Let’s talk about your Champagne education. No, not the neighborly kind offered at your local wine shop. Nor the delightful kind that you can get on a wine bar tour with me in Paris. I’m talking about the well-advised independent kind that a curious traveler—you—can get by visiting the vine-growing area and production zone of the world’s most famous sparkling wine. Yes, I’m talking about your Champagne daytrip or overnight.

For most destinations in the Champagne wine region your coursework on the making and variety of tastes and styles of Champagne requires a road vehicle, whether a rental car, a taxi, a car service or an organized car/van/bus tour—in any case a designated driver.

Let’s say that you’re either setting out from Paris or heading to the Champagne region directly after arriving at Charles de Gaulle Airport. A driving tour can start with the Marne Valley producers around Chateau-Thierry, a zone where pinot meunier vines dominate or by going directly to the heart of the region that lies between and within the two capitals of Champagne: Reims, the historic regional capital, and Epernay, the capital of bubbly itself. Beyond Epernay there’s the Côte des Blancs, especially known for the prestigious chardonnay grapes that grow in its chalky soil. Then there’s the lesser traveled southern portion of the growing area in the department of Aube, specifically the Côte des Bar, with its much-desired pinot noir vineyards.

Each of those areas has its particularities and benefits as destinations to enjoy and learn about Champagne. But how to obtain a good Champagne education without a car or driver? Château-Thierry and Reims are reached easily enough by train, but for the former you then need to hit the road to get credits for your survey course, and for the latter you’d be one weary (though probably happy) foot traveler if you didn’t call for some kind of transportation during the day.

Epernay is the DIY Champagne destination with the best car-free outlook, whether on a daytrip or an overnight.

Not only can a sparkling excursion to Epernay be car-free but carefree as well since little logistical planning is necessary. Most days you can even purchase your train ticket at the last minute at Paris’s East Station, Gare de l’Est, for the one hour and twenty- or thirty-minute ride to Epernay. Greater planning is necessary to climb the Eiffel Tower or visit the Louvre than to explore Epernay on a daytrip.

From the Epernay station, your entire learning campus can easily be covered on foot. Within one mile of the station, you can visit any of a dozen Champagne producers, examine a terrific museum that’s dedicated to regional archeology and the wines of Champagne, see the former mansions of Champagne merchants, and have a choice of restaurants, Champagne bars, pastry shops, and cafés. You can even rise 492 feet in a tethered balloon or climb a 217-foot tower for a view over the valley and out to the vineyards. All within one mile of the train station.

The agro-industrial business of Champagne production dominates in Epernay (pop. 23,000), so if you’re a single-minded traveler looking for an intensive introduction, continuing education or master class in Champagne—without recourse to a car—read on.

Avenue de Champagne

The essential strolling grounds for a visit to Epernay is Avenue de Champagne, Champagne Avenue. Sparnaciens, as local citizens are called, like to tell visitors from the capital that Avenue de Champagne is the Champs-Elysées of Epernay. Indeed, there’s just as much branding going on. But there’s also deep know-how along, around and beneath Avenue de Champagne. Epernay has nearly 70 miles of cellars underfoot, holding about 200 million bottles of bubbly. The avenue is bordered by the former mansions of Champagne merchants, many of them dating from the 19th century. They’re mostly on the left side as you rise the avenue, while on the right side are production facilities, with plenty of Champagne know-how and marketing expertise on both sides of the street. All of that allows Avenue de Champagne to be among the elements that entered UNESCO’s World Heritage List under the title “Champagne Hillsides, Houses and Cellars.”

You can easily spend half a day or more along the first half-mile of the avenue. Thanks to its many opportunities to learn, see and taste, Champagne Avenue could be your sole destination on a train excursion from Paris. Yet you’ll undoubtedly also enjoy a walkabout in the compact heart of the town with its bakeries, pastry shops, restaurants, cafés and tasting rooms.

The Epernay Tourist Office, at 7 avenue de Champagne, is conveniently located near the bottom of the avenue, so it can be your first stop on arrival. Reservations are recommended to visit a production facility and cellars, especially on busy weekends and in summer, but it’s also possible decide on an Epernay daytrip on a whim, in which case the tourist office can help direct you to an available cellar tour. Your Champagne curriculum calls for at least one such tour, particularly if you aren’t aware of the grapes, their classification and the Champagne method. Other than a formal tour, tasting opportunities are easy to come by, both on the avenue and in the heart of town.

Beyond the tourist office, the first major former mansion you’ll come upon was built for the Auban-Moët family in the second half of the 19th century. You may not know the Aubans but you’ve certainly heard of the Moëts, as in Moët & Chandon, whose installations can be visited right across the street. The mansion has served as City Hall since right after the First World War, which explains the monument to war dead that greets visitors entering on its avenue side. The estate’s park (feel free to enter) has a near replica of the Temple of Love that stands in the Trianon park at Versailles. (When arriving by train, you can actually cut through the park to reach Avenue de Champagne.)

Château Perrier: The Museum of Champagne Wine and Regional Archeology

A 3-minute walk further up the avenue you’ll come to the Château Perrier, an eclectic and ostentatious 96-room mansion built in the 1850s by local architect Pierre-Eugène Cordier for Charles Perrier, heir to the Perrier-Jouët Champagne House. The Perrier-Jouët cellars are partly beneath the mansion. They were dug to connect directly with the railway line that had been inaugurated in 1849. The estate was purchased by the Town of Epernay in 1943 to house its museum collections and library. Closed in 1998 for massive rethinking, reorganization and eventually restoration, it reopened in 2021 as the Museum of Champagne Wine and Regional Archeology.

If arriving by train in the morning, consider the museum as your first stop before lunch or a visit one of the Champagne Houses.

I know, I know, you’ve come for cool bubbles not for a dry museum. But let your curiosity draw you inside. First, to admire the grand staircase and the gold-leaf décor of the ground-floor reception rooms and to take in the view out to the park of Château Perrier and beyond the Marne River to the vine-planted slopes of the Mountain of Reims. Then it’s on to the geology section. Geology? What’s that got to do with my Champagne education? As with all prestigious wine regions, an awful lot! Just ask the roots of the vines and the minerality in your glass. An awareness of the formation of the region’s chalky sub-soil here is an integral part of your Champagne education as is, naturally, the section on winemaking that comes later. Yet the most fascinating part of the museum is the archeology collection (choice Neolithic, Celtic and Roman finds), one of the largest in France. The informative audio-guide, available in English, is especially useful in viewing that section.

Musée du vin de Champagne et d’Archéologie régionale, 13 avenue de Champagne, Epernay. Entrance (includes audio-guide): 9€, 6€ for ages 13 to 25, free for under 13. Closed Tues.

Continuing along the avenue and nearby

Among the most accessible producers for tours and tastings are Moët & Chandon, de Venoge and Boizel on the primary strolling portion of Avenue de Champagne; Alfred Gratien, Jacquinot & Fils and de Castellane on nearby streets, and Mercier and Comtesse Lafond beyond the first half mile of the avenue. Others are further afield but also reachable on foot (e.g. Charles Mignon on the opposite side of town). Still others allow you to pursue your education in their tasting room or bar, e.g. A. Bergère, Leclerc Briant, Elodie D., Les 3 Domaines (which presents the wines of three winemakers).

Whichever you visit, enjoy a stroll along the mannerly first half-mile of Avenue de Champagne to view the mansions and villas along the way. Don’t hesitate to enter an open gate and to inquiry about the bubbly of a producer you may never have heard of.

One of those that I visited on my recent overnight to Epernay was Champagne Boizel. I asked Lionel Boizel, who oversees the Champagne house with his brother Florent, to give readers a virtual tasting. His presentation of three Boizel Champagnes follows my introduction in this video.

Eventually, at a round-about, you’ll come to the turn-off toward the de Castellane Champagne House on the left and the Mercier facility built in the 1980s on the right. Mercier is a major producer with a family-friendly cellar tour. De Castellane, along with its own cellar tour, welcomes visitors of all ages able to climb the tower’s 237 steps for a view over the town and along the River Marne and out to the vineyards along the slopes of the southern side of the hill known as the Mountain of Reims. For an alternative or additional overview, you can lift off (weather permitting) in a tethered balloon (you’ll see it near the start of the avenue) while sipping a glass of bubbly at just under 500 feet.

Develop your Champagne curriculum freestyle

Obtaining a proper Champagne education when in Epernay or anywhere in the winegrowing region requires getting beyond the branding and the marketing in order to truly taste and understand the variety of sparkling wines called Champagne.

Major brands do dominate the avenue, including major assets within the LVMH wine portfolio, while smaller family-operated and independent producers also have a presence. All can be enjoyable and instructive. If you do opt to visit a big-brand producer, also visit one that’s lesser known or unknown to you. There are thousands of different Champagnes available, so try to discover what defines your taste and style.

Did you say thousands? Yes, I did.

There are nearly 370 producers known as Champagne “houses,” those that control the resources requires for their own production and market internationally. (See here for more detailed definition of a Champagne house.) These houses represent more than two-thirds of Champagne sales and more than 85% of exports. Each has its own style or styles and produces a range of sparkling wines. Many are referred to as grandes marques (big-brand) producers but of the 370 you may have only heard of how many? Six? Maybe a dozen tops? Some are small, even tiny. Most of the world knows Champagne through the marketing and availability of just a few dozen of the houses.

Here in France, however, we naturally have more access to the varied world of Champagne. Beyond those few dozen and beyond producers designated as “houses,” there are dozens of cooperatives marketing Champagne and hundreds of independent producers, and grapes are grown by more than 16,000 growers. Some producers without a presence on Avenue de Champagne have shops in town where you can get acquainted with their winemaking craftsmanship. (In Epernay you won’t necessarily come across all of the major brands that you’d find at home. Reims is the other major hub for international brands.) If you only focus on brand—even if your choices are limited at home—without tasting a great many, you risk being a sparkling wine snob, proclaiming admiration for a favorite brand without being able to explain why. Better to be a sparkling wine snob with the knowledge to back it up, whether you’ve got a favorite brand or not.

Just think how impressed your friends will be when you say, “I tend to like a Champagne that’s 50% pinot noir and 50% chardonnay, with no more than 5 grams of sugar. At least with certain hors d’oeuvres. As a straight aperitif I prefer a blanc de blancs. But I did once encounter a charming pinot meunier rosé that I’ve been looking for ever since. Of course, I’ll be happy with whatever you’re serving—I do like a good Champagne.”

Well, maybe your friends won’t be impressed, but I will.

In the town center, a few blocks from the start of Avenue de Champagne, the wine bar and shop Les Grands Vins de France can serve as a beyond-the-brand Champagne education in and of itself or a good place for your final exam. Ask for a tasting according to grape variety and/or sugar content to find your preference, then ask for the brands that correspond with that preference.

Use your time in Epernay to visits several producers, whether glitzy and earthy, mineral or fruity, from different areas of the region, for blanc de blancs, blanc de noirs, blended (and in various percentages), rosé, with varying amounts of added sugar, from this part of the vine-growing region or another, with some oak-barrel ageing or (more likely) not, organic, biodynamic or whatever, vintage or not.

Do I have to drink all of those for coursework? Certainly not. Drink with moderation, of course, and pace yourself. You don’t have to finish every glass. But isn’t it reassuring to know that you won’t be driving today and are unlikely to get lost in a town this size?

Which reminds me of something my friend Guillaume once said when we were leaving a wine fair in Paris: “How much wine can you really drink without just wanting a beer?” A lot, was my answer. But if a member of your travel group is anything like Guillaume, note that Epernay has a craft brewery, Tête de Chou, 1 bis avenue Foch, a 10-minute walk from the center. It may sound sinful to mention beverages with bubbles other than those in Champagne if you’ve come this far, but there you have it, craft beer served in the brewer’s taproom Thurs.-Sat. 5:30PM to midnight.

A pink pastry break: le moelleux champenois

Personally, I’d seek out pastry in Epernay before looking for beer. As a break from Champagne tasting (or to accompany it), Epernay and the surrounding region offer the opportunity to enjoy a pastry or cake that you won’t find elsewhere. It’s called the moelleux champenois. Moelleux means soft and champenois means from Champagne. The soft pastry from Champagne is therefore a nod the dry harder pink biscuits (aka Champagne biscuits or pink biscuits of Reims) that are traditionally associated with high tea Champagne and after-dinner delicacy.

In 2019 by a group of six boulangers-pâtissiers belonging to the Bakery Federation of the Marne came together in an effort to create a pastry that would be distinctly regional. The result is the moelleux champenois, made of eggs, sugar, almond, butter, flour, marc de Champagne (a brandy made from the residue of Champagne wine grapes after pressing), baking powder, with crumbled pink biscuit on top (egg whites, sugar, flour, baking powder, coloring). Only members of the Bakery Federation are authorized to use the recipe to make moelleux champenois under that name. Currently, about 40 do. On our trip, it made for a nice pairing with de Castellane rosé both for taste and for color, but it also goes well with coffee or tea.

Ours was actually a triple pairing of moelleux champenois, De Castellane rosé and an encounter with Loïc Maingre, who was among the original development team for the pastry. He and his wife Céline operate the pastry shop Au Bonheur des Papilles. 31 Rue de la Porte Lucas, on the western edge of the inner town. Closed Wed. and Thurs.

Maingre explained that since pink (Champagne) biscuits have long shelf-life, the Bakery Federation wanted to create something that did as well. The moelleux champenois, he said, has a shelf-life of 11 days, but I can’t imagine anyone holding onto one for very long. Immediate consumption is more like it, especially if you purchase an individual portion (3.50€) but even a full cake (13€) if traveling with friends. (Admittedly, I did hold on to one individual portion to enjoy with breakfast two days later when back home in Paris.)

As to the recipe for pink biscuits, Vincent Dallet, a well-known pastry chef and chocolatier in Epernay (who is not among the group making moelleux champenois), shared it with me for this article a while back.

Restaurants and Eateries

La Banque, 40 rue du Général Leclerc. In a former bank building, a polished and classy brasserie, well situated for either lunch or dinner. Open daily.

La Cave de l’Avenue, 5 avenue de Champagne. An easy-going restaurant at lunchtime and a wine bar after 6PM, La Cave belongs to the Bergère family, owners of Champagne A. Bergère. Closed Sun. and Mon. While the restaurant and wine bar naturally serve the family Champagne, a cellar tour and formal tasting can be had further up the avenue at #40.

La Cave à Champagne, 16 rue Gambetta. An Epernay institution for hearty traditional fare. Closed Tues. and Wed.

Le Théâtre, 8 place Mendès France. Traditional gastronomy by the theater at the circle near the train station. Closed Wed. as well as evenings Tues. and Sun.

There are numerous easy-going options for a meal or a snack in the compact town center, including bakeries, cafés and pizzerias.

Accommodations

There are three reasons that Epernay makes for a nice overnight for slow travelers: 1. To take a pre-dinner nap in your hotel or B&B after an afternoon of touring and tasting. 2. To enjoy a leisurely dinner (with more Champagne tasting) in town. 3. To take a genteel stroll along the avenue after nightfall.

Since this article concerns Epernay as a carless Champagne excursion, I’ve only selected accommodations that are within walking distance of the train station. Luxury accommodations and other worthy options are also found in the surrounding villages and by the vineyards.

Hotels

La Villa Eugène, 84 avenue de Champagne. Epernay’s only 5-star hotel, is located several hundred yards beyond the main stroll way of Avenue de Champagne, just past Mercier. It occupies a 19th-century mansion that once belonged to Eugène Mercier himself. Traditional rooms with a touch of elegance. Bar. Small outdoor heated pool. A wooded park behind the house. The hotel is a mile from the heart of the town and the train station, so while it isn’t far from the action, travelers on a car-free overnight may feel that they’re slightly off-center. Without discouraging a stay for Epernay-only foot travelers, I see this more as a place for settle in for two or more nights while also visiting the villages and vineyards in the vicinity with your own car or with a car service, taxi or organized tour.

Hotel Jean Moët, 7 rue Jean Moët, a well-situated 4-star in heart of town, a 4-minute walk from the train station, with a Champagne bar next door.

Hôtel de Champagne, 30 rue Eugène Mercier. A nice and simple inexpensive 3-star near the center of town, a 7-minute walk from the station.

Le Clos Raymi, 3 rue Joseph de Venoge. A 15-minute walk from the station, behind Avenue de Champagne, this pricier 3-star is a 7-room hotel of character in a 19-century mansion that once belonged to the Chandon family.

B&Bs

Epernay is actually more of a B&B destination for now, though not all will allow guests for only one night.

Le 25 Bis by Leclerc Briant, 25 bis avenue de Champagne, situated 500 yards up the avenue, about mid-way along the strolling zone. The Leclerc Briant Champagne house (200,000 bottles/year) has since 2012 been owned by the American couple Mark Nunnelly (from the world of finance) and Denise Dupré (from the world of hospitality management). They’re associated with Frédéric Zeimett, a French partner native to the region, for the production of their wines. The couple also owns the 5-star Royal Champagne hotel that overlooks the southern portion of the Mountain of Reims. Their chic B&B in Epernay has five large, formally elegant rooms and more service possibilities than a typical B&B. Priced accordingly. Options include taking over the entire house with a group of friends and, in that case, hiring a private chef, and, of course, a tour of the Leclerc Briant production headquarters which are situated on the western edge of Epernay where the vineyards begin.

Le Bubble 8, 8 rue des Berceaux, an excellent location on a calm street near restaurants, bars, bakeries and other shops, just a 3-minute walk from the start of Avenue de Champagne. Owner Pascale Lelong-Macra had a career in finance before purchasing the honorable solicitors’ Maison des Notaires and transforming it into five apartment B&Bs. The spacious, well-appointed studios and apartments with clean lines and character have kitchens or kitchenettes and so are especially adapted to a stay of several days or more. It’s nevertheless also a welcoming place for a short stay (there’s a 2-night minimum). Without the pretentions of a full-service B&B such as Le 25 Bis, Lelong-Macra’s son Clement is quite capable, with advance organization, of driving guests out to the villages and vineyards in the surrounding area for Champagne visits according to his itinerary or your own. (His is not a taxi service but a touring service for those staying at Le Bubble 8 and other apartments rentals managed by the family.)

Parva Domus, 27 avenue de Champagne. Parva domus magna quies is Latin for “small house, big rest,” which is what I enjoyed in the attic bedroom at Madame Rimaire’s plain, old-fashion, friendly B&B quietly located midway along the prestigious avenue, a 10-minute walk from the station. Magna Quies is the name of a sister B&B up the avenue at #49.

La Cave de l’Avenue, 5 avenue de Champagne, noted above as a lunchtime restaurant and evening wine bar belonging to the Bergère family (Champagne A. Bergère), is also a B&B with an excellent location for strolls day or night along Champagne Avenue and in the heart of Epernay.

Further logistical considerations

As I’ve said, a day trip to Epernay requires little advance planning, perhaps just a reservation for a cellar tour or two if you want and a hotel or B&B reservation if you intend to spend the night.

While this article is especially intended to describe an easy-walking, car-free Champagne excursion from Paris, whether as a day trip or an overnight, before returning to Paris, you can see on the map above its proximity to Reims, the historic capital of the Champagne region.

Nearly hourly trains link Epernay and Reims, a 35-minute ride to the opposite side of the Mountain of Reims. So after a day or overnight in Epernay it’s possible to continue car-free to visit the sights of Reims (cathedral, basilica, Roman arch, a great food market, and more) as well as tour other big-name Champagne houses (Taittinger, Ruinart, Pommery, Veuve Clicquot) with their impressive cellars occupying Gallo-Roman and medieval limestone quarries. As mentioned earlier, fully visiting Reims requires far more walking than in Epernay, but they are world-renown sights. From Reims you can catch a train back to Paris or continue eastward on a rail-based tour. It’s also possible to begin with a train to Reims (from either Paris or Charles de Gaulle Airport) before continuing on to Epernay then returning to Paris.

© 2022, Gary Lee Kraut

The post A Carless and Carefree Champagne Daytrip or Overnight to Epernay (Video) appeared first on France Revisited - Life in Paris, Travel in France.

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Americans visiting the D-Day Landing Zone of Normandy quickly learn the invasion map by heart: the five thick arrows pointing toward Utah, Omaha, Gold, Juno and Sword Beaches; the lines indicating the flight plan that dropped paratroopers and released gliders to the east and west of the zone; the grey band representing the joining of Allied forces throughout the zone and their push inland; the black arrow of the German counteroffensive around Falaise, and finally the victorious block of Allied grey up to the Seine River. Mission accomplished.

The movement on the ground was full of pitfalls, of course, but between the channel, the river and the sweeping color-coded movement of troops, the momentum of the Invasion of Normandy appears clear, even inevitable, whether your recognize the names of individual towns and villages or not.

A map of First World War battle zones is not as easy for American’s to grasp. Yet the vast majority of the American Expeditionary Force joined our Allies along the Western Front in France, with some in Belgium.

Brits may be more comfortable with the map of the Western Front of WWI because of proximity, because the Somme, Amiens, Ypres (Belgium) and the Marne still resonate with many, and because the Imperial War Museum in London continues to draw crowds. Many Canadians can situate Vimy Ridge because it speaks so clearly of the coming of age of a nation and because the monument there is the most stunning Allied war memorial in all of France. Australians know of Villers-Bretonneux.

But the map below of the Aisne-Marne Salient showing ground captured by American divisions after July 18, 1918, an essential element in the development not only of the war but of “the American Century,” speaks little to us…

… even though it’s shown on the most impressive American war monument in France, the American Monument on Hill/Côte 204 above Chateau-Thierry, 60 miles northeast of Paris.

History has never been America’s strongpoint, and our grasp of our own role in the First World War is no exception to that. We need more context and basic information than other participants of the Great War in order to begin to understand its significance. Thanks to the new little museum at the foot of the American Monument, context and information are now readily available on a daytrip or more from Paris.

The museum

The museum, like the monument above it, is the work of the American Battle Monuments Commission. A presentation space was created along with the monument in the late 1920s but it wasn’t furnished until now, as part of the overall restoration of the monument.

As it had at the Normandy American Cemetery on the eve of the 60th anniversary of D-Day in 2004 with respect to the Second World War and the Battle of Normandy, the ABMC saw the need provide American visitors with an overview of the American intervention in the First and battles in the Aisne region of France on the 100th anniversary of our participation in major combat during that war. After all, pristine cemeteries and imposing monuments and pristine cemeteries aren’t intended merely to serve as dramatic backdrops for the occasional speech by a government official but are to be visited, honored, understood, questioned and contemplated year-round.

Despite its modest size, or rather because of it, the new museum plays its role to greater effect than the museum in Normandy. Whereas the ABMC’s Normandy museum seeks to direct and frame the visitor’s emotions, the Chateau-Thierry museum appears to have no agenda other than to provide visitors with context and an introduction, where much is needed, to the Great War and to American involvement in it.

The information is brief, just enough to get the uninformed visitor curious. This is not a roll call of the dead but of the situations and events of our involvement in the war: the German attack on Belgium and France, trench warfare, American isolationism, American interventionism, “Lafayette, we are here!,” the arrival of green American troops in 1917, Pershing’s plan, an American army under American command, the German offensive of 1918, American entrance into action in around Chateau-Thierry, the Battle of Belleau Wood nearby, “The Rock of the Marne,” photographs and posters, the Armistice, the death toll, and the creation of the ABMC, of cemeteries and monuments.

The presentation can be visited in 30 minutes. This isn’t where one studies the war, rather where one finds the spark to understand an essential period in American history and in our relationship with the world as a global power… and to begin to understand the significance of the monument and of the map shown on it.

The presentation ends by giving credit to Paul Cret (1876-1945), the French-American architect (and veteran) who designed or oversaw the design of many WWI monuments and memorials in France, including full involvement in the American Monument here and the chapel at the Aisne-Marne Cemetery five miles away. The shout-out to Cret is well deserved. Though his name isn’t known beyond architectural circle, Cret’s work is familiar to many: the Rodin Museum and layout of the Ben Franklin Parkway in Philadelphia, the Indianapolis Central Library, the Cincinnati Union Station, the Detroit Institute of Art, the main building and campus layout of the University of Texas at Austin, the headquarters of the Federal Reserve in Washington, D.C., and others.

The monument

The American Monument fulfills the four major characteristics that the AMBC sought in the 1920s to honor the American presence in the war: it’s built on the site of a significant battle; it’s visible from afar; it has a commanding view of a zone covered by American military operations, and it is accessible to the public.

(In addition to the American Monument at Chateau-Thierry, the two other major WWI monuments in France also fulfill these criteria: the Montsec Monument nine miles from the Saint Mihiel American Cemetery, and the Montfaucon Monument several miles from the Meuse-Argonne American Cemetery. Both monuments are further east, in the Meuse region.)

The view from the monument shows what a strategic position this was, on a hill known as Côte 204 according to its wartime designation, overlooking the Marne River and the flat land beyond it that. We are near the southern end of the reach of Germany’s Spring Offensive of 1918, which is as close as their troops would come to Paris during the war.

In 1914 the First Battle of the Marne had seen British and French troops stop the German momentum that had swept relentlessly through Belgium and deep into northern and northeastern France. Now, in 1918, the Americans, first under French command and soon under their own, joined the fray in legendary fighting including the Third Battle of the Aisne (May 27-June 6), the Battle of Belleau Wood (June 6-26, 1918) and the Second Battle of the Marne (July 15-Aug. 6), where the 3rd Infantry Division would earn its nickname “The Rock of the Marne.” Those and other battles along the Western Front would set in motion a complete shift in momentum that would overwhelm German forces several months later.

Having enter along a long driveway, the visitor arrives before a rigid colonnade in a tight, unyielding formation. Against this backdrop of a classical theater of sorts, female allegorical figures of France and of the United States stand center stage. They hold hands as though standing severely united before a tomb in impassive echo of the colonnade itself. The figures are the work Alfred-Alphonse Bottiau, a French sculptor who worked with Cret on a number of ABMC monuments.

Division numbers, insignias and names of battles in the region are inscribed on the monument. They may not be as evocative as Omaha, Utah, Gold, Juno, Sword, but perhaps your curiosity will be awakened to learn more about the origin or evolution of U.S. divisions, their insignias and engagements. Among them:
– the 1st “Big Red One” Division whose 2nd Battalion, 16th Regiment became the face of Americans in France when it paraded through Paris to Lafayette’s grave on July 4, 1917;
– the 2nd “Indianhead” Division, whose insignia of an Indian in profile with headdress was derived from an emblem a driver had painted on his truck;
– the 26th “Yankee” Division, drawn from units from New England;
– the 28th “Keystone” Division formed from units of the Pennsylvania National Guard;
– the 32nd “Red Arrow Division” from the Wisconsin and Michigan National Guards;
– the 42nd “Rainbow” Division drawn from units that stretched “like a rainbow” across 26 states and the District of Columbia;
– the 77th “Statue of Liberty” Division from New York City,
– and the 93rd “Blue Helmet” Division, among others. The 93rd was an African-American segregated division whose regiments (269th Harlem Hellfighters of New York, the 270th Black Devils of Illinois, the 372nd Infantry Regiment) were welcomed as fighting forces by French commanders (who issued them blue French helmets) at a time when American commanders saw African-Americans as a labor-only force.

After a visit to the museum, the map of American military operations below the eagle on the eastern side of the monument may still be hard to grasp, but it will be coming into focus as you head next to Belleau Wood and the Aisne-Marne American Cemetery.

Practical tips for visiting the area

A day of WWI touring in the immediate area of Chateau-Thierry can include the American Monument, Belleau Wood and the Aisne-Marne American Cemetery over the course of several hours. It’s then possible to pursue the theme of WWI sights with a visit to the Oise-Aisne American Cemetery, 17 miles northeast of the Aisne-Marne, and the Quentin Roosevelt Fountain and crash site several miles further east.

Or, after visiting the sights around Chateau-Thierry, visitors can shift their attention to wine by visiting Marne Valley champagne producers in the area.

The Curious Tasting & Travel Club organizes occasional private and semi-private tours of the Chateau-Thierry area for a morning of war touring followed by an afternoon of champagne winery touring.

See Chateau-Thierry area’s official tourist site for information about sights, activities and commemorative events in the area. The tourist office occupies the ground floor of the France-America Friendship House.

© 2018, Gary Lee Kraut

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The opening this year of the Camille Claudel Museum in Nogent sur Seine, 65 miles southeast of Paris, not only brings the sculptor out of the shadows of her teacher, lover and nemesis Auguste Rodin, it also shines light on Claudel’s work as a talented and innovative sculptor of the late 19th and early 20th centuries in her own right.

In an interview with Janet Hulstrand for France Revisited, Camille Claudel’s great-niece, Reine-Marie Paris, one of the driving forces behind the museum’s creation, explains how she came to appreciate Camille Claudel’s work and to understand the mental illness that caused her to destroy much of her own work and led to her eventual confinement in a series of psychiatric institutions, where she spent the last 30 years of her life.

Reine-Marie Paris is an art historian and the author of a number of books on the life and work of Camille Claudel (1864-1943).

This original interview, conducted in French, has been translated by Janet Hulstrand.

Janet Hulstrand: When did you first learn that your great-aunt was a famous artist? Or was she not really so famous when you learned about her for the first time? What did you learn about Camille Claudel, growing up in your family?

Reine-Marie Paris: My first encounter with Camille Claudel, my great-aunt, was, you might say, somewhat accidental. In fact, until I was a married woman no one in the Claudel family—my grandparents, my uncles and aunts, my mother, no one ever mentioned her in front of me. Later I understood that the subject was taboo, because bringing it up might reignite an old argument about her internment in a psychiatric asylum, which was considered abusive.

My earliest memory of her work goes back to when I was 10 years old. I was returning from a swimming lesson not far from the home of my grandfather, Paul Claudel, on the Blvd. Lannes, and I stopped to visit my grandmother. There, on the chest where she had put the cookies for my treat, was La Petite Chatelaine in bronze. I couldn’t take my gaze away from this little girl, who seemed to me to be lost, facing the mysteries of life.

My curiosity about the artist who had created this sculpture wasn’t awakened until much later, when a dealer specializing in Art Nouveau objects asked me if I would be interested in acquiring some of the work of Camille Claudel. From that day on, I have never stopped being interested in her life and work. Is it because of familial devotion? It’s not only that. The objects I bought from the dealer seemed to me to express a kind of beautiful melancholy. I decided to plunge in blindly and to learn whatever I could about the personality of this great artist, who was so little known.

JH: When and why did you decide to study the work of Camille Claudel and to learn about her life?

RMP: Once again, it was by chance. I encountered the historian Jacques Cassar who, in his pioneering work, had come across the name of Camille Claudel while doing research on Paul Claudel. It was he who put me on my path of exploration and gave me my first questions to research. His first work on Camille Claudel should have been signed by the two of us, but he died, putting an end to our joint efforts.

Initially my work consisted of putting together documents I found scattered among the innermost depths of libraries, museums, family archives, psychiatric hospitals. I was able to read Camille’s letters, so filled with terrible suffering. I was also given permission to consult her medical records, and I was able to feel, almost physically, her pain, a pain without hope of healing—30 years with no visitors except those of her brother Paul, and two visits from her English friend Jessie Lipscomb. In a word, a living hell.

JH: The story of Camille Claudel’s life is very dramatic, even tragic. There is also some controversy as to the way her life unfolded, who was responsible for what happened to her. There have been accusations leveled against Auguste Rodin, and also against your grandfather, her brother, Paul Claudel. Knowing what you know about her life, both as a member of the Claudel family and as a historian who has dedicated many years to learning about her life and her art, what would you like people to know about her? What misunderstandings or false ideas would you like to have corrected?

RMP: Who was responsible for her situation? It’s a good question. Was it her family? Her brother? Society? Rodin?

Camille is considered to be an artiste maudite. Her work gives evidence of the drama she lived. From the age of eight, she sculpted her dreams, and her heroes—Bismarck, Napoleon. She was drawn to them because of their strong character and because of the powerful feelings they inspired. As her mother’s least-loved child, she enclosed herself in a shell to defend herself, to allow herself to escape into a life in which she could fight the injustice of which she saw herself as a victim.

Her father, Louis-Prosper, protected her for as long as he was alive: he paid her rent, her expenses, collected unpaid invoices for the work she sold, in short, he did what he could, all the while treating her as a raving madwoman. Her mother preferred her sister Louise, who was destined to lead an ordinary life as a wife and mother. And Louise resented her.

Her brother Paul’s feelings for her oscillated between admiration and repulsion. As a child he was fascinated by this older sister, so beautiful, so intelligent, so authoritarian that he couldn’t escape the orders she was always giving him: he would pose for her for hours, bring her the clay she needed for modeling, and if ever he balked at her commands, there were endless battles. And yet, he loved the escapades they had together at a place called “Le Geyn” a sort of rocky promontory that reminded him of Wuthering Heights.

For Paul, Camille was his first image of woman, his model of femininity, “the promise that can’t be kept.” For Paul Claudel, as for Baudelaire, “all loved ones are vessels of bile that one drinks with closed eyes.” When he discovered that Camille had betrayed him in a sense, by becoming Rodin’s mistress, and especially after she admitted to having had an abortion, which he considered the worst of crimes, he rejected her as if she were diseased. He would portray her in his play La jeune fille Victorine as Victorine-Camille, a lepress. To a journalist he once said, “Oh, my sister Camille, that’s a subject that it’s difficult for me to talk about: the pain, the spectacle of this magnificent personality, and the failure that condemned her.” Later he would speak of her with remorse, and regret for not having done everything for her that he could have done. But for him, the main one responsible for Camille’s fate was Rodin. Rodin took everything from her: she gave him everything and got back nothing. I think so too. In return for all she gave, all she got was misery, poverty, solitude, despair–and in the end, 30 years in the obscurity of a psychiatric asylum.

Was it society? Camille was born too soon. In our day she would have known success as a woman and as an artist. Nevertheless, in her day, among her peers she was recognized and admired. Some critics referred to the “glow” of her genius, others simply said that she was a genius, Octave Mirabeau for example. He was indignant after having admired her Causeuses at the Salon. “And who is not left on their knees before such an artist?“ he asked. “If we were living in another time, a woman like Mademoiselle Camille Claudel would be covered with honors, and well rewarded.”

As for Rodin? As I said above, I think that he was partly responsible for Camille’s downfall, because he didn’t understand her, because her character was too strong for him, and because, consciously or unconsciously, he was afraid that she might surpass him, which I think she did in some of her works. I believe strongly that Sakountala is more powerful than l’Eternelle Idole, that Clotho is more interesting than La Vieillesse. I also think that Camille stayed far too long in Rodin’s studio, that she didn’t know how to rid herself of her anti-Rodin obsessions, and that art didn’t save her.

JH: Can you tell us a little bit about the new Musée Camille Claudel in Nogent sur Seine? Were you involved in its creation, and if so, how?

RMP: The opening of the Musée Camille Claudel is a miracle: now her work can finally be presented to the whole world. It’s a beautiful, light-filled museum in the center of Nogent sur Seine, this small city that was home to the Claudel family for three years (1876-79), a period that was crucial in the launching of Camille’s career. She is not the only artist featured in the museum: her works are surrounded by those of her first teacher, Alfred Boucher, who was a discoverer of talents and founder of la Ruche, and of Paul Dubois, who once made a prescient remark to Camille: “Have you studied with Monsieur Rodin?”

For a long time I had the idea of creating a museum dedicated to the work of Camille Claudel. I had spoken about it in the 1980s with Michel Baroin, who was then mayor of Nogent. He agreed with me that this would be a good idea. Time went by, and the idea eventually took hold. In 2003 Gerard Ancelin, who was mayor of Nogent for 25 years, and is passionate about sculpture, organized an exhibition of her work. It was a resounding success, even though Nogent is an hour away from Paris, and the weather was snowy and cold. More time went by, and then finally, in 2008, Gerard Ancelin decided to launch the municipality of Nogent in a museum project, after hearing me complain once again, during my speech at the opening of a Camille Claudel exposition in Dijon, that it really was time to find a place to house the work of this artist. Along with Gerard Ancelin—who had the courage to launch this adventure by having the city and patrons of the arts buy the collection I had put together through the years, along with about a dozen works of art owned by Philippe Cressent—I finally had the satisfaction of seeing this museum created. Now her admirers can see La Valse, Le grand Persée, Les Danseuses, portraits of Rodin and of Paul Claudel, and all this in an enchanting space, neither too big nor too little, the jewel of a small city rich in artistic and literary history.

JH: How much do you think things have changed for women artists since the end of the nineteenth century, when Camille was trying to make her way as a sculptor? What still needs to change?

RMP: I don’t know if women artists have more of a chance today than at the end of the nineteenth century, but they certainly have more freedom. I only know one woman sculptor, really talented, who is climbing bit by bit, step by step, the ladder of success. But I am sure there are others who are practicing this art, in principle so unfeminine, but so enriching for those who have the will, the courage, the determination that it demands, to arrive at the desired result.

JH: If you could somehow, magically, be able to say something to Camille Claudel, and she could hear you, what would you want her to know?

RMP: If somehow, by magic I could communicate with Camille, I would say to her, “You’ve given me lots of trouble, lots of work, many worries, but also many joys. For these joys I thank you, and I hope that you for your part you would want to thank me for having paid you the homage you deserve, as one of the great sculptors of the nineteenth century, along with Rodin and Bourdelle. Who, according to their own testimony, saw in you nothing but an equal.”

Musée Camille Claudel, 10 Rue Gustave Flaubert, 10400 Nogent-sur-Seine. Closed Mondays April-October, Mondays and Tuesday November-March. Nogent is 65 miles southeast of Paris. Trains run frequently from Gare de l’Est and take about an hour. The museum is a 10-minute walk from the train station.

Janet Hulstrand is a writer, editor and teacher of writing and literature who divides her time between France and the United States. She writes the blog Writing from the Heart, Reading for the Road.  Other articles that Janet Hulstrand has written for France Revisited can be found here. 

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By Janet Hulstrand

1880: On the Rue St. Georges in Paris’s 9th arrondissement, a painter of growing renown in both avant-garde and fashionable circles is having lunch at the crémerie where he often takes his meals. At nearly 40 years of age he is finally beginning to make his mark in the art world: his painting of Madame Charpentier and her children made a splash a year earlier at the Salon of 1879, which has provided needed income; and his other work, experimenting with new techniques of painting en pleine aire, is going well too.

He sees a pretty young woman enter the place with her mother. He sees in her instantly his ideal type: not too thin, rosy-cheeked, and with skin that “takes the light.” He introduces himself—his name is Auguste Renoir—and asks her if she will model for him….

The young woman, Aline Charigot, 21 years old, was from the village of Essoyes in the deep south of the Champagne region, near its border with Burgundy. She had begun her life in this village as an abandoned child: her father had walked out of their home one night before she was two years old and never returned to the family, leaving her mother without any means of support. Unable to pay the rent, or to provide for her child, the mother, like so many other poor women in rural France at the time, left for Paris to earn her living as a seamstress, leaving Aline with relatives, who would raise her. At age 15 Aline joined her mother in Paris and began to learn her trade. And that is when she met the man, the artist, who would change her life.

Aline accepted the invitation to model for Renoir and shortly after, they became lovers. In 1885 their first child, Pierre, was born. As the years went by, Aline made two significant requests of Renoir. One was to make their union legal by marriage. The other was to buy a home in Essoyes, the village where she had grown up.

He had no objection to the first request: by this time in his life he was ready to settle down. And so the marriage was performed in the district hall of Paris’s 9th arrondissement on April 14, 1890.

However, he was much less enthusiastic about the idea of spending much time so far away from Paris, the center of the art world, as well as the place where he had spent most of his life. Essoyes, today just 2½ hours away from Paris, was at the time a long and tedious journey, first by rail, then by horse-drawn carriage, that would have taken most of a day.

But eventually Aline’s entreaties won him over, and her dream of living a bourgeois life in her hometown came true. They initially rented a small house at the edge of the village during the summer of 1888, for a stay that lingered into the fall and even through the end-of-year holidays. In time Renoir became very fond of Essoyes, of the butter, the wine, the bread made there, declaring it superior to that in Paris. He said he loved being among the winegrowers “because they are generous.” He painted portraits of his family, of villagers, of the surrounding landscapes. The family was still spending much of the year in Paris, but from the late 1880s they began to regularly spend summers in Essoyes, the boy playing, the painter painting, the wife cooking. (She became famous among his artist friends for her culinary skills, in particular for her bouillaibaisse.)

Gabrielle Renard

By now, in his early 50s, Renoir’s work was selling well: he had achieved middle-class respectability, a position he balked at, but his wife took comfort in. By the time their second child, Jean, was born in 1894, they were able to hire a nanny, and Aline, now Madame Renoir, looked to her home village, and her family, for an appropriate person to fill this role. She found her in Gabrielle Renard, a young cousin living in Essoyes.

Like Aline, Gabrielle had not had an easy start in life: her mother was a widower who became pregnant out of wedlock, which subjected her to the disdain and disapproval of many villagers and even caused her own family to take her two older children away from her. So for Gabrielle too, the connection with Auguste Renoir would become a means of escape: she traveled and lived with the family in Paris, and later in Cagnes-sur-Mer, a town along the Riviera where the family would winter. Gabrielle became one of Renoir’s favorite models, the subject of literally hundreds of his paintings and drawings, including some of his most famous portraits—and a lifelong, dearly beloved maternal figure for Jean Renoir.

In 1896, the Renoirs bought the first home they had ever owned, on the edge of Essoyes. A two-story home with an open courtyard facing the street, and a spacious garden at the back of the house, this house became the center of the domestic life Aline had craved and Renoir scarcely knew he wanted but did appreciate when he had it.

For Jean Renoir, the second son, a filmmaker, the time spent in Essoyes became a kind of idyllic memory that he treasured all his life. “Essoyes, where my mother was born, has remained more or less unspoiled,” he wrote years later. “There is no other place like it in the whole wide world. There I spent the best years of my childhood…Every summer we would go back. My mother would invite friends and surround Renoir with this life that he loved so much…”

Ambroise Vollard, who became both the dealer and a friend for Renoir, as well as the dealer for many of the other artists in his circle, also recognized the importance of the ways in which Aline provided support to the artist in her own simple way. “I wonder if it is generally known that it is largely due to his wife that Renoir painted all his wonderful still lifes of flowers,” he wrote. “She knew what pleasure it gave him to paint flowers, but she realized that the trouble of going to get them was too much for him. So she always had them about the house…”

Jean also saw how important his mother was in his father’s life, and how well she understood him: “With her intuitive, rustic understanding, she saw that Renoir was made for painting the way vines are made to produce wine…” he wrote.

At first Renoir painted in a ground floor studio in the house. Nine years after they purchased the house, he built a studio at the far end of the garden, further evidence of their growing roots there. He built the studio, he said, so that he could paint “without disturbing the children at their play.” It was in this studio that he also worked on his first sculptures. Of course many of the works he did in Essoyes began en pleine aire. (Today several of those spots are marked with easels displaying reproductions of the works he painted there.)

Though by now he loved being in Essoyes, the damp climate in Champagne, with its cold winters, was not good for his increasingly severe case of rheumatoid arthritis. By 1907 his doctor had ordered a move to the South of France, and the Renoirs found a place in Cagnes-sur-Mer, where the the family began spending their winters in 1908. It was in Cagnes that Gabrielle met her future husband, Conrad Slade, an American painter. During the Second World War the Slades moved to the U.S., and in 1955, after her husband died, Gabrielle moved to California to be near Jean Renoir, who had also moved there during the war. They maintained a close relationship for the rest of Gabrielle’s life. “She taught me to see the face behind the mask and the fraud behind the flourishes,” said the filmmaker whose work shows great insight into both.

While they continued to spend time in Essoyes when they could, both of the Renoirs died on the Riviera: Aline in Nice in 1915, and her husband in Cagnes-sur-Mer in 1919. And though they were originally buried in the south of France, their remains were later returned to Essoyes for burial, in accordance with their wishes. Now they and all three of their sons, and some of the sons’ children and wives, are buried in the village cemetery, just a short walk away from the painter’s studio.

All three of the Renoir sons became artists: Pierre, a well-known actor of screen and stage; Jean, the director of La Grande Illusion and La Règle du Jeu, among many other films; and Claude, the youngest, a ceramist.

The house in Essoyes remained in the Renoir family and was used by Sophie Renoir, a granddaughter of Pierre Renoir, and her family until 2012. She then sold it to the municipality of Essoyes, which purchased the property in order to turn it into the centerpiece of Du côté des Renoir, Essoyes’ homage to the family. Renoir’s studio opened to the public in 2011: there is also a small but informative interpretive center next to the village hall.

Images of Aline and her young cousin, Gabrielle are prominently displayed in the streets of Essoyes. Several murals in the village reproduce Renoir paintings in which they appear: one, a portrait of Gabrielle and Jean Renoir as an infant, is on the site of Gabrielle’s birthplace.

The Year of Renoir

In honor of the public opening of Renoir family home on June 3, Aube, the department or sub-region in which Essoyes is located, has designated 2017 as the Year of Renoir. One of the major events is an exhibition entitled Un autre Renoir (Another Renoir) presented at the Museum of Modern Art in Troyes from June 17 to September 17 featuring portraits of the Renoir family and of Gabrielle, along with landscapes of the region.

Several Renoir works, on loan from museums in Bordeaux, Rouen, and Cagnes-sur-Mer, will be displayed in the Renoir home during the summer months. A weekend celebration called “Essoyes à la Belle Epoque” will take place on July 22 and 23.

Throughout the summer Bernard Pharisien, a local historian, will lead free walking tours of the village Sat., Sun., Mon. and Tues. mornings, in French only. Tours in English can be arranged for groups of 12 or more by writing to groupes.renoir@gmail.com

Champagne

The names Essoyes and Aube might be off the radar to most travelers, but the wines of champagne certainly aren’t. Indeed, Essoyes is one of the villages within the Côte des Bar growing area for champagne grapes. Visitors have the possibility to visit small grower-producers in Essoyes, as well as producers, from large champagne houses to small producers, in the surrounding area.

Getting to Essoyes

Essoyes is a 2 ½ hour drive from Paris. Troyes is an hour and a half train ride from Gare de l’Est in Paris: from there Essoyes is just under an hour’s drive southeast, through vineyards, fields of rapeseed and wheat, and beautiful rural villages. Trains run frequently from Paris’s Gare de l’Est to Troyes: some trains continue on to Vendeuvre sur Barse (one stop beyond Troyes) and Bar sur Aube. In Troyes you can rent a car from Hertz or Enterprise, both located near the train station (check opening times of rental agencies before purchasing train ticket). It’s also possible to take a taxi from Vendeuvre to Essoyes, about a 30-minute drive.

For further information

Essoyes Tourist Office: www.ot-essoyes.fr
Aube Tourist Office: www.aube-champagne.com/en/
Year of Renoir 2017: www.aube-champagne.com/fr/annee-renoir-2017/
Troyes Tourist Office: www.tourisme-troyes.com
Aube Champagne Growers: www.cap-c.fr

Another major art event in the department of Aube this year is the opening of the Camille Claudel Museum in Nogent-sur-Seine.

A Renoir Route that follows in the painter’s footsteps and naturally include Essoyes has been outlined as one of a dozen Impressionism Routes by the French association Eau et Lumière.

© 2017, Janet Hulstrand

Janet Hulstrand is a writer, editor and teacher of writing and literature who divides her time between France and the United States. She writes the blog Writing from the Heart, Reading for the Road. Other articles that Janet Hulstrand has written for France Revisited can be found here.

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* * *

The leaves have mostly fallen from the vines. Here and there small bunches of grapes, unripe at harvest time, remain. Sweet now but abandoned, they are the remnants of the pinots—noirs and meuniers—fermenting in vats of Olivier Belin’s champagne installation outside Chateau-Thierry, 55 miles east of Paris in the Marne Valley.

Further up the valley, the river flows into the heart of the champagne-growing area, past the town of Epernay and the Mountain of Reims. That’s the area that most travelers think of when considering a champagne wine excursion. Belin’s vineyards don’t lie within the border of the historic Champagne region, rather in historic Picardy, but the appellation for the world’s most evocative sparkling wine extends beyond the historic borders.

The western portion of the Marne Valley is primarily pinot meunier territory, the lesser known of the three major grapes of the overall champagne winegrowing zone. Meunier represents about one third of the wine that is assembled in various proportions into making champagne. It is often described as the workhorse grape, pulling the plow to add body for the more refined chardonnay (30% of the growing area) and the more noble and familiar pinot, noir (38% of the growing area). To hear some producers in the Reims-Epernay area speak of pinot meunier you’d think that they were embarrass to be pressing it at all, though press it they do. Given little respect as a grape on its own, meunier is the Rodney Dangerfield of champagne grapes.

Yet in this portion of the Marne Valley, within 10 miles east and southwest of the town of Chateau-Thierry, where 70% of the vines are pinot meunier, meunier holds its head high. Rather, its growers hold their heads high. Among them are the 40 grower-producers that form an association of Marne Valley winegrowers called the Association des Ambassadeurs du Terroir et du Tourisme en Vallée de la Marne, of which Belin is co-president.

“We are artisan winegrowers,” says Belin. “But that doesn’t mean that we’re tinkerers. Our cellars aren’t necessarily beautiful but it’s the work of the winegrower that one visits here.”

Indeed, this not zone of the sprawling chalk cellars, some of them medieval, even Roman quarries, as one can visit in the city of Reims. This is not the zone of vast underground installations as found in Epernay. This is not a zone of grand cru and premier cru vineyards. For the few (if growing number of) American visitors to this portion of the Marne Valley, the Chateau-Thierry area is less known for champagne than for the WWI battleground of Belleau Wood and the Aisne-Marne American Cemetery beside it. A tremendous American Monument overlooks the point in the valley where the German thrust of 1918 was stopped. The monument also overlooks a slope of champagne vineyard. So a taste of champagne or a deeper initiation into sparkling wine can be combined with war touring in the area.

Fact and figures about Champagne production and consumption

For the American consumer, selecting a champagne comes down to considering the labels of four or five brands, perhaps a few more at your more Francophile wine shop. Yet the champagne winegrowing region is home to 15,800 grape growers and 12,000 brand names. Only a handful of brands, those with large advertising budgets, reach most states of the union, though over the past decade medium and small houses and grower-producers have slowly been making their way into major markets.

More than half (52%) of all champagne is consumed in France. That doesn’t mean that the French are more festive than others, rather that champagne isn’t reserved for festivity in France but also serves as an aperitif at many gatherings, both casual and formal, social and festive. While bottles are available in a wide price range, there are plenty of worthy champagne available at under 30€, including a significant direct producer-to-consumer market offering good value bubbly for under 20€, as is the case of many of the champagne produced in the Marne Valley.

Even in France Marne Valley champagne is little known. Most people are unaware that the growing area extend this close to Paris, this close to brie cheese territory. Nevertheless, some of the grapes from these vineyards go into well-known labels. Belin, for example, sells a portion of his harvest to négotiants manupulants who buys grapes, juice or wine to make champagne on their own premises that they then market under their own label. All of the major champagne houses work that way. They may own some vineyards but need far more grapes than their own can provide.

Belin himself is a récoltant manipulant or grower-producer, meaning that he makes champagne on his own premises from the grapes of his own vineyards and under his own label.

The third major type of player in the wine business is the cooperatives, which produce champagne collectively, then sell them under a collective or individual label. There exist in the growing region 320 champagne houses and 39 cooperatives along with an astounding 4461 grower-producers, according to the Comité Champagne, the champagne trade association.

Last year, the U.S. ranked second in champagne’s export market (20.5 million bottles) after the U.K. (34.2 million) and before Germany and Japan (just under 12 million). Meanwhile, there are currently about 1.4 billion bottles in storage in the region.

Those are impressive numbers, but the most telling indicator of the difference between the French and the export markets is that in France 43% of champagnes bottles sold are produced by grower-producers or cooperatives whereas in the export market only 13% comes from those players. In other words, you’ll likely need to travel to discover them.

Champagne Gérard et Olivier Belin

As is often the case with small producers, Belin’s father and grandfather were grape farmers, selling their crop to others. His father, Gérard, then began selling champagne through a cooperative before producing champagne from his own grapes, under his own name. Having trained as an oenologist, Olivier began making wine with his father in 1997: tending the vines, harvesting and pressing, assembling wines, dosing sugar. He took firm hold on the reins of the business about five years ago while he continues to consult his father for his opinion whether in his vineyards or in the cellar. The label of Champagne Belin indicates both names. Olivier’s wife Katty is also involved in the family business.

Olivier Belin’s grandparents owned four hectares (just under 10 acres), to which his parents added two more. Belin now produces about 40,000 bottles per year, 60% of which he sells directly to consumers. The average grower-producer in the area makes about 20,000 bottles per year. Altogether the association’s members produce about one million bottles per year. That’s a drop in the champagne bucket consider that 310 million bottles were sold in 2015 for the entire winegrowing region. (Overall, Marne Valley vineyards represent about 10% of the overall champagne vineyard zone.).

With a hectare of champagne-grape vineyard now selling for 1-1.2 million euros, grape growers may be sitting on a gold mine, but it isn’t land wealth that one encounters in the area, rather the work and passion of these grower-producers.

To visit Belin’s installations and taste his sparkling wines in his little tasting room is to glimpse the passion of an artisan involved in his product from start to finish and from tradition to renewal. It’s the opportunity to understand the choices that winegrowers make in producing their product range. Belin, for example, appreciates the use of some oak barrel aging in his assembly. The men and women in the winegrowers association that Belin co-presides may not be tinkerers, but in encountering several of them it becomes clear that they enjoy the occasional risk of the fiddling with their grape juice, such as to create “micro-cuvées” of only a few thousand bottles.

Belin’s champagnes and those of many other winegrowers in the Marne Valley are proof that proper champagnes for celebration or for a friendly aperitif can be found for under 22€. However, it isn’t so much the price of champagne that makes visiting these local worthwhile (though Paris residents might want to take the opportunity to stock up) but the opportunity to discover the humanity behind the production of a world’s most famous sparkling wine.

Furthermore, there’s a fascinating diversity of champagnes produced in the Marne Valley, within their natural reliance on pinot meunier. On a daytrip from Paris—and certainly one can stay longer—the wise wine traveler will visit two or three winegrowers over the course of the day or the afternoon (if combined with war touring) to appreciate the diversity of approaches in the area.

Champagne Marteaux

A bench on the hill above the village of Azy-sur-Marne, four miles southwest of Chateau-Thierry, offers a view of the amphitheater of fields surrounding the village. This one of the prettiest views in the valley, though few come this way. It isn’t the view that might lead a traveler here so much as a visit to winegrower Olivier Marteaux.

Previously, polyculture was a way of in the area; farming meant wheat, corn and beets. Those crops are still grown in the area but vineyards is what one most notices when driving through the valley.

Olivier Marteaux’s ancestors were polyculture farmers until the 1950s. His grandfather then developed a wine nursery, selling young vines to grape farmers. In the 1980s the family began keeping their vines so as to grow grapes themselves. They made champagne with the local cooperative before eventually using their grapes exclusively for their own production. With 9 hectares (22.2 acres) of vines—65% pinot meunier, 20% chardonnay, 15% pinot noir—Marteaux currently produces 40-50,000 bottles per year.

Marteaux concocts what might be called connoisseur’s champagnes in the sense that they provide a deep, rich taste of terroir that one doesn’t always associated with bubbly. His vintages have been aged for at least six years prior to disgorgement and typically have low sugar content, such as the 2008 extra brut with 2 grams of sugar for a wine that’s 60% pinot meunier, 20% chardonnay and 20% pinot noir.

Among his four types of champagne he makes a rose de saignée, 100% pinot noir from a single parcel. Its tart fruitiness of Marteaux’s rose may not reflect what we’re accustomed to a rose champagne, but it is a taste that will give the wine-curious traveler a sense of the variety available in champagne wines in general and in the Marne Valley’s in particular. A 100% pinot noir champagne is a rarity in these parts and it’s interesting to compare Marteaux’s rose with Belin’s rosé de saignée, which is 100% pinot meunier.

Saignée is the more erudite way of producing rose since it requires precise pressing in order to obtain the proper color from the skin. In champagne production the preferred and allowed method for making rose is by adding red still wine (from pinot meunier or pinot noir) in assembling the wine so as to adjust the color along with the taste. Belin also makes a rosé d’assemblage. More than 90% of rose champagne gets its color that way.

Marteaux’s wife Laetitia if fully involved in the business, just as is Katty Belin is involved in the Belin family business. These are truly family affairs, which is the case of the vast majority of members of the local winegrowing association.

The Champagne et Vous wine festival

A great opportunity to meet producers on an easy daytrip from Paris is at the annual wine festival Champagne et Vous (Champagne and You) organized by the Marne Valley winegrowers association. The weekend festival takes place in late October in Chateau-Thierry on the site of the ruins of Thierry’s chateau. It’s a largely local event that invites the area’s population to understand the role of winemaking in the local economy and affirm the place of these grower-producers in the champagne-making landscape.

See Champagne et Vous for further information about the festival including portraits and addresses of participating winegrowers.

Addresses and further information

Champagne Gérard et Olivier Belin
30A Aulnois
02400 Essômes-sur-Marne
Tel. 03 23 70 88 43

Champagne Marteaux
6 Route de Bonneil, 02400 Azy-sur-Marne
Tel. 03 23 82 92 47

The Chateau-Thierry Tourist Office, situated near the House of France-America Friendship (see this article) can help those travelers who arrive with any prior appointments but would like to make last-minute arrangements to visit Marne Valley winegrowers.

For further information about war touring and other sights in the area, also see this article on France Revisited.

A B&B and lunch suggestion: Chateau de la Marjolaine
Two miles southwest of Chateau-Thierry, Jean-Pierre and Bruno have transformed this manor house by the river into an attractive B&B, restaurant and champagne bar.
27 Hameau d’Aulnois
02400 Essômes sur Marne
Tel. 03 23 69 77 80 or 06 60 39 98 79

© 2016, Gary Lee Kraut

The post Wine Travel: Respect for Pinot Meunier in Marne Valley Champagnes appeared first on France Revisited - Life in Paris, Travel in France.

Even before you travel you can benefit from some GLK Travel Therapy to get you over the humps of planning your travels in France.

When you’re suffering from a case of Paris-envy, Francophilia, Normandy-mania other regional-minded afflictions, a session or two of GLK Travel Therapy by phone will help lay the groundwork for a worry-free trip. GLK Travel Therapy is also the perfect tailor-made travel gift for your traveling loved-ones.

How do you know if you need GLK Travel Therapy?

Some of the symptoms to watch for:
– You’re restless.
– Your minds wanders frequently to thoughts of Paris and elsewhere in France.
– You’ve been spending hours searching for travel ideas about France rather than doing something useful such as improving your French vocabulary.
– You believe that you have to visit Paris exactly the same way that a friend of yours from work did years ago even though you have nothing in common.
– You dream of food (cuisine, you’d call it)
– You imagine yourself surrounded by great monuments, wandering through unknown neighborhoods, pressing your nose against pastry-shop windows.
– You imagine setting down not to food but to cuisine.
– You see yourself as “belonging” in the heart of café culture.
– You’d rather plan a rendez-vous than any ordinary get-together.
– You panic at having choose between Normandy, the Loire Valley, Provence, the Riviera and all those other places you’ve read about on France Revisited.
– You speak of burgundy as though it were more than just a color.
– You say “baguette,” “boutique,” “macaron” and “champagne” as though no English words for them exist.
– You frequently long to be wished “bon voyage” and to wish others “bon appétit.”

If you or loved one has two or more of these symptoms then you/he/she may have a case of case of Paris-envy, Francophilia, Normandy-mania other regional-minded afflictions that could benefit from GLK Travel Therapy.

The best self-help a traveler can get

A session or two of travel therapy with moi, Gary, Paris’s premier travel therapist (and the editor of your trusty and uncommon web magazine France Revisited).

Your therapy session(s) will take place by phone when I call you from Paris (or wherever I may be) whenever you feel a bout of Paris-envy or Francophilia coming on. That typically occurs in the weeks or months before you travel abroad but could be a matter of days.

As a professional, I’ll help you turn the dreams of your visit to Paris and/or your travels in France into an exciting and delicious reality by providing the advice and the self-help tips that will enable you to:
– plan your itinerary,
– choose the lodging and the restaurants that are right for you,
– understand the logistics of your upcoming trip, and
– make the most of your vacation time.

I’ll further provide you with personalized tour ideas, child-friendly travel advice and other discreet remedies not found on WebMD.

A 50-minute phone session

As a France specialists, I recommend starting your travel therapy before entering the hellish spiral of spending countless hours searching online for tours, hotels, restaurants and itineraries and before letting your friend who once spent three days in Paris five years ago tell you exactly how you should live your dream of travel abroad.

Treat yourself (or your friends or loved ones) to a 50-minute session of travel therapy with Gary for only 65 euros.

If you or they have got a severe case of Paris-envy, Francophilia or multi-region-fantasies, consider purchasing two sessions for 120 euros.

And for that special someone on your holiday list, humor their Paris fantasies by offering them one of the unique and personalized tours listed here.

Get informed and you’ll suffer no longer from indecision

So don’t just sit back and suffer (or let your loved ones suffer) from Francophilia or Paris-envy or Normandy-mania and other regional-minded afflictions. Get on track to the trip that’s right you with a session or more of GLK Travel Therapy with me by phone, or in person. Yes, you or they can have travel therapy in Paris over café or wine.

Write to me personally at gary [at] francerevisited.com to arrange a session of travel therapy or to purchase a travel therapy gift certificate for your friends who may be suffering from Paris-envy.

Be kind to yourself, get travel therapy with a professional Paris-based travel specialist.

Gary

Gary Lee Kraut
Editor, journalist, travel therapist
gary [at] francerevisited.com

The post Professional Travel Therapy for You, Your Friends and Your Loved Ones appeared first on France Revisited - Life in Paris, Travel in France.

Château-Thierry, 55 miles east of Paris along the Marne River, benefited from the dedication of Reverend Julian Wadsworth, delegate of the Board of Foreign Missions of the Methodist Episcopal Church, and his wife in their efforts to honor the memory of fallen soldiers while assisting residents of Château-Thierry and the surrounding villages.

This is an area where American forces played a significant role along with our British and particularly French allies beginning in the spring of 1918 in countering the final major German offensives and pushing them back and to eventual surrender and signature of the armistice of November 11, 1918. The following October, the Wadsworths purchased the shell-ridden Hôtel de l’Elephant in Château-Thierry in order to create what Julian Wadsworth would refer to as “a war memorial” and “a community house of friendliness.”

Known as the Maison de l’Amitié Franco-Américaine (MAFA), the House of French-American Friendship, it provided day care and nursing services, a free circulating library and reading room, a war museum, tech instruction in the use of wireless telegraph and radio-telephone, the organization of Boy Scouts and Camp-fire girls and a social club for girls, while also supporting cultural exchanges and events in English and in French.

The MAFA “afford[ed] an ideal opportunity for closer acquaintance and the making of abiding friendship between the American, English and French peoples,” according to a pamphlet produced under the direction of Wadsworth in 1925. Entitled “A War Memorial: A Community House of Friendliness,” the pamphlet explains:

“Already the French Government had asked the Methodists to aid with relief for the refugees who were returning to the devastated homes. Thirty-two villages were assigned to them. It was while thinking of the aid which the Board of Foreign Missions in New York had offered for the devastated areas of France that the thought came of enlarging this temporary material assistance and making a more enduring monument which would a Memorial worthy of the soldiers whose graves are in France. The gift of the Methodist Episcopal Church to Château-Thierry should be more than a passing gift of material relief. It should be an enduring monument of happiness, built out of the desolation of war. It must be a loving service for those who are still living in the war-scarred villages of the Valley of the Marne.” (The full text of that brochure can be found here.)

In 1930 the Wadsworths donated the MAFA to the city. While it continued its vocations for decades, its increasingly dilapidated state led it to being closed in 2000.

This year, on the eve of its November 11 Armistice Day / Remembrance Day / Veterans Day commemorations, the town of Château-Thierry inaugurated a new building on the same location, now calling it Maison de l’Amitié France-Amerique (translated on the plaque by its entrance as the House of France-American Friendship). The square out front had long been re-baptized Place des Etats-Unis (Square of the United States).

While the new building doesn’t as actively serve the lofty goals of the Wadsworths’ original project of the 1920s, it nevertheless reaffirms Château-Thierry’s with the United States.

The inaugural ceremony was led by U.S. Ambassador to France Jane D. Hartley and Mayor of Château-Thierry Jacques Krabal, accompanied by local and regional dignitaries in the presence of about 200 Castelthéodoriciens, as citizens of the town are called.

Rather than recount the history of the war or the American involvement in 1918 in the Third Battle of the Aisne, the Battle of Château-Thierry and the Second Battle of the Marne, the MAFA houses on its second floor an exhibition focusing on the life and death of Quentin Roosevelt. Son of Theodore Roosevelt and his second wife Edith, Quentin was shot down by German planes at the age of 20 during aerial combat over France on July 14, 1918, 17 miles northeast of here.

Quentin and his brothers Ted Jr., Archie and Kermit all served in WWI. Quentin was originally buried by the German army in the village of Chamery, where his plane crashed. In 1955 his remains were removed to the Normandy American Cemetery, to be re-laid to rest beside those of Ted Jr., who fought in WWII. The oldest American soldier and highest ranking officer to land by sea in Normandy (Utah Beach) on D-Day June 6, 1944, Ted Jr. who died of a heart attack five weeks into the invasion.

For more about Quentin Roosevelt, read Quentin Roosevelt: The Most Famous American Killed in France in WWI.

The ground floor of the new MAFA is occupied by the Château-Thierry Tourist Office. For visitors who need logistical assistance or who arrive without firm plans for their day, it’s a good first place to stop in order to obtain information about war touring in the surrounding region. For more about sights and memorials related to the American involvement in WWI, including Belleau Wood, the Aisne-Marne American Cemetery, and the American Monument of Château Thierry see this photolog.

Happily, war touring in these parts can also go hand in hand with wine touring—and not just any wine but champagne. Though Château-Thierry is located in the administrative region of Picardy and the department of Aisne, 16 miles from the border of the Champagne region (actually called Champagne-Ardenne), its surroundings lie within the champagne appellation.

As indicated above the entrance to the MAFA, the Chateau-Thierry area represents “the gates to champagne.” The tourist office is therefore well armed to advise visitors on how and where to visit champagne producers within a 20-minute drive east or west along the Marne, and they can call ahead to make last-minute appointments with grower-producers. (An article about champagne producers of this portion of the Marne Valley is coming soon.)

Finally, in keeping with the MAFA’s historical role as a center for cultural exchanges and learning, there is a space for temporary exhibitions and a room where children can come to learn English.

The MAFA is not a destination in itself, but the starting point for further explorations in this once war-torn, still champagne-filled stretch of the Marne River.

With time and interest, one might take a stroll to see the admirable facades of the theater, city hall and food market on the town’s central square and to look up towards the ramparts of the chateau occupied over 1000 years ago by a certain King Thierry IV before the Counts of Champagne took control of the region. Some medieval ruins still remain behind the ramparts.

The town’s major historical sight, involving neither champagne nor war, is its Hôtel Dieu, the former central hospital with a rich collection of works received during its centuries as a religious institution. There’s also a museum dedicated to 17th-century fable writer Jean de La Fontaine.

For outdoor entertainment, an enjoyable, family-friendly birds of prey show takes place April-September beside the chateau ruins, where, among others, a North American bald eagle takes flight.

Maison de l’Amitié France-Amérique / Château-Thierry Tourist Office, 2 place des Etats-Unis, 02400 Château-Thierry. Tel. 03 23 83 51 14.

© 2015, Gary Lee Kraut

The post Château-Thierry Reaffirms Its Bond with the United States appeared first on France Revisited - Life in Paris, Travel in France.

1. Since 2014 marks the 70th anniversary of the D-Day Landing in Normandy and the Liberation of France by the Allied Forces as well as the 100th anniversary of the outset of the First World War, my most frequently requested lecture on this trip is on the theme of War Touring: Exploring Normandy and Other American War Memories in France.

In this lecture, I’ll explain how the American battle sites in France—from Utah and Omaha Beaches (WWII) to Belleau Wood and and the Somme (WWI)—and their surrounding areas can captivate Americans of all ages. I’ll describe how war tourism has evolved over time and speak of some of the fascinating Americans, French and others that I’ve had the pleasure of meeting and interviewing in and around the battle sites.

2.My second major lecture is entitled Understanding Patrimoine: The Key to Extraordinary Travels in France. In this lecture I’ll examine the notion of patrimoine, often translated as heritage, which is so deeply engrained in the consciousness of the French that it is applied to everything from cathedrals, chateaux, old mills and gardens to cuisine, wine culture, craftsmanship and horseback riding.

I’ll explain through history, anecdotes and examples from my own travels throughout France how understanding the pervasive concept of patrimoine, along with its sidekick preservation, is a major key to enjoying enriching, insightful and extraordinary travels in France.

3. I’ll also be speaking to several groups about wine tourism in France, particularly Burgundy and Champagne, regions that I know well from researching and writing about them and from organizing wine tours there.

The winter 2014 lecture tour schedule

Jan. 18, Yardley-Makefield Public Library (PA), 2pm. Subject: War touring.
Jan. 22, Alliance Francaise de Doylestown (PA), 10am. Subject: War touring. I’ll be delivering this lecture in French.
Jan. 22, Newtown Square Library (PA), 7pm. Subject: War touring.
Jan. 24, Princeton (NJ) Elks Lodge #2129, 7pm. Subject: War touring.

Jan. 27, Vorhees (NJ), private event with a local wine club. Subject: Wine touring.
Jan. 28, The College of New Jersey. , 7pm in the college library auditorium. Open to the public. Subject: War touring.
Jan. 30, Jake’s American Grille, 5018 Conn Ave NW, Washington DC, 6:30-8:30pm. My friend Janet Hulstrand, a writer and teacher who has contributed to France Revisited, organizes a Francophile/Bibliophile evenings in the DC area and has invited me to make informal presentation about travel and travel writing in France during this evening’s gathering, followed by Q&A time. If interested in attending contact Janet directly at janet.hulstrand[at]gmail.com.
Jan. 31, Alliance Française de Washington DC, 2142 Wyoming Avenue, NW, Washington DC, 7:30pm. Subject: Understanding Patrimoine.
Feb. 4, Rotary Club of Medford (NJ). Subject: Wine touring.
Feb. 5, Mid-Manhattan Library (6th floor), 455 Fifth Avenue, NYC, 6:30pm. Subject: Travel and Travel Writing Beyond the Clichés: In Search of the Perfect Travel Moment. See the library’s events calendar for details.
Feb. 6, Lawrence Library (NJ), 7pm. Subject: War touring.
Feb. 7. Princeton Library (NJ), 7pm, followed by a Burgundy wine tasting at CoolVines, a wonderful wine shop near the library. Subject: Wine touring in Burgundy and Champagne.
Feb. 16, Alliance Française de Raleigh-Durham-Chapel Hill (NC), 4pm. Subject: Understanding patrimoine.
Feb. 18, Alliance Française de Charleston (SC), held jointly with the College of Charleston, on campus. Subject: War touring.
Feb. 21, Alliance Française d’Orlando (FL), 7pm. Subject: Understanding Patrimoine.
Feb. 25. Pinecrest Library (Miami-Dade, FL), 11am. Subject: War touring.

The post Editor Takes France Revisited On the Road in the U.S. appeared first on France Revisited - Life in Paris, Travel in France.

* * *

Notre-Dame de Reims

The Gothic cathedrals of Europe were very much the skyscrapers of their time both for their reach to the sky and their intent to demonstrate the stature of the cities and of the bishoprics (a Roman Catholic cathedral refers to the church that is the seat of the bishop) in which they were built.

In 469 Clovis, King of the Franks, was baptized in Reims by Bishop-cum-Saint Remi. That fundamental consecration of the marriage of Church and King in France, is shown on the façade of Notre-Dame de Reims as it is in many other cathedrals in France. (The marriage was formally dissolved during the French Revolution. There were attempts at national therapy to patch things up in the 19th century, but for over a hundred years now the marriage has been declared over, with the separation of assets clearly identified by the law of 1905.)

In memory of the baptism of Clovis, it became firm tradition as of the 9th century that a king of France should come to Reims, 80 miles northeast of Paris, to confirm his divinely-inspired power over his kingdom and the Church’s intimate role in that power. That confirmation required anointing by a holy ointment kept in a holy vial. By the time this Notre-Dame was begun, in 1211, the construction of a cathedral in keeping with Reims’s stature and role as the site of royal unction was long overdue.

Since the coronation of Louis VIII in 1223, all but three of the French kings were crowned in this cathedral. Those three are: Louis VI, who received unction in Orleans in 1108 because he felt it would be dangers to travel to Reims; Henri IV, who was crowned in Chartres in 1594 because Reims was in the hand of his enemies; Louis XVIII, who returned from exile in England to become king in 1814 and for whom no coronation ceremony was held in France.)

The historical events surrounding the 1429 coronation of Charles VII in the presence of Joan of Arc, who’d heard voices telling her that that the king must quit cowering in the Loire Valley and assume his god-given role in France, is celebrated each year in Reims over the first weekend of June in an annual Joan festival called les Fêtes Johanniques. The major event of the weekend is the Sunday afternoon reenactment of the procession to the cathedral from Saint Remi Basilica, Reims’ other important and impressive architectural monument.

Visitors arriving by car will find that the frontal approach leading to Rue Rockefeller and then the vast square in front of the cathedral is regal indeed. American industrialist John D. Rockefeller got the honors of a street named after him in thanks for the enormous funding he provided in the 1920s to rebuild the cathedral which had been heavily damaged by bombardment during WWI. (Another sizable donation by the American industrialist Andrew Carnegie allowed for the construction of the beautiful Art Deco public library that’s near the cathedral.)

There are lots of 20th-century windows here because of war damage, including the bright blue windows that draws your gaze the far end of the cathedral when you first enter were created by Marc Chagall in 1974.

Unlike Chartres, where the cathedral is the destination, Notre-Dame de Reims often plays second fiddle to the town’s main attraction: its champagne houses. After all, Reims along with Epernay, 18 miles south, are the main centers for champagne production, with many small producers nearby along the slopes between the two towns. Millions of bottles lie fermenting in tunnels north and east of the cathedral. Those bottles will eventually see the light of day—or night—dressed in the labels of Taittinger, Pommery, Mumm, Ruinart, Veuve-Cliquot, and other champagne houses.

There’s no escaping the influence of bubbly in Reims, even in the cathedral, where a series of stained glass windows donated by the region’s winemakers show it being made as though a scene from a regional bible.

But the most joyful symbol of the marriage of Church and champagne is the smiling angel on the façade of the cathedral that has come to represent the city itself. It wasn’t created with sparkling wine in mind, yet no visitor now admires the angel without associating the two.

Like Chartres and Amiens, Reims also had a labyrinth on its floor, but it was removed by the Church in 1779. Nevertheless, its image, taken from drawings made when the labyrinth was in place, is now the French Ministry of Culture’s logo designating historical monuments.

Notre-Dame d’Amiens

The final spoke in these radiating Notre-Dames leads north to the Cathedral of Amiens, 80 miles north of Paris, which has the largest interior of all the medieval mastodons of France, twice as voluminous as its elder sister Notre-Dame de Paris.

Amiens is perhaps the most harmonious of these cathedrals because, following the destruction of a previous cathedral destroyed by fire in 1218, it was built in a relatively short period of 50 years, from 1220 to 1270, making this the rare cathedral that an individual might see started and consecrated during his lifetime.

Along with its architectural prowess, the cathedral reveals a treasure chest of biblical, spiritual, political, and local anecdotes in stone, wood, and glass, all in tip-top condition thanks to cleaning and restoration in the 1990s. That work brought to light evidence of the extent to which the sculptures on the facade were painted in the Middle Ages. We often think of these medieval churches as being the color of the naked limestone, but in fact they were highly colored. An impressive 40-minute sound-and-light show (after nightfall in spring and summer and again in December) projects estimates of the original colors on the façade. Reims and Chartres also have sound-and-light shows against the façade of their cathedrals.

For the quality and drama of its sculptural works inside and out, Amiens is a remarkable monument to the talents of 13th century sculptors. Among its most celebrated details are the cartoon-like images of Hell on the central door, the crying angel behind the choir that came to be dear to soldiers visiting during the First World War, and the Golden Virgin which has been brought inside from its original pedestal on the southern entrance, where a copy now stands.

By the time Amiens’ cathedral was underway, the French style of architecture had gone mainstream and was spreading throughout Europe; Gothic cathedrals then sprouted up in surrounding kingdoms and empires until the 15th century. Then new winds of architectural and artistic change, those of the Renaissance, began to blow across the continent, this time set in motion by Italy. Follow those winds on another architectural trip abroad.

Practical information for visiting the five Notre-Dames

The Notre-Dames of Paris, Chartres, Laon, Reims and Amiens are all open daily and free for all visitors. These cathedrals are designated as national monuments; they are property of and largely maintained by the state, with the Catholic Church having permanent use of them for religious purposes. Visitors can enter at all times during the day except in the case of special events. Portions designated for religious service may be cordoned off for those attending service.

Church policy requests modest dress, such as covered shoulders and skirts or shorts that aren’t too short, and men should remove any hats upon entering. But authorities are fairly relaxed about it these days. In any case, visitors should respect the fact that the buildings do have a religious function along with their secular appeal as historical monuments.

If traveling in spring and summer consider attending a sound-and-light show after nightfall at the cathedrals of Chartres, Reims and Amiens (whose show also takes place in December).

While you can visit any of those outside of Paris by radiating out from the capital, Amiens, Laon (to which can be added the Gothic Saint-Quentin Basilica between Amiens and Laon) and Reims can be visited in a driving tour of the regions north and northeast of Paris. These can be combined with explorations of WWI sites in the countryside, making for a fascinating two or three or four days of historical touring, ending with a glass or three of champagne in and around Reims. The central tourist offices of those towns can provide information about WWI sites (including those with an American and Canadian presence) and specialized tours in the surrounding area.

Paris: The official website of the Paris Convention and Visitors Bureau gives much practical information about visiting the city. The Catholic’s Church’s own information site about Notre-Dame provides details about the edifice as well as mass times, church-organized tours and concerts (the latter include free Sunday afternoon organ concerts which have been suspended during work on the instrument in 2012 and will resume in January 2013). Paris’s other great Gothic structure, the Saint Chapelle (Holy Chapel), the royal chapel of exquisite construction and mostly 13th-century glass, is just a few hundred yards from Notre-Dame in what was formerly a royal palace complex and is now the city’s judicial complex.

Saint-Denis: Saint-Denis Basilica, which is considered the first major structure built at the start of the Gothic era when reconstruction of its apse began in 1144, is located in the suburb/city of Saint-Denis, just north of Paris, and can be reached on metro (subway) line 13 at station Basilique de Saint-Denis. In 1966 it was also given the status of cathedral, so it is officially called the Basilica-Cathedral of Saint Denis. In addition to presenting extraordinary and luminous architecture, the basilica-cathedral contains dozens of royal tombs and funerary monuments since this was the traditional burial place of the royals of France. There is an entrance fee to visit the tombs and monuments. More information can be found here.

Chartres: 56 miles southwest of Paris; 1¼ hour by car; an hour by train departing from Paris Montparnasse Station; about $21 one way. In addition to its daytrip appeal, Chartres can be visited on the way to/from the Loire Valley or Brittany or as a detour to/from Normandy. Tourist information can be found here.  The church’s own website is here. A sound-and-light show takes place on the facade of the cathedral from April 20 to September 21.

Laon: 85 miles northeast of Paris; 2 hours by car; 1½-2 hours for direct trains departing every hour or two from Paris North (Nord) Station; about $30 one way. The Laon Tourist Office is beside the cathedral. Tourist officials have told me that few Canadians or Americans visit the town, so North Americans should stop into the tourist office while here and ask to be counted. Cathedral tours are worthwhile even when only in French because they give access to portions of the building that are otherwise inaccessible. Also see this photo reportage about Notre-Dame de Laon.

Reims: 80 miles northeast of Paris; 1¾ hours by car; 45-50 minutes by high-speed train (TGV) from Paris East (Est) Station; about $44. The tourist office is next to the cathedral and can provide information about visiting champagne house in the city. The church’s own website is here. A 25-minute sound-and-light show takes place at the cathedral certain evenings from June to September.

Amiens: 80 miles directly north of Paris; 1 ¾ hours by car; 70-100 minutes for direct trains leaving about every 1½ hours from Paris North (Nord) Station; about $29 one way. Amiens’ tourist information website is found here. Amiens projects a magnificent light show onto the façade of its cathedral. The last train back to Paris from Amiens leaves shortly after 8pm most days, though, so in summer you’ll have to miss either the show or the train. The 40-minute projection begins at 7pm during its December run, when Amiens’ Christmas market may add a bit of an attraction, so those willing to venture north at that time of year can catch part of the show before hurrying off to the station. Also see this article about Amiens.

© 2012, Gary Lee Kraut

The post Radiating from Paris: Our Glorious Ladies of Gothic Architecture (Part II: Reims, Amiens, Practical Tips) appeared first on France Revisited - Life in Paris, Travel in France.

April 16, 2019. In the wake of the fire that destroyed the roof and steeple of Notre-Dame to Paris, we republish this article paying homage to five glorious ladies of Gothic architecture, written in 2012 as Paris prepared the jubilee celebration honoring the 850th anniversary of the start of construction of the “new” cathedral of Paris.

As Paris prepares the jubilee celebration honoring the 850th anniversary of the beginning of construction of Notre-Dame Cathedral in 1163, France Revisited pays homage to that great Gothic monument at the center of the capital and to four other Notre-Dame Cathedrals within 100 miles of Paris. This article, of special interest to the historical and architectural traveler, is divided into two parts. Part I below concerns Notre-Dames of Paris, Laon and Chartres. Part II concerns Notre-Dames of Reims and Amiens and includes practical tips for visiting all five.

* * *

Think Notre-Dame and the great cathedral of Paris comes to mind. Notre-Dame (Our Lady) needs no last name; it refers first and foremost to the Gothic monument at the heart of the world’s most visited city.

Cathédrale Notre-Dame de Paris, to use its full name, is just one the great dames of Gothic architecture in northern France, the region at the hub of European religious architectural evolution in the 12th and 13th centuries and further restyling in the 14th and 15th centuries. Within a hundred miles of the French capital, four other Notre-Dame Cathedrals, each remarkable in its own way and each easily reached by train, offer the artful traveler their treasures of stone, sculpture and stained glass: Notre-Dame de Chartres, Notre-Dame de Laon, Notre-Dame de Reims and Notre-Dame d’Amiens.

Properties of the State, these monuments are now the heritage of secular France as much as they are of Catholic France. Indeed, the great benefit of France’s devotion to maintaining and restoring them is that we, as visitors, have access to their technological and artistic magnificence and their craftsmanship without being asked to accept the doctrine and the politics that gave rise to their construction. One can naturally pray, reflect and/or confess there, but while these cathedrals continue to function as Catholic prayer houses, they do not require practice or belief in order to be appreciated for they also function is historical monuments—and not solely of French history, but of European history and world history as well.

The five Roman Catholic cathedrals described here are among the magnificent mammoths of French Gothic architecture. “French” Gothic is actually somewhat redundant for these structures begun between 1163 and 1120 since France’s role in developing techniques to build higher and wider structures and then to embellish them was so prominent that what we now call Gothic architecture was long referred to as “French style” or “the French art.”

Notre-Dame de Paris

The term Gothic was invented by culture mavens of the 16th century, dominated by Italian influences, because they saw the prior generation of churches as passé, lacking harmony and refinement, barbaric like the Goths of the Dark Ages. But try convincing the 13-14 million people that visit Notre-Dame de Paris each year that they’ve come to see something crass.

In 1160 Bishop Maurice de Sully of Paris decided that his city’s cathedral—at the time a hodgepodge of older structures built over successive foundations going back to Roman times—needed to enter the modern era. In 1163 the foundation stone of the new cathedral was laid in the presence of Pope Alexander III. The 850th anniversary of that event is being celebrated at Notre-Dame from Dec. 12, 2012 to Dec. 11, 2013, with some events beyond that date.

The anniversary has been the occasion to the replace tired old bells for the towers, design of new interior lighting, restore the organ, and create a new museography in the treasury. Conferences, concerts and other religious celebrations honoring the jubilee will take place throughout the year.

Though the footprint of the Notre-Dames was set in place when construction was launched, evolving techniques and styles would lead to modifications of plans over the decades, even centuries, that it took to complete the project. The central potion and towers of Notre-Dame de Paris took about 77 years to complete, the great rose windows another 20 years, and the light-infused chapels surrounding the choir another 70.

Gothic architecture began with decades in structural development of rib vaults by trial and error, so there is no single inventor of this type of architecture. Glimpses of the evolution toward the rib vault had come from various horizons, including from Moorish and Arab arches. But Saint Denis Basilica, just north of Paris, set the tone for the next three centuries of religious architecture in France (and well beyond) when in 1144 Abbot Segur, the man who gets the most credit, launched the reconstruction of the abbey church that was then affirming its status as the final resting place of the kings of France.

The main features of Gothic architecture such as the ribbed vault, the pointed arch, lancet windows, flying buttresses, even its gargoyles, were solutions to technical problems rather than decorative tastes. Previous techniques (Romanesque vaulting and buttressing) had reached its limits in height and width without the structure collapsing from its own weight. The solution was a new kind of vault able to bear the weight though relatively narrow pillars, with the outward thrust supposed by other arches and eventually supported by flying buttresses. Height and width increased while the most remarkable feature of these new structures was that walls now relieved of the role of bearing the full weight of the structure’s upward reach could now be opened to allow in light through fanciful windows.

While the craft of making colored or semi-transparent glass and joining them together with lead strips existed before the Gothic period, the accomplishment of structural techniques allowing for large opening (lancet windows, rose windows and assorted tracery) led to an explosion of stained-glass making, allowing for a craft to develop into an art.

Using metal oxides, minerals or plants, stained glass makers developed reds, greens, blues and yellows that not only flooded these structures with light but allowed the church to illustrate scenes from the Bible, to speak of the lives of saints, and to represent local life, including that of noble donors and trade guilds that helped finance construction. At a time when the majority of the population was illiterate, being able to present stories in glass and in stone was an educational tool as well as a treat to the eye and a glorification of the subject.

Notre-Dame de Paris represents a feat of technical and artistic prowess for the time. Higher and wider cathedrals exist. Stunning windows can also be seen elsewhere. Yet even first-time 21st-century visitors to Notre-Dame, now accustomed to light-infused interiors, emit oohs and ahs of appreciation when standing with a view of the long, high nave. Imagine then how a visitor entering in the early 1300s, when the cathedral was nearing completion, must have felt. The scene from the Wizard of Oz in which Dorothy and her three traveling companions first enter the realm of the great wizard himself comes to mind.

Visitors today can take a tour or borrow an audio-guide or find an app to better understand the main features of Notre-Dame’s windows, sculptures, paintings, architecture and history. Or you can follow in-depth guidebooks to learn the vocabulary of Notre-Dame: ambulatory, apse, baldachin, bay, chancel, chevet, clerestory, façade, frieze, gargoyles, keystone, lancet windows, narthex, nave, portal, portico, radiating chapel, rose window, stained glass, transept, triforium, vaulting, etc..

Of course, not everyone is interested in all of those details. Still, the impression, the eye appeal, remains and may be sufficient to feel that one has discovered something special in seeing Our Lady of Paris. Even more special, it’s worth noting that Paris is graced with two extraordinary monuments representing major advancements in the evolution of construction over the past 900 years: Sully’s cathedral and Eiffel’s tower. Some may even see in the Eiffel Tower an echo of Notre-Dame’s spire, a 19th-century addition to the cathedral

The height and fame of the Eiffel Tower tends to make it the elevation of choice for visitors who want to see over the rooftops of Paris, but the Quasimodo view from atop Notre-Dame, 402 steps up (and a painful 1½-2½-hour wait in line at most times of year), is actually the city’s most telling view since the cathedral stands on an island at the geographical and historic center of the city.

Notre-Dame de Laon

Laon’s Notre-Dame, 85 miles northeast of Paris, is a luminous cathedral that dominates the surrounding town and countryside from atop the last outlier plateau of the northern edge of the Paris region. This is another first-generation or primitive Gothic structure, begun at about the same time as the cathedral of Paris. Few of the millions of visitors to Paris’s Notre-Dame come this way, primarily because from Paris Laon isn’t on the direct route to any major city or region. It’s well worth the detour and is gratifyingly off the beaten track.

Other medieval churches and cathedrals rightfully boast about their stained glass windows, but on a sunny day the clear windows in the lantern tower of Notre-Dame de Laon allows the naked stone inside to bathe in a seductive, uniform light.

While Laon can’t pride itself on its colored glass, it’s got gargoyles galore. And what would Gothic cathedrals be without their gargoyles? The short answer: infiltrated by water. Indeed, gargoyles, from the French word for gurgle, are firstly water spouts, designed to direct water away from the building. Their decorative aspect is secondary.

We generally think of gargoyles as representing devilish figures warding off evil along with rainwater. Yet gargoyles and other carved figures on the sides and tops of cathedrals aren’t all grotesques or chimeras. Along with the fabulous bestiary of water spouts on its outer walls, Laon has the particularity of presenting sculptures of oxen near the top of its towers, placed here in homage to their role in hauling stones to create the edifice.

Medieval architects, the masons, the craftsman, and the general population clearly had a different sense of time in launching such a massive project. In fact, the towers of many medieval cathedrals were never completed. Two of the seven towers originally planned for Laon were never built.

Guided tours take visitors up to the second-floor walkabout or tribune, giving a rare plunging view from inside a Gothic cathedral as well as the treat of seeing up close a collection of dismantled old gargoyles and weathered original sculptures—they truly are magnificent sight, a kind of medieval-cum-contemporary art that may even be more dramatic and telling now than when first created. Refashioned copies of these now adorn the cathedral outside.

From the second floor, the tour goes up to the towers, near the oxen, for a wonderful view of the cathedral’s heights, the old town below, and the surrounding countryside. Notre-Dame de Laon isn’t the highest of these cathedrals as measured from its base, but built on a plateau and has a wide view over the region. This Notre-Dame fully deserves its place among the great dames of France.

(More views of Notre-Dame de Laon can be found in the photo reportage here.)

Notre-Dame de Chartres

The French sculptor Auguste Rodin, a forward-looking artist who was never afraid to look back, called the Cathedral of Chartres “the Acropolis of France” for the way that it brought together the best that France had to offer in a building: rock for the walls, arches and sculptures; wood for the roof timbers; plants and minerals to color the stained glass, and the sun to stream through them.

Well, maybe not always sun here in northern France, but Chartres, 56 miles southwest of Paris, nevertheless stands out in any weather or season as one of the foremost jewels of Gothic art and architecture.

As all of these Notre-Dames, the cathedral seen today at Chartres stands on the remnants of a succession of religious buildings on its site. War, fire or a need to expand led to the construction of successive churches here. Some claim, without proof, that this site was already sacred to the Druids who led religious affairs for the Celtic tribe defeated during the Roman conquest of 52 BC. Pourquoi pas? The crypt of a 9th-century church that was destroyed by fire still lies under the current cathedral. Another fire in 1194 destroyed much of the 11th and 12th-century Romanesque basilica that replaced, though the western façade and its tower bases remain.

As for most of the rest, that 1194 fire coincided with a period of near mastery of Gothic architecture, and the builders, craftsman and artists involved with the relatively quick construction of Chartres took full advantage of that know-how. The cathedral was consecrated in 1260.

The silhouette of Notre-Dame de Chartres’ two uneven towers can be seen from miles away as you arrive by train or by car through the region’s wheat plains.

More than Notre-Dame de Paris, Chartres, a second-generation or classical Gothic construction, reveals the technological, artisanal and artistic prowess of the 13th century in part because it is exceptionally rich in stained glass from that time. That’s why so many travelers choose Chartres for their primary cathedral excursion from Paris. Though Amiens is a more entertaining town, Laon is more of an off-the-beaten-track discovery, and Reims offers more history plus champagne, Chartres Cathedral is rightfully deserving of its status as the ideal monument, for those willing to spend the time, for an in-depth understanding of Gothic art, craft and architecture.

Though most people now come to Chartres for the splendor of the cathedral rather than for prayer, it’s not uncommon to see some visitors following the 13th-century labyrinth inlaid on the floor beyond the entrance. Walked (or shuffled along on one’s knees) at a steady rhythm in silent prayer or meditation, movement along the labyrinth can symbolize a pilgrimage to Jerusalem and the route to Christian redemption. It can also be seen simply as pleasant decoration. (An American company builds copies of the labyrinth for churches in the United States—choose your pavers.)

There are 4000 statues on the entranceways yet the cathedral is most celebrated for its stained glass windows, 28,000 square feet (or just over three-fifths of an acres) of them, mostly dating from 12th and 13th centuries. At a time when the majority of the population was illiterate, these representations in glass and in stone—of scenes from the Bible, of the lives of saints, of local life, and of noble donors and guilds that helped finance construction—were not simply decorative; they were an educational tool and a glorification of their subject.

Notre-Dame de Chartres is so rich in sculpture, stained glass and architectural details that having a guided tour or an audio-guide or book to point out some of the most significant ones can go a long way in helping you understand the cathedral’s hows and whys.

Click here to continue to Part 2 of this article covering Reims, Amiens and practical tips for visiting the five Notre-Dame Cathedrals.

The post Radiating from Paris: Our Glorious Ladies of Gothic Architecture (Part I: Paris, Laon, Chartres) appeared first on France Revisited - Life in Paris, Travel in France.