which
he described as a two-pit system,

with a duct in the first pit
running up above the roofs

so that ventilation inside
the pits was assured

and didn't seep into
the living quarters above.

and didn't seep into
the living quarters above.

NARRATOR: So Leonardo's shadow,

just like the know-how
of the French builders,

is present in Chambord's cellars...

is present in Chambord's cellars...

and right up to its spires.

TRANSLATOR: It's
a continual process of invention,

because the challenges
the builders face need solutions

because the challenges
the builders face need solutions

that you can't find
in architectural textbooks.

TRANSLATOR: All these substances -
the smoke escaping upwards,

the latrines escaping downwards,
the people themselves -

form circulating fluids.

You get the impression
that Chambord is like a living body,

You get the impression
that Chambord is like a living body,

brought to life by the people
who make it up

and who circulate within it.

NARRATOR: A body made of stone...

NARRATOR: A body made of stone...

which comes to life around
its central, spiral staircase.

And yet, amid all this harmony
and geometric perfection,

And yet, amid all this harmony
and geometric perfection,

there are details
that leave the experts perplexed.

In several places in the keep,
the layout is strangely flawed.

In several places in the keep,
the layout is strangely flawed.

TRANSLATOR: One of the arms
of the cross

doesn't lead into
either right or left quadrant.

doesn't lead into
either right or left quadrant.

This led people to think that the
anomaly stemmed from this quadrant,

which was poorly positioned
in relation to the first three.

which was poorly positioned
in relation to the first three.

NARRATOR: While analysing the plans,

Eric Johannot noticed that
certain rooms in the north tower

Eric Johannot noticed that
certain rooms in the north tower

weren't laid out correctly.

After exploring
a number of theories,

he's come up with a likely answer
for these anomalies.

he's come up with a likely answer
for these anomalies.

TRANSLATOR: I realised that when
they were laying the foundations,

TRANSLATOR: I realised that when
they were laying the foundations,

they in fact changed
parts of the site.

This change involved inverting the
plan of the entire northern area.

Originally, there wasn't
supposed to be this type of plan.

An enclosure could very well
have bordered the keep,

but in this case, it would have
gone all the way around the keep.

but in this case, it would have
gone all the way around the keep.

So, a square enclosure where the
towers have been moved over here.

NARRATOR: For Eric Johannot,

the Chateau de Chambord
as originally imagined

had a totally symmetrical layout.

had a totally symmetrical layout.

All the structures were centred
around the keep's staircase,

and each quadrant was laid out

to optimise the flow
for its inhabitants,

to optimise the flow
for its inhabitants,

with a plan
in the shape of a windmill.

TRANSLATOR: The original plan
was one in which each quadrant

TRANSLATOR: The original plan
was one in which each quadrant

turned a quarter turn
from corner to corner,

always turning
in the same direction,

as if the castle were caught
in a circular movement.

as if the castle were caught
in a circular movement.

You could call it a gyratory plan,
or a windmill,

since the direction, rather like
the sails of a mill, rotates.

NARRATOR: But in the end,
the enclosure became rectangular

and had to be attached to the keep
by means of lateral galleries.

and had to be attached to the keep
by means of lateral galleries.

In the north tower,
the layout of the living quarters

blocked the passageway
to the adjoining gallery.

The plan was, therefore,
turned around...

The plan was, therefore,
turned around...

in order to get a proper flow
between the keep and the gallery.

TRANSLATOR: The loggia
that I'm walking along now

TRANSLATOR: The loggia
that I'm walking along now

is one that shouldn't have existed
on this side in the original plan.

And it's even extended by this route

that joins the entrance in a gallery
leading to the royal wing.

that joins the entrance in a gallery
leading to the royal wing.

- (lock clicking)

- (lock clicking)

NARRATOR: Chambord should have
had a completely different aspect

NARRATOR: Chambord should have
had a completely different aspect

from the one we know today,

with its square keep
next to a rectangular enclosure.

But Francois I changed his mind

and created a wing
entirely for his own apartments.

TRANSLATOR: Like all patrons,
royalty can be a bit capricious,

and at the last minute, might want
this or that plan to be modified.

and at the last minute, might want
this or that plan to be modified.

And so, obviously,

he has outstanding technicians
at his service,

who are able to respond
to the King's whims,

who are able to respond
to the King's whims,

to his desire to create
truly regal works.

NARRATOR: Although little written
evidence exists, each detail,

and each mark carved in the stone,

and each mark carved in the stone,

are clues as to how the construction
work progressed over 28 years.

TRANSLATOR: It's
an extraordinary project,

TRANSLATOR: It's
an extraordinary project,

very difficult, laborious,
full of twists and turns.

When you see this perfection,

When you see this perfection,

it's hard to imagine
all the difficulties,

all the suffering
and toil behind it.

NARRATOR: After around three years
of foundation work,

NARRATOR: After around three years
of foundation work,

the first walls of Chambord
were built in 1522.

The builders began
with the south tower of the keep,

The builders began
with the south tower of the keep,

followed by the east
and west towers.

At the same time, they tackled
the southern part of the enclosure.

At the same time, they tackled
the southern part of the enclosure.

The walls of the ground floor of
the keep and the enclosure

were erected around 1524,
before the north tower was built.

were erected around 1524,
before the north tower was built.

TRANSLATOR: In 1524,
work on Chambord came to a halt.

Why? Because Francois I
had other things on his mind.

Why? Because Francois I
had other things on his mind.

In particular, waging war
in Italy against his sworn enemy,

Charles V, the Habsburg Prince.

And the building work
came to a standstill.

Because in 1525,
Francois I was taken prisoner

Because in 1525,
Francois I was taken prisoner

at the Battle of Pavia
and was sent to captivity in Madrid.

TRANSLATOR: On his return
from captivity,

Francois I resumed work on Chambord
in 1526, this time with a vengeance.

Francois I resumed work on Chambord
in 1526, this time with a vengeance.

NARRATOR: So the works began again,

to symbolise the King's return
to power...

although his imprisonment
had damaged him.

although his imprisonment
had damaged him.

From 1527 onwards,

the keep was built
storey by storey,

with the staircase at its centre,
up to the lantern tower,

with the staircase at its centre,
up to the lantern tower,

and completed around 1533.

From 1539, the wings
of the enclosure were enlarged,

From 1539, the wings
of the enclosure were enlarged,

then linked to the keep
by two galleries,

to give the castle
its current shape.

It was on his return
from the humiliating captivity

under Charles V that Francois I
decided to modify

his initial project
by enlarging the side wings.

TRANSLATOR: What was,
for him, most important

was to really take revenge
on Charles V.

was to really take revenge
on Charles V.

So it was no longer a palace
that Francois I wanted at the time,

a palace to live in,
but rather a monument

a palace to live in,
but rather a monument

to the glory
of the dynasty of France.

NARRATOR: More than
a royal residence,

NARRATOR: More than
a royal residence,

Chambord became
a kind of political statement,

through which Francois I wanted
to prove his greatness to his rival.

through which Francois I wanted
to prove his greatness to his rival.

TRANSLATOR: Francois I
got some revenge in 1539,

when he received Charles
with great pomp,

when he received Charles
with great pomp,

even though the chateau
had barely been completed.

TRANSLATOR: And Francois I
can show him that, in fact,

the imperial crown is there,
above his head,

the imperial crown is there,
above his head,

at the top
of the double-spiral staircase.

NARRATOR: Chambord
dazzled Emperor Charles V,

NARRATOR: Chambord
dazzled Emperor Charles V,

and the honour of the King of France
was maintained.

Work continued on the wings,
but in 1547, Francois I died,

Work continued on the wings,
but in 1547, Francois I died,

having spent just 72 nights here.

Of all the jewel-like chateaux
built by the builder-king

to spread the spirit
of the Renaissance,

to spread the spirit
of the Renaissance,

Chambord sparkles brightest.

And perhaps, in architectural terms,

erased the dark dungeons
of his captivity

erased the dark dungeons
of his captivity

in the fortress of Alcazar.

Although work continued under
the reign of his son, Henry II,

Although work continued under
the reign of his son, Henry II,

the second, the rebirth of the
chateau came to a halt in 1559.

As shown in engravings
from this period,

As shown in engravings
from this period,

the chateau wasn't yet complete,

particularly the west wing,
which now houses the chapel.

TRANSLATOR: It's a simple
and pure chapel,

TRANSLATOR: It's a simple
and pure chapel,

but it's still a royal chapel
in its design,

the finesse of the joints,
the mortar bonding, the sculpting.

NARRATOR: Although difficult
to imagine today,

at the start of the 17th century,
this chapel was in ruins.

With no vaulting or framework,
it was left open to the elements.

With no vaulting or framework,
it was left open to the elements.

TRANSLATOR: The chateau was left
incomplete for a century and a half.

TRANSLATOR: The chateau was left
incomplete for a century and a half.

It wasn't until Louis XIV,

with his renowned Architect
Jules Hardouin-Mansart,

that this magnificent structure
was finished.

that this magnificent structure
was finished.

NARRATOR: At the top,
just above the vaulted ceiling,

a forest of oak covers the chapel.

a forest of oak covers the chapel.

An intricate assembly
of several hundred large beams

that intertwine
and support each other.

that intertwine
and support each other.

An engineering marvel.

From 1680, after putting in place
the stone vaulting above the chapel,

the builders of Louis XIV designed
a highly elaborate wooden structure

the builders of Louis XIV designed
a highly elaborate wooden structure

with two main elements.

The vault is covered by
a first steeply sloping

The vault is covered by
a first steeply sloping

triangular roof structure.

It's fitted into a second frame
with a circular base,

this time conical in shape,

this time conical in shape,

whose large beams
rise up three storeys...

to the lantern at the top.

TRANSLATOR: It's a whole assembly
of different parts.

It's quite ingenious,
with a load transfer

that makes the structure
extremely resistant over time.

NARRATOR: So the castle's
structural work

NARRATOR: So the castle's
structural work

was spread over more than 150 years,

until the Sun King, Louis XIV,

completed the chapel
with this vaulted ceiling,

and the wood that protects it.

TRANSLATOR: There's a lot of wood:

all the wooden floors,
joinery and framework.

A veritable forest covers
the Chateau de Chambord.

A veritable forest covers
the Chateau de Chambord.

NARRATOR: While the wooden framework
is sheltered under the slate roofs,

the outer stone is exposed
to all weathers.

the outer stone is exposed
to all weathers.

TRANSLATOR: Stone gets
a lot of external damage:

TRANSLATOR: Stone gets
a lot of external damage:

sun, rain, frost, cold, damp.

So, a bit like skin,
it's going to suffer.

That's why it ages and deteriorates.

NARRATOR: A specialist
in materials engineering,

Kevin Beck examines
the walls of the enclosure

to detect any damaged stone
before further problems appear.

to detect any damaged stone
before further problems appear.

- (speaks French)

TRANSLATOR: These blocks of stone,
apart from a bit of graffiti,

the surface seems virtually intact.

You can't see
any deterioration on the surface,

unlike this stone here,
when you can see a lot of flaking.

unlike this stone here,
when you can see a lot of flaking.

I'll just do the sound test, tapping
on the stone to detect cracks.

I'll just do the sound test, tapping
on the stone to detect cracks.

- (tapping resonates)
TRANSLATOR: And here, I can tell...

it sounds hollow...
though not there.

TRANSLATOR: It sounds
hollow here too.

TRANSLATOR: It sounds
hollow here too.

- (tapping resonates)
TRANSLATOR: Unlike this part.

So I'd like to see
if the thermal camera can confirm

that there is indeed a crack running
through this part of the stone.

that there is indeed a crack running
through this part of the stone.

NARRATOR: Using his thermal camera,

Kevin Beck immediately sees
the red areas,

which stand out
from the rest in blue.

TRANSLATOR: We see hotter areas
that are heating up much faster,

which is a sign of cracking.

NARRATOR: After taking
a few samples,

the diagnosis continues in the lab,

to better understand this disease

that is attacking
the tufa stone of Chambord.

TRANSLATOR: Tufa is
a remarkable stone.

TRANSLATOR: Tufa is
a remarkable stone.

It's very light,
very soft and quite strong.

But it has one big problem:
it absorbs a lot of water.

But it has one big problem:
it absorbs a lot of water.

It can absorb
half its volume in water.

NARRATOR: It's the composition
of this sedimentary rock

which explains this effect.

which explains this effect.

An electron microscope
shows both the marine fossils

and the porosity of the rock.

TRANSLATOR: Nearly half the volume
of the stone is made up

of gaps of various sizes.

There are millions and millions of
holes, and they're very, very small:

There are millions and millions of
holes, and they're very, very small:

about one-tenth the diameter
of a human hair.

Which is extremely thin...

but enough to allow water
to get into the stone.

but enough to allow water
to get into the stone.

Tufa will absorb
an enormous amount of water.

But at the same time,
it will swell, a bit like a sponge.

And this swelling in the stone will
create problems for the masonry,

And this swelling in the stone will
create problems for the masonry,

because, logically, a stone
on a chateau like Chambord

shouldn't move.

shouldn't move.

NARRATOR: When stone
at the castle is exposed to rain,

its surface absorbs water
and swells,

while its core
remains dry and solid.

The internal friction between these
two parts then creates a deep crack.

The internal friction between these
two parts then creates a deep crack.

This eventually leads to the slab
falling off, like peeling skin.

Kevin Beck keeps close watch
on his patient...

Kevin Beck keeps close watch
on his patient...

both in the lab and in the field.

Each altered stone is scanned,
and mapped,

to establish a precise diagnosis
of Chambord's state of health.

TRANSLATOR: We checked thousands
of stones and, in all,

TRANSLATOR: We checked thousands
of stones and, in all,

very few were changed or damaged.

TRANSLATOR: It's over 500 years old.

An old monument
with some weathered stones,

An old monument
with some weathered stones,

but for its age,
in pretty good shape.

It goes to show that
it's a very well-built monument

and that it's here to stay.

NARRATOR: But how did the builders
manage to protect

the stone of Chambord from water,

its mortal enemy,
over such a long period?

its mortal enemy,
over such a long period?

This vaulting,
one of the castle's masterpieces,

is particularly fragile.

It adorns the coffered ceilings
of the keep's upper floor,

It adorns the coffered ceilings
of the keep's upper floor,

each carved with an F for Francois,
or his emblem, a salamander.

TRANSLATOR: A vault like this
shouldn't be exposed,

TRANSLATOR: A vault like this
shouldn't be exposed,

in the slightest,
to adverse weather conditions.

So we have to make sure
that water doesn't reach

what we call the extrados,
the hidden part of the vault,

what we call the extrados,
the hidden part of the vault,

as the tufa wouldn't be able to
withstand such water infiltration.

NARRATOR: But how can
this vaulted ceiling be protected

when there's a flat roof
directly above it?

TRANSLATOR: They always
had problems with a terrace

TRANSLATOR: They always
had problems with a terrace

that was never completely
watertight, and after a few years,

they had problems with seepage.

NARRATOR: The solution?

NARRATOR: The solution?

Make the terrace out of large stone
slabs with no mortar joints,

allowing water to pass through.

These slabs are laid on low ridges,

These slabs are laid on low ridges,

which follow the shape
of a sloping roof,

itself covered with tiles,

so that the water runs off
into the side gutters.

so that the water runs off
into the side gutters.

This ingenious system shelters the
fragile coffered vault just below.

The stonework
of the chateau of Francois I

is protected against rain...
but also against groundwater.

is protected against rain...
but also against groundwater.

Chambord is at the bottom
of a small valley

with a marshy river, the Cosson.

To construct
such a limestone chateau,

To construct
such a limestone chateau,

the builders had to battle with
water right from the foundations

in the spring of 1520.

In this virtually unbuildable
wetland area,

how were foundations
created to support

more than 200,000 tonnes of stone?

more than 200,000 tonnes of stone?

After several digs,
Archaeologist Simon Bryant...

is beginning to get a clearer
picture of Chambord's depths.

is beginning to get a clearer
picture of Chambord's depths.

To lay solid foundations
beneath the superstructure,

the builders used
a variety of techniques

the builders used
a variety of techniques

to adapt to a surface
which slopes into the marshes,

right down to the riverbed.

The hard, dry ground
of the hill was dug out

The hard, dry ground
of the hill was dug out

to install load-bearing walls
under the wing of the chapel.

For the keep, the builders had
to dig through waterlogged ground

to create
a 44-metre-square platform,

surrounded by stacks of wood.

surrounded by stacks of wood.

First the base:
rough stones mixed with mortar.

Then the foundations, built
more than 5m up to ground level,

Then the foundations, built
more than 5m up to ground level,

using layers of smaller stones.

Experts are less sure about
the foundations of the east wing:

the structure most exposed to water,

the structure most exposed to water,

but also the most reinforced...

thanks to a slight masonry overhang
known as a faussebraye.

TRANSLATOR: In fact,
the faussebraye is like a rampart,

but it's placed outside the castle
to protect it

before the water gets in.

before the water gets in.

- You're having to dig down
to about 5m or so

to build your foundations,

which means bringing in
an awful lot of material.

which means bringing in
an awful lot of material.

You've got to manage the site,
which is going to be under water

for a lot of the time,
so you've got to create a dry space

where you can
bring in the materials...

where you can
bring in the materials...

to be able
to lay out the foundation.

TRANSLATOR: When Francois I arrived,

there was already a medieval castle.

there was already a medieval castle.

The castle represents
about a quarter of the area

of the current chateau,
so half the chateau had to be built

on the foundations
of the medieval castle...

on the foundations
of the medieval castle...

and the other half in swampy
ground, which was unstable.

NARRATOR: Despite
the complexity of the terrain,

NARRATOR: Despite
the complexity of the terrain,

the various techniques
employed by the builders

anchored the superstructure
on a solid base.

Several 17th-century engravings
show Chambord as if on an island...

but still threatened by the water.

but still threatened by the water.

- Once the building itself is firmly
anchored or sat on the ground,

well, the water's
just going to remain there,

well, the water's
just going to remain there,

which would cause problems later on.

NARRATOR: How did Francois I's
builders manage to divert

NARRATOR: How did Francois I's
builders manage to divert

part of the river's course
and drain the marshes?

The answer lies
in the heart of the forest,

a few hundred metres
south of the chateau,

a few hundred metres
south of the chateau,

where the remains
of a system of channels are hidden.

TRANSLATOR: We're in what's known
as the 'large ditch',

TRANSLATOR: We're in what's known
as the 'large ditch',

which is a sort of drainage system.

It's about 10m high,
20 to 30 metres across,

It's about 10m high,
20 to 30 metres across,

and a kilometre and a half long:
pretty impressive.

TRANSLATOR: There's a whole series
of ditches running from the entrance

TRANSLATOR: There's a whole series
of ditches running from the entrance

to the Chambord estate in the east,

to downstream of the chateau
in the west.

NARRATOR: Despite the scale
of these hydraulic works,

Chambord would still be surrounded

by the waters of the Cosson
for 150 years...

by the waters of the Cosson
for 150 years...

until the arrival of Louis XIV.

Before embarking
on the chateau de Versailles,

the Sun King was
particularly fond of Chambord,

the Sun King was
particularly fond of Chambord,

and its sumptuous parties and hunts.

He created this 2km-long canal
to clean up the surrounding area -

He created this 2km-long canal
to clean up the surrounding area -

unhealthy because of the marshes -

and the huge terrace
where the gardens are today.

It took two centuries from the time
Chambord's foundations were laid

It took two centuries from the time
Chambord's foundations were laid

until the park was completed,

to create this architectural jewel
and its magnificent surroundings.

to create this architectural jewel
and its magnificent surroundings.

TRANSLATOR: When you think
of a chateau,

the first Renaissance chateau,
you think of Chambord.

It really is the starting point
for French architecture.

It really is the starting point
for French architecture.

NARRATOR: At the bottom
of a remote, marshy valley,

the builders of Chambord
achieved the feat

the builders of Chambord
achieved the feat

of creating an immense
and majestic superstructure.

TRANSLATOR: Many master builders
were involved,

TRANSLATOR: Many master builders
were involved,

master masons,
perhaps Italian engineers...

like Leonardo da Vinci.

But behind it all
is the will of the King of France

But behind it all
is the will of the King of France

to design a chateau
that was truly exceptional.

NARRATOR: With its swirling,
overwhelming architecture,

this extraordinary chateau
continues to fascinate.

this extraordinary chateau
continues to fascinate.

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