The Cardinal Room, near the church and garden

The Cardinal Room looks onto the church, the old roses, the garden and the Land Art installations. The view does not reach far into the distance: it rests on what is close, in an immediate relationship with the forms, seasons and life of the place.

The bathtub itself opens towards the outside. From the bathroom, separated from the bedroom by a door, the eye meets the church, the roses and the garden. Nothing feels entirely isolated here: the room remains connected to the château-monastery of La Corroirie.

Here, everything belongs to a relationship of proximity. The church, the roses, the garden and the works of art form an almost immediate setting, where stone, vegetation and human presence meet.

The view does not escape into the distance. It returns, settles, moves from one element to another. The room follows this quiet movement without trying to widen it.

This is not a distant landscape to contemplate, but a place already present around the room, and one gradually inhabits its continuity.

The Cardinal Room has a more spacious arrangement. Around the sleeping area, a sitting corner and a desk allow the room to be inhabited in different ways, with a more settled relationship to the place.

The bathroom is separated from the bedroom by a door. It brings together a shower, bathtub, washbasin and toilet in a distinct space, itself open towards the outside, with a direct view of the church, the roses and the garden.

From the bathtub, the view reaches the place without crossing through the bedroom. This arrangement gives the Cardinal Room something of a suite-like presence, while keeping its place among the five rooms of La Corroirie, each offering a different way of inhabiting an ancient place that is still lived in today.

Staying here means choosing a room turned towards what is close, in a different relationship from the Monial Room, which opens more widely towards the horizon and the light.

From the Cardinal Room, the view first remains close. The church, the garden and the roses form an almost immediate landscape. Beyond the estate, other paths gradually open.

A few minutes away, the village of Montrésor extends this relationship with old stone and landscape, beside the river. Further on, the royal town of Loches offers another way of approaching the history of Touraine.

Yet often, what matters most remains here — in this closeness between stone, garden and light, where the eye naturally returns.

At La Corroirie, Carthusian life was organised around withdrawal, silence and a measured relationship with the outside world. Yet that world still entered the monastery through correspondence, visitors and the relationships maintained around the community.

Among these figures, Cardinal Richelieu remains part of the history of the place. The archives of La Corroirie preserve traces of the links that connected him with the Carthusian community, placing his presence within a history that reaches well beyond the name of the room.

The Cardinal Room belongs to this continuity. The church, the old roses, the garden and the Land Art installations form an immediate ensemble, where stone, vegetation and human presence meet.

Nothing here is staged to demonstrate a story. History is allowed to surface quietly, and each person approaches it differently by inhabiting the place.

Approach the history of La Corroirie

The Cardinal Room belongs to a set of five rooms, each connected to the place in a different way.

Here, the eye rests on what is close — the church, the roses and the garden — while the windows also reveal a broader reading of the estate, between parkland, pond and forest edges. Elsewhere, the relationship changes: more inward, shaped by volumes and materials in the Seigneurial Room, or more open towards the moat and horizon in the Monial Room.

Choosing the Cardinal Room means inhabiting a room at the heart of La Corroirie, where its different spaces remain connected in a quiet relationship between interior and landscape.