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France Rueil-Malmaison Château de Malmaison (Malmaison) 
Located 13.4 miles (21.6 km) from central Paris, the Château de Malmaison was acquired by Empress Joséphine Bonaparte in 1799 while Napoleon was away in Egypt. From 1800 to 1802, it even served as the headquarters of the French government along with the Tuileries Palace in Paris. Their marriage was officially annulled on January 10, 1810, although Napoleon ensured Joséphine retained her title of Empress and lived comfortably at Malmaison. After Napoleon’s defeat at Waterloo in 1815, it became his final residence in France before exile. The name Malmaison likely derives from "Mala domus" or "evil house," referencing its use as a place of hideout by Norman invaders during the 13th century. It first appeared in texts in 1244, and by the 14th century, a manor house was established on the site. In 1390, the land was purchased by a Sergeant-at-Arms for King Charles VI, and it was to remain in his lineage until 1763. Although, from 1737, the place was rented by wealthy financiers who hosted elite gatherings, turning it into a hub of intellectual and social life. It was sold to Joséphine on April 21, 1799, for 325,000 francs. On its acquisition Joséphine commissioned Charles Percier and Pierre-François-Léonard Fontaine, two young architects from Rome. The initial plan was to replace the old structure with a neoclassical villa, but to save cost Napoleon decided on restoring the existing building. Although it is called Château de Malmaison, which translates to English as Malmaison Castle, it is not a castle. The external architecture of Château de Malmaison is a blend of Renaissance heritage and Consulate-era refinement. Originally built around 1610, the château began as a modest manor with Renaissance features like symmetrical façades and steep slate roofs. In 1686 it was expanded, as it was again in 1780, with two wings added to the courtyard to enhance its grandeur. Upon acquiring the estate in 1799, Joséphine wanted Percier and Fontaine to preserve the historic character while modernising its structure. Due to structural weaknesses, the façade was reinforced with heavy buttresses, which were softened visually by adding statues from the gardens of Marly. (A garden which was designed for Louis XIV at Marly-le-Roi in 1679 to offer a peaceful, private alternative to Versailles). The exterior was designed to harmonise with the gardens, creating a seamless transition between architecture and landscape. Views from the main façade open onto carefully curated lawns, rose beds, and exotic plantings that frame the building. The rear façade was designed to harmonise with the surrounding gardens and offer a more intimate and picturesque view compared to its formal front entrance. The rear elevation is less symmetrical than the front, with a softer integration into the landscape. At the time of visit, this and the front façade were undergoing building work.  Large French windows and arched doorways open directly onto the lawns and rose gardens, blurring the line between interior and exterior. The façade is framed by slate roofs, white stucco walls, and decorative pilasters, maintaining the Renaissance and Consulate-era character. This side of the building was designed to maximize views of Joséphine’s botanical collection, including her famed rose beds and exotic plantings. A small creek or canal once ran nearby, adding to the tranquil atmosphere and reflecting Malmaison’s image in its waters.  The interior was reconfigured to enhance flow and grandeur and was designed with Roman and Pompeian motifs. Joséphine liked to combine 18th-century refinement with classical antiquity. She adorned rooms with mirrors, flower paintings by Redouté, and furniture crafted by the Jacob brothers and Biennais; the vestibule or lobby next to the outer door of the building, has stucco columns and Doric pilasters that evoked a Roman atrium.  The vestibule could be opened into adjoining rooms by a sliding mirror mechanism which would transform the billiards and dining areas – which were either side of the vestibule - into a grand reception hall during events. The billiard room style reflects the Consulate-era aesthetic, with clean lines and classical motifs that echo Roman and Pompeian influences, and this was integrated into the reception suite.  The dining room is a refined blend of classical inspiration and Joséphine’s personal taste, which was designed to impress guests while reflecting the elegance of the Consulate era. The room was extended by adding a semi-circular section, increasing the number of windows from four to six. Around 1800, the room was decorated in a Pompeian style, featuring motifs inspired by Roman antiquity. In 1812, architect Berthault added arches around the doors and windows, enhancing its symmetry and grandeur.  The Emperor’s Drawing Room was designed in Consulate-era aesthetic, the artistic and design style that flourished in France between 1799 and 1804. It’s a transitional style that bridges the austere neoclassicism of the Directory period and the grander Empire style that followed. Located near Napoleon’s private apartment, offering a semi-private retreat for reading, correspondence, and informal meetings. The room featured Empire-style furnishings, including heavy mahogany pieces and classical motifs like lyres, swans, and laurel wreaths. Decorative elements included painted medallions, bronze accents, and mirrors to enhance light and space. This area was originally two rooms, one serving for Napoleon’s valet, the other as Napoleon’s drawing room. The room served as a transitional space between his public duties and private life.  The Frieze Room got its name from the Greco-Roman frieze that adorns the walls. The room was created by combining what were once Joséphine’s bathroom and her maid’s bedroom. It now serves as a display gallery, featuring furnishings and décor from her Paris residence on Rue de la Victoire, where she lived with Napoleon early in their marriage. The room includes her writing and makeup table, her dressing table and a floor rug from the Directory period. The swan - which is her personal emblem - appears throughout the room, symbolising grace, loyalty, and imperial elegance.  The Gilded Room was used for formal receptions and musical performances. Though not always referred to by this name in official inventories, it typically denotes one of the main reception salons - often the Salon Doré - where gilded décor and imperial symbolism take centre stage. It exemplifies the refined opulence of the Consulate and early Empire styles. The room is adorned with white and gold panelling, a hallmark of neoclassical elegance. Six medallions painted by Étienne-Jean Delécluze depict scenes from Daphnis and Chloé, the pastoral romance written in ancient Greek by Longus, adding a romantic and mythological touch. Empire-style furniture by the Jacob-Desmalter brothers includes gilded chairs, velvet upholstery and marquetry tables, which tell a story through intricate wood inlay. Mirrors and chandeliers amplify light and space, creating a dazzling ambiance for social gatherings. The walls feature portraits of Joséphine and Napoleon, along with allegorical paintings celebrating virtues like wisdom and valour. Decorative motifs include swans, laurel wreaths, and military trophies, reinforcing imperial identity. Its gilded surfaces and classical ornamentation were designed to impress guests and reflect the cultural sophistication of the imperial household.  The Music Room at the Malmaison is a graceful and acoustically rich space that reflects Joséphine’s love of the arts and her role as a cultural patron. It was there that she hosted private concerts and musical sessions, inviting composers, performers, and intellectuals. The Music Room was created by combining and enlarging several smaller rooms during renovations around 1800. It was also extended to include a gallery for displaying paintings, blending visual and auditory arts in one elegant setting. Not only did the music room contain artwork but the Malmaison contains a rich collection of paintings that reflect the personal tastes of Joséphine and Napoleon. One of the most notable works, is Napoleon Crossing the Alps by Jacques-Louis David, this shows Napoleon astride a rearing horse, symbolizing leadership and resolve and became one of the most iconic images of him. The one in the Château de Malmaison is considered the original - the first of five versions painted between 1801 and 1805. It was initially commissioned by King Charles IV of Spain and later came into the possession of Joseph Bonaparte, Napoleon’s brother, who took it to the United States. In 1949, it was bequeathed to Malmaison by his descendant Eugénie Bonaparte, making it the earliest and most historically significant rendition of the iconic image.  Within the Music Room, adorning the walls, are medallions and friezes depicting mythological or romantic scenes in the neoclassical style. Chandeliers hang from the ceiling, adding both light and grandeur to the room. The chairs and sofas are covered in red velvet, trimmed with black braid, arranged to suit intimate musical gatherings. The room includes Empire-style tables, with marquetry detailing and bronze accents.  Napoleon’s bedroom’s overall ambiance was austere yet elegant, emphasising function over opulence - very much in line with Napoleon’s persona. A private staircase connected his bedroom to the library below, allowing discreet movement between his working and resting quarters. The room was furnished with pieces from various imperial residences, unified by a military-inspired aesthetic. The bed itself was crafted by Jacob-Desmalter, one of the premier furniture makers of the time, known for his work with mahogany and gilt bronze.  The library was Napoleon’s personal study and was created by combining three small rooms into a single, elegant space. The mahogany columns, which are connected by mirrors, hide the flues from the adjacent kitchen which passed through the room. The decor combines Pompeian motifs with Empire elegance, mirroring the aesthetic found throughout Malmaison. The ceiling features paintings of classical authors, including depictions of Apollo and Minerva, likely created by Louis Lafitte, marking Napoleon’s admiration for literature. With a large writing desk, seating, and shelves of leather-bound volumes, which, by 1814, contained nearly 13,000 books. The mahogany furniture is by the Jacob-Desmalter brothers and decorative flourishes by Biennais added refinement and flair.  The Council Room is one of Malmaison’s most striking and symbolically charged spaces and was designed to reflect Napoleon’s military authority and classical ideals. Constructed in just ten days as a place to accommodate Napoleon’s frequent ministerial meetings, it was a working space where Napoleon convened ministers and shaped policy during the early years of his rule. It was designed as a military tent, and was lined with striped army-style fabric, evoking campaign life and imperial discipline. Decorative motifs included fasces (Roman symbols of justice), interlocking spears, and a central round table supported by lions, drawn from classical antiquity and Pompeian excavations. A figure of Minerva, goddess of wisdom and war, was placed prominently, reinforcing the room’s martial and intellectual symbolism. The room contains two striking portraits, one on the right of the fireplace is that of Joséphine and the one on the left is that of Napoleon’s mother.  In 1812, Joséphine’s main ceremonial bedroom was redesigned in the style of a luxurious tent, echoing the neoclassical fashion of the time. The tent-like drapery and circular layout created a sense of intimacy and grandeur with its rich ruby red fabrics lining the walls, and the ceiling featured classical motifs, reinforcing her connection to Roman ideals of beauty and power. The centrepiece of the room was a gilded wooden bed crafted by Jacob-Desmalter, adorned with swans and topped with the Imperial eagle. Joséphine died in this bed on May 29, 1814, just before her 51st birthday. Her son Eugène later transported the bed to Munich, but it was returned by Napoleon III when he restored Malmaison in the 1860s.  Adjoining her bedroom was the cabinet de toilette and boudoir. The boudoir is octagonal in shape with a lower ceiling than surrounding rooms to retain warmth and create a cozy atmosphere. It is decorated in light tones, it featured embroidered muslin curtains, silk-effect wallpaper, and delicate Empire-style furniture. Half of the original furniture remains but it also contains pieces from her boudoir at the Tuileries Palace.  There was also her “ordinary bedroom”. It contained a day bed and was used for reading, writing letters, and quiet reflection: It overlooked the garden and was used as her day room.  Within the gardens is the Pavillon d’Été, the “Summer Pavilion”, a small garden structure, used for leisure or contemplation during warmer months. Situated near the ancient rose garden, offering views of Joséphine’s floral collection. Its design reflects classical simplicity, with clean lines and a modest footprint that complements the surrounding landscape.  Also, within the grounds is the Pavillon Osiris which was constructed in 1924 as a tribute to Daniel Iffla, known as Osiris. He purchased Malmaison in 1896, to prevent its ruin, and in1903 he donated it to the French state, insisting it become a museum of patriotic memory.  The interior of the Pavillon Osiris showcases Daniel Iffla’s artistic passions and has over 250 works which includes Dutch and Italian paintings, Greek vases and Egyptian statuettes and 19th-century furniture.  A short walk from the Malmaison is the small Church of Saint-Pierre-Saint-Paul where Josephine is buried.  Her Tomb is a white marble pedestal topped with a statue of her in the kneeling pose as depicted in a painting by Jacques-Louis David. Her remains are in an antique-style sarcophagus in the crypt directly below the monument. |
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All Photographs were taken by and are copyright of Ron Gatepain
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