The colourful walls of Château Laurens in Agde tell a surprising story that sounds like a ready-made film script. A 25-year-old medical student from nearby Montpellier suddenly learned that his distant relative had died and left him a huge fortune along with land. Emmanuel Laurens’ artistic soul took him on a journey through the fascinating Orient, and upon his return, the young heir built a fairytale palace combining colourful Art Nouveau, Orientalism and even Neo-Greek styles. However, the price for his extravagant, hedonistic years of fun turned out to be very high.
Cursed fortune
In 1897, young Emmanuel Laurens, who was studying medicine in Montpellier, learned of the enormous fortune he had just inherited from his older cousin, Baron de Fontenay. In addition to the estate in the small town of Agde, Laurens inherited warehouses in Africa and 20 million old French francs. Translating this into today’s purchasing power in euros, it would be around €400 million.
Fascinated by the Orient and distant lands, Emmanuel set off on a long journey through Africa (Egypt, the Horn of Africa and Madagascar). Interestingly, his interests were in line with the Egyptomania that prevailed at the time, which had taken hold of the minds of European dignitaries and researchers. However, Laurens’ journey did not end in Africa, and the young millionaire reached St Petersburg. He then travelled to Istanbul via the Caucasus and returned to France via Vienna on the Orient Express. This long and intense journey inspired Laurens to rebuild the modest villa he had inherited on the island of Belle-Isle.
A palace from a fairy tale
Emmanuel Laurens wanted to create a palace from an oriental fairy tale, filled with exotic art and extravagant theatrical revues. Although the millionaire was not an architect, he designed a large part of the interior himself. Of course, the Art Nouveau paintings, stained glass windows and mosaics were created by professionals. Interestingly, both the chief architect, Jacques Février, and many other artists came from Languedoc (Montpellier). Eugène Dufour created spectacular polychromes on the walls, Théophile Laumonnerie was responsible for the equally stunning stained glass windows, while Eugène-Martial Simas took care of the rest of the art. The latter two artists can be counted among the most outstanding painters and craftsmen of the French Art Nouveau. What is more, their works were presented at a world exhibition.
However, this was not the end of Laurens’ oriental inspirations, as he went on another trip in 1903. This time he travelled to China, India, Ceylon and Bukhara. Being on the other side of the world, Laurens rode elephants, bought expensive silks and thought up new additions to his oriental villa. From this description alone, it is clear that his passion was slowly turning into madness. What is more, Laurens was interested in mysticism… and opium.
Egyptian temple
The appearance of the villa reflects the passion, creativity, madness and mania of its owner. From the outside, it is an eclectic mix of various elements of classical architecture (Renaissance, Neo-Greek style). The colonnade, rusticated walls, balusters and cornices are visible. However, given the rather classical appearance of the façade, it is difficult to expect the Art Nouveau madness that awaits inside. It is worth noting that the entrances are decorated with subtle Art Nouveau polychromes, which indicate Egyptian motifs, particularly evident in the appearance of the frames, cornices and friezes.
Visitors are greeted at the entrance by wooden Art Nouveau doors with characteristic swirling shapes. These plant shapes blend in with the equally Art Nouveau paintings depicting flowers. The vegetation is intended to refer to the Egyptian goddess Hathor, a frequent motif in Egyptian columns and paintings. This mainly refers to the blue lotus flower, which is identified with the goddess. Floral motifs and exuberant shapes also cover the staircase, where an unusual synthesis of cultures can be observed. On the one hand, everything is subordinated to the fanciful Art Nouveau style, but on the other hand, elements imitating Chinese design and Egyptian hieroglyphs are noticeable on the walls. Cleopatra herself and vultures – symbols of maternal strength – invite you to the stairs.
Egyptian Art Nouveau
Other symbols of power and strength, such as snakes and fans, also appear on the staircase. Above the stairs, Egyptian motifs smoothly transition into paintings reminiscent of Japanese art, including birds and vegetation. Upon entering the first floor, it becomes clear that the Egyptian goddess Hathor is the leitmotif of the interior. The goddess of the heavens is not only the blue lotus, but also the Eye of Ra, a female symbol of power. Although Hathor is not the only goddess identified with this symbol, other references confirm that this is what the architect had in mind. Interestingly, there is also a head of Hathor with horns, as she is associated with cattle, and the painting is done in a sinuous Art Nouveau style. Next to the head, you can also see ankh crosses, which are symbols of life.
Such heads of Hathor appear in several other places, and the horned goddess fits perfectly into the Art Nouveau fascination with the female body. Painted capitals with heads are visible, which is typical of ancient Egyptian architecture. Above the heads, the symbol of power – the snake (cobra) – appears again. It should also be added that the colours of the interior correspond to those commonly used in Egyptian temples (red, yellow, green, blue).
An eclectic experiment
The strangest room in the villa is the laboratory. The room is dominated by a large table in the shape of snake scales, and the whole thing resembles a mysterious alchemical furnace. Above it, a small cornice with a Renaissance motif symbolises new life. In turn, the stunning window with organic shapes is distinguished by a large red circle resembling an Egyptian sun disc. Equally mysterious is the music room, which looks like a chapel. The gilded ceiling is decorated with peacock feathers, and female figures resembling angels descend from the vault. The room was made for Laurens’ wife, who was an opera singer. These inspirations were taken directly from Barcelona modernism, which also explains the shapes and materials of the interior.
After the villa was completed, there was no end to the lavish parties, singing and performances. Laurens’ hedonistic and extravagant lifestyle took its toll on his mental health and fortune. In 1938, the villa was sold, and Emmanuel and his wife were left with a few rooms. During the war, the property was occupied by the Germans, who left a mess behind…. and swastikas. However, Laurens was no longer able to clean up after the uninvited guests, as addiction and poverty began to take a heavy toll on him in the last years of his life. Emmanuel Laurens died in 1959, somewhere on the streets of Agde, and the fortune that had changed his life ultimately sent him to a miserable grave.
The palace fell into disrepair for decades, but its purchase by the city of Agde in the 1990s saved this unique villa. Today, after extensive renovation, the palace has regained its splendour, although some of Laurens’ personal belongings have been lost. Château Laurens is the pinnacle of European fascination with the Orient, Art Nouveau and opulent beauty.
Source: ChateauLaurens
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