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 simply on what is already there, in close relation with the forms, the seasons and the 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 is fully isolated here: the room is crossed by views and remains directly connected to the château-monastère de la Corroirie.

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

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

This is not a distant landscape to contemplate: it is a place to inhabit, already present in its continuity.

The Cardinal Room stands out through its more spacious arrangement. Around the sleeping area, a sitting corner and a desk make it possible to inhabit the room differently, with a more settled relation 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, also open towards the outside, with a direct view of the church, the roses and the garden.

From the bathtub, the view rests on the place without crossing through the bedroom. This layout gives the Cardinal Room an almost suite-like presence, while keeping its place among the rooms of the château-monastère de la Corroirie, each conceived as a different way of inhabiting an ancient place still lived in today.

Staying here means choosing a room turned towards what is close, in a different relation 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 compose a first landscape, almost immediate. Then, beyond the estate, other paths begin to open.

A few minutes away, the village of Montrésor extends this presence, between river and old stone. Further on, the royal town of Loches offers another way to approach the history of Touraine.

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

At La Corroirie, the Carthusians did not leave the monastery. The world came to them, through visits, correspondence and presences of varying duration. Among these figures, Cardinal Richelieu still passes through the place discreetly, through history and through the links that attached him to the community.

Here, the room belongs to that continuity. The church, the old roses, the garden and the Land Art installations form a nearby, almost immediate ensemble, where stone, vegetation and human presence meet.

Nothing asserts itself, nothing tries to demonstrate. The place suggests, and each guest forms an idea of it by inhabiting it.

Approach the history of the place

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, the garden — while also revealing, from the windows, a broader reading of the estate, between parkland, pond and forest edges. Elsewhere, the relation changes: more interior, carried by volumes and materials in the Seigneurial Room, or more open towards the moats and the horizon in the Monial Room.

Choosing the Cardinal Room means inhabiting a room set at the heart of the place, where the spaces remain distinct while staying connected, in a more settled presence between interior and landscape.