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Lost to the Crown because of fraud to the State, it was donated by King Henri II to his mistress Diane de Poitiers. However, she preferred Château de Chenonceau and sold the property to the former owner's son, Philippe Hurault, who built the château between 1624 and 1630.
During the next 150 years ownership changed many times and in 1765 a major interior renovation was undertaken. Required to forfeit much of the Hurault wealth at the time of the French Revolution, the family sold it in 1802 but bought it back in 1824.
In 1914Events January 4 77 seal hunters freeze to death on ice near Labrador January 5 Ford Motor Company announces an eight-hour workday and a minimum wage of $5 for a day's labor February 13 Copyright: In New York City the ASCAP (for American Society of Compos, the owner opened the chateau to the public, one of the first to ever do so. The family still operates it, and Château Cheverny remains a top tourist attraction to this day, renowned for magnificent interior rooms and its collection of furniture, tapestries, and objets d'art.
The Belgian comic bookA comic book (sometimes called funnies or funny paper is a book or magazine and more recently a graphic novel in the artistic medium known as comics. American comic books have become closely associated with the superhero genre, but the subject matter of c creator HergéGeorges Remi ( May 22 1907 March 3 1983), better known by the pen name Herg was a Belgian comics writer and artist. Herge" is the French pronunciation of "R. the reverse of his initials. His best-known and most substantial work is The Adventures of Tintin used Cheverny as a model for his fictional "Château de Moulinsart" ( MarlinspikeMarlinspike (French Moulinsart is the castle where captain Haddock lives in Herge's Tintin comic book series, starting from Red Rackham's Treasure''. The castle is modeled after the central section of Chateau Cheverny. The French name was derived from Sar Hall in English) in the Tintin books.
Cheverny Baroque architectureBaroque architecture starting in the early 17th century in Italy, took the humanist Roman vocabulary of Renaissance architecture and used it in a new rhetorical, theatrical, sculptural fashion, expressing the triumph of absolutist church and state. New ar