The History of Condé Museum
The Condé Museum is situated within the Château de Chantilly in Chantilly, France. The site is composed of two primary attached structures: the Petit Château and the Grand Château. The Petit Château was constructed around 1560 for Anne de Montmorency. The Grand Château was later rebuilt between 1875 and 1882 by Henri d’Orléans, the Duke of Aumale.
In 1897, the Duke of Aumale bequeathed the château and its entire collection to the Institut de France. This act established the museum in 1897. Due to the specific conditions of this bequest, the museum has remained almost unchanged since it opened to the public in 1898. The presentation of the collections follows the original nineteenth-century arrangement.
The Architecture of the Château
The estate's connection with the Montmorency family began in 1484. The site comprises two attached buildings: the Petit Château and the Grand Château. The Petit Château was built around 1560 by Pierre Chambiges. While the original Grand Château was destroyed during the French Revolution, the structure seen today was rebuilt in the 1870s.
The museum spaces are integrated into the historic fabric of the residence. The layout includes rooms remodeled as museum spaces alongside residential quarters designed in 18th and 19th-century styles. This arrangement preserves the original context of the collection, maintaining the atmosphere of a princely residence. The architecture reflects the evolution of the site from a medieval fortress into a Renaissance palace.
The Old Master Paintings Collection
The collection of old master paintings held here is among the most significant in France. The assembly consists predominantly of French and Italian works, reflecting the specific interests of the Duke of Aumale. Within these galleries, one finds five paintings by Nicolas Poussin and four by Antoine Watteau. These works represent the development of classical composition and the elegance of the Rococo era.
The Italian influence is further established through several key figures. The museum holds three paintings by Raphael and three by Fra Angelico. These pieces are situated within the permanent collection, which remains in the original setting intended by the Duke. The presence of Jean-Auguste-Dominique Ingres is also notable, with five signed paintings by the artist contributing to the Neoclassical holdings.
- The Massacre of the Innocents, 1629 - Nicolas Poussin
- The Three Graces, 1504 - Raphael
- The Virgin of Mercy, 1452 - Enguerrand Charonton
Masterpieces of the Collection
The heart of the collection resides within the Très Riches Heures du Duc de Berry. This illuminated manuscript is widely considered the most celebrated work of its kind. Its vellum pages offer a detailed view of medieval life, religious devotion, and agricultural labor through intricate craftsmanship. Alongside these, the museum preserves the Ingeborg Psalter and a single page from the Registrum Gregorii, dating to about 983.
The library and manuscript holdings include significant musical and devotional artifacts. The Chantilly codex (MS 564) is the primary manuscript associated with ars subtilior music. The collection also contains forty miniatures from Jean Fouquet's Book of Hours of Etienne Chevalier. These works represent a significant portion of the museum's medieval holdings.
- The Chantilly codex (MS 564)
- The Ingeborg Psalter
- The Registrum Gregorii (c. 983)
Drawings, Prints and Decorative Arts
The museum's holdings include 2,500 drawings and a significant collection of prints. These works are held alongside a vast library containing 17,500 printed volumes. Within this library, the collection features over 1,500 manuscripts, 200 of which are illuminated. The archive also contains more than 700 incunabula, representing early stages of printing history.
The decorative arts collection provides a comprehensive view of aristocratic material culture. This assembly includes furniture, porcelain, and tapestries. Notable among the furniture are works by the cabinetmaker André-Charles Boulle. These objects are displayed within the residential quarters and galleries, maintaining the original 18th and 19th-century character of the setting.
Exhibitions and Research
The Musée Condé maintains a continuous commitment to scholarly research. This academic work supports the preservation of the collection and provides the foundation for occasional exhibitions designed to offer new perspectives on the holdings. These temporary displays often examine specific historical connections or stylistic influences that are not immediately apparent in the permanent galleries.
A current exhibition explores the influence of Dutch Masters on French art during the 18th century. This program examines how these northern traditions shaped the aesthetic development of French painting. Alongside these scholarly pursuits, the museum prioritizes the conservation of its most fragile assets. Ongoing efforts focus on the stabilization and protection of the library's illuminated manuscripts and various delicate artworks to ensure their physical integrity.
Visiting the Museum and Grounds
The museum welcomes approximately 250,000 visitors each year. Due to the specific conditions of the Duke of Aumale's bequest, the artworks held here cannot be loaned to other institutions. This restriction ensures that the collection remains in its original setting, exactly as it was intended when the museum opened in 1898. Consequently, the exhibition spaces cannot be modified in any way, preserving the historical arrangement of the galleries and residential quarters.
The grounds surrounding the château offer a structured landscape of canals, waterfalls, and fountains. These water features are integrated into a series of lush flowerbeds that extend from the building. The layout provides a visual connection between the architecture and the natural elements of the estate.
Visitors may observe the following specific items within the permanent collection:
- Les Très Riches Heures du Duc de Berry, 1412
- The Three Graces, 1504
- The Massacre of the Innocents, 1629
