
Three places to find ‘la France profonde' – for those exasperated by the 21st century
So I'm assuming that this France profonde is a much-sought place. Why? It may be that it offers a misty promise of our own half-remembered past, when all villages were pretty, all butchers and bakers were family-run and front doors were left unlocked.
There were no smartphones, designer drugs or hysterical 24-hour news channels. Woke was what happened when you stopped being asleep.
So where is it? Both nowhere and all over the place, for la France profonde is as much an ideal as a destination. But some spots get close. Here are my top three for 2025.
Cher, Centre-Val de Loire
A good way to prepare for this département, or county – south of the Loire, west of Burgundy – is to tackle Le Grand Meaulnes, one of the best-selling French novels of the 20th century.
Alain-Fournier's only work (he was killed early in the Great War) mines the lurking sense of the arcane in a deep, green and much-bypassed landscape.
Thus will you be ready for narrow lanes which track through encroaching woodland, by rivers and half-seen lakes. Low-slung villages fold into their surroundings, apparently impervious to the 20th century, never mind the 21st. Strange beliefs infiltrate long, rustic silences – for this is also the traditional French capital of witchcraft.
Le Grand Meaulnes fits right in, a tale of adolescent love and adventure and the mysterious spaces in between. You may start by paying respects at Épineuil-le-Fleuriel, whose school Alain-Fournier attended, and used as starting point for the novel. Wonderfully, the old school has been restored exactly as it was in his time.
Moving north, headliners include Noirlac Abbey (near St Amand-Montrond) whose pure white Cistercian stones soar, decorated only by light and shade. The cultural season here, in pretty much the exact centre of France, justifies a trip.
Nearby county capital Bourges is a skip back to well-rooted bustle, its remarkable cathedral and half-timbered streets just a villein or two short of perfection. Linger a while, before moving further north, edging into the Sologne district which Alain-Fournier characterised as 'useless, taciturn and profound'.
One must, he said, 'pull aside the branches to discover this countryside'.
As fields and forest close in, one makes for La Chapelle-d'Angillon, where the writer was born, and then Nançay, where he spent youthful summer holidays. Round here, it's easy to believe that the fantastic and the rational are opposite sides of the same coin.
Later, we leave the universe of Le Grand Meaulnes for half-timbered Aubigny-sur-Nère. Here, la France profonde bumps into l'Ecosse profonde – deepest Scotland – in a gush of abundant jockery: saltires, kilts, whisky and a 10ft monument to the Auld (Franco-Scots) Alliance outside the library.
Why? The town was given to the Stuarts by French king Charles VII in payment for their help against the English in the Hundred Years War. Scottishness got a grip and, though the Stuarts were around for only 250 years, the links remain.
Aubigny revels in them, not least in the annual Franco-Scottish festival, this year from July 11-13. Should you be looking for irrationality, this is a splendid spot to start.
Where to stay
In Aubigny, the Hotel La Chaumière colonises a 19th-century post-house: bare stone, beams, the works, plus a good restaurant (doubles from £95). Nearby, the Logis Relais du Cor d'Argent at Argent-sur-Sauldre has practical rooms and an equally good restaurant (doubles from £64).
Creuse, Nouvelle-Aquitaine
If anyone says to me: 'I'll drive you to the Creuse', I say: 'Lead on, Captain. Take me there, that I might never return.' It's that sort of place. The county is found where the Massif Central cedes to the Limousin. Hardly anyone lives there and no-one visits. Well, a few. It is the least visited of all French counties, which indicates how daft tourists can be.
But it means you have it to yourself, and that's good. The Creuse is wild enough with moorland and heath, forest and pasture heavy with Limousin cattle.
The landscape undulates with elemental interest sufficient to hold the attention entirely, yet bearing no risk of frenzy. After a few hours there, I sigh so happily that my nerves slacken. They barely stiffen for the duration.
Roads wind through countryside ruffled like yeoman England, but hotter. Aromas of flowers, hay and cows come in through the window and then you're in Crozant. The village – at the rocky junction of three rivers – had its own school of 19th-century painters, led in by Claude Monet. It's a good story, told at the Hotel Lépinat, once the artists' boozer, now an information centre.
Close by, La Souterraine is a grand little spot, its old stones warmed by sun, small-town commerce and a sense of self-sufficiency. Beyond, the granite Monts de Guéret rise forested and harbouring.
Set the car south, along lanes of little consequence, to Aubusson. Crouching below the rock-faces along the Creuse river, Aubusson has been weaving the world's most celebrated tapestries for 500 years.
In the past, this wouldn't have detained me very long. Now, though, I've been to the Cité Internationale de la Tapisserie, seen works by Picasso, Braque, Le Corbusier and Jean Lurçat and realised there's more to tapestries than faded fabric on château walls.
Thus to the Plateau de Millevaches, where moors and woodland tumble into remote villages and then down to Lake Vassivière. The possibilities for activity – hiking, biking, riding, sailing – are enticing for those with energy. The rest of us may stroll and look and reflect that this could be Canada, if only there were moose and maple syrup.
Where to stay
In Aubusson, the Hotel des Maisons du Pont has rooms scattered through venerable riverside houses (lesmaisonsdupont.com; from £77). In Roches, south-east of Crozant, head for the Domaine de la Vergnolle for chambres d'hôtes rooms and over-water cabins (lavergnolle.com; B&B doubles from £59).
Loire valley, Centre-Val de Loire
The Loire valley is where I dream of going when exasperated by the 21st century. It runs to rhythms redolent of gentler times, but with decent plumbing.
North of, and parallel to, the mightier Loire (the one with the big châteaux), this tributary flows into a past of forests, vines and wild flowers, of cliffs, meadows and white-stone villages bright with proper shops and deep-rooted confidence.
From light, green and watery Vendôme – where, as a schoolboy, Balzac read so voraciously that he would fall into 'a coma of ideas' – the valley meanders in and out of white-stone villages bright with proper shops and busy ladies bustling with baskets.
At Thoré-la-Rochette, you might tackle Côteaux-du-Vendomois wines, peppery from the local pineau d'aunis grape. Downstream, Lavardin – crammed between hillside and river – would be standing-room-only, were it in Provence or Tuscany.
Nip into the church for medieval frescoes (a Loire speciality) and move on to Montoire-sur-le-Loir. You may have heard of this town. On October 24 1940, Hitler and Pétain met to set the seal on their collaboration at the railway station right here. Presently, the station hosts a museum telling the tale.
At Trôo, as chalk cliffs edge the valley so, over a couple of millennia, locals dug homes into the rock-face, creating a vertical troglodyte village on four levels. Farm workers moved out by the middle of the 20th century.
Artier types moved in, for cave-dwelling is in vogue these days. But Yuccas Cave has been kept as it was when farm workers Zéphrim and Désirée Didé and their six kids lived there until 1965.
And so to St Jacques-des-Guérets, with the valley's best church frescoes, Couture-sur-Loir, where 16th-century poet Pierre de Ronsard was born, and Ruillé-sur-Loir, for Jasnières wines. In La Chartre-sur-Loir, the Hotel de France epitomises all that's best in provincial French hotels. On my last visit, it smelled splendidly of flowers and furniture polish.
But don't take my word. The hotel is quite near Le Mans, so has hosted key teams from the 24-hour race (Aston Martin, Porsche, Ferrari) plus associated luminaries: Steve McQueen, Jackie Onassis and Bobby Kennedy (lhoteldefrance.fr, doubles from £91).
The fascination persists, not least at the Château du Lude – as imposing as most châteaux in the grander Loire valley to the south. So please don't hesitate. Or, as Pierre de Ronsard wrote: 'Live now, believe me, wait not until tomorrow. Gather the roses of life today.'
Where to stay
Apart from the Hotel de France (above), we favour the Auberge du Port des Roches – pleasing hotel, good restaurant – at Luché-Pringé (doubles from £80).
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3 hours ago
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You'll find no better company on earth than 40 northerners on a coach holiday
This is how things unfolded that sweltering Saturday afternoon on the River Loire. Our coach group of around 40 had been divided between three flat-bottomed toues, the traditional wooden Loire working boats. We were drifting, our bronzed boatmen letting the current do the work as they explained this and that about France's longest, wildest river. Beavers featured prominently. One boatman thought he'd spotted a few on the bank. He guided his boat in, leapt for land and started digging around with a short stick, seeking beavers. Intent, he didn't notice his boat escape, drifting away towards the middle of the river. Then he did. Panic attack. He plunged after it. There were a dozen or so rudderless senior Britons floating off, conceivably quite far. The plunging, though, merely pushed the boat further away. The boatman was neck deep before he caught up, and couldn't haul himself aboard. Cometh the hour, cometh the man. Tony, a retired local government worker from Ingleton, managed to haul a saturated Frenchman to safety. It was a stirring display. Manly handshakes were exchanged, the entente cordiale sealed once again. Such drama is not the usual diet of coach trips but, believe me, these tours are absolutely not as perceived by those who have never taken one. I know. I've been there. Once a year, I stop being a reporter to organise, and guide, a French holiday for a Yorkshire Dales coach company owned by a friend of mine. I have a ball. This year, 2025, in the hottest early summer since the Big Bang, we rolled into the Loire Valley, rolled into a hotel in Amboise and rolled out every day around what is the 'Frenchiest' region of France. Here the language is the purest, the light the softest, the landscape the most amply fertile and the history the most elegant. The world's greatest collection of Renaissance châteaux constitutes the stateliest statement of French aspirations. And the Loire itself provides the running commentary. But – as I said over the coach PA, maybe a little too often – Chambord castle and the rest aren't just majestic monuments. They were the setting for heavyweight history: power plays, torture, intrigue, debauchery, murder, skulduggery, cross-dressing, adultery and epic horticulture – all more or less vital to keep France governed and French monarchs on top. That's the fascination. Here we had, then, the best of France being visited by the best of Britain. Granted, our cast of northern English people were not in the first bloom of youth, more of an age when independent travel had become too much of a palaver. With a coach tour, you take your bags to the hold, ensure you're punctual and polite – which comes naturally to Britons of this ilk – and that's your responsibilities done. And, once met, they proved a diverse bunch. Where else might one share conversation, drinks and meals with a surgeon, several farmers, businessmen and women, teachers, the boss of an electrical company, a champion crown green bowler, a graphic artist and civil servants, among many others – who, incidentally, had more to tell me than I ever had to tell them? As built-in company goes, there's none better. I'd look round the bar at apéritif time, see couples travelling independently who surely didn't consider themselves 'coach group people'. They were as glum as hell. Meanwhile, batches of our bunch were discussing the day, Starmer, French food, Joan of Arc, rugby league, kids, grandkids, the NHS and former holidays in France over beer, wine, gin and tonic, and Baileys with ice. I don't ask for much more. So we roamed the great château of Chambord where, with vast magnificence, Renaissance king François I established that French kings were second only to God, and a pretty close second, at that. The Black Eyed Peas had played a summer show in the grounds a few days earlier. The Loire châteaux are going all out to kick on into the 21st century. That said, the grandeur still expresses the absolute power of the 16th and 17th. We took in Chenonceau – arching over the river, a couple of unicorns short of fairy-tale perfection – and Clos Lucé in Amboise, where Leonardo de Vinci spent his final years. The manor house and grounds now host evocations of the works – engineering, art, architecture – of a man better than everyone at everything. As Leonardo's host, François I, said: 'It is inconceivable that life might produce anyone similar.' He'd foreseen, among much else, the parachute, helicopter, machine gun, military tank and car-jack. 'I'd no idea,' said a cultivated lady from Lancashire. 'I thought he was just the Mona Lisa.' And that was enough châteaux. Loire valley visitors need to know that 'châteaux fatigue' is a real threat. Divert to the gardens. Villandry is among the most extreme in France, the French correcting God's design for nature with fanatical geometrical precision. It's a dazzling exercise in horticultural control – but also a challenge to get round as the temperatures rose to around 35C. Most seductive of all the gardens were those at Plessis-Sasnières in the Loir (no 'e') valley, slightly to the north of the grander Loire. Echoing English gardens – their creator was a fan – these caressed the senses with colour, calm and aromas. A waterhen and her chicks scooted across water lilies. And there was tranquillity, too, around beer, tea and assorted drinks on the shady tea-room terrace. We'd travelled along the Loir from Thoré-la-Rochette on a 1950s train retained for tourists and run by volunteers of some exuberance. We'd lunched at Montoire, directly opposite the little station where, on October 24, 1940, Hitler and Pétain shook hands on their collaboration deal. 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Meanwhile, round a few underground corners, a stone-mason and a sculptor had created a haut-relief model main street about a third life-size – and teeming with reminders, for future generations, of what mid-20th-century village life resembled. Later, lunch in a nicely-lit troglo-restaurant went pretty well, too, not least due to a local starter of warm fouées. As you'll probably know, these are something very like pitta bread, cut almost in two and filled with potted meat (rillettes) and salad. A Touraine red proved just the ticket. On other days, we toured Amboise by dinky tourist train – do not disdain them – and Blois by Percheron heavy horse and carriage. Getting aboard necessitated gymnastics from people who hadn't done much of this kind of thing in decades. A sense of triumph filled the air, and the gigantic horses clip-clopped off. So to boat, heroics – and home to the hotel. 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a day ago
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The Louvre makeover that will push up price of seeing Mona Lisa
A baking summer's afternoon at the Louvre. Milling around the Mona Lisa are maybe 150 people, all with their phones held high above their heads so they can snap that enigmatic smile. Meanwhile, in the vast galleries surrounding Leonardo's masterpiece, an eternal throng of visitors from every corner of the globe trudges wearily on — most, this far into the gallery, seemingly oblivious to the glorious art around them. Paris's great museum has about nine miles of galleries, spread over 403 rooms. You enter it from beneath IM Pei's celebrated glass pyramid, which on a day like this behaves like a giant magnifying glass for the blazing sun. Many visitors probably won't venture more than half a mile into the heart of the museum. But in this huge, former royal palace there is one tranquil room. Far from the madding crowd, Laurence des Cars, 59, the first female director of the Louvre in 228 years, sits in her book-lined office, the picture of the formidable, Sorbonne-educated Parisian intellectual she is. If she is physically distanced from the heaving mass of humanity trudging round her domain, however, her brain is constantly occupied with it. 'One of my first decisions when I became the director in 2021 was to limit our daily admissions to 30,000,' she says. 'You know that, just before Covid, the Louvre was getting ten million visitors a year? When I got here the staff said, 'Please let's not go back to that because some days we were up to 45,000 visitors.' And that figure is too much. Even now we are saturated. The building is suffocating. It's not good for staff, visitors or the art.' Last month the Louvre's staff emphasised their grievances by going on a spontaneous strike (a 'mass expression of exasperation', their union official said), leaving thousands of tourists outside with no idea why they weren't being let in. 'It wasn't a strike,' des Cars says firmly. 'It was a meeting with the unions because of the conditions and especially the heat. I put in place immediate measures to make things better and we reopened that afternoon.' All the world's top museums — from the Vatican in Rome to the British Museum in London — are facing this same problem: huge congestion, especially around the handful of masterpieces that every tourist has heard of. But the overcrowding is felt most acutely by the Louvre, which still receives more visitors (8.7 million last year) than any other museum, yet has some of the worst facilities. We know this because six months ago a memo outlining its problems was leaked to a Paris newspaper. It caused a stir not just because it was addressed to Rachida Dati, France's culture minister, but because it was written by des Cars. She was jaw-droppingly frank. 'Visiting the Louvre is a physical ordeal,' she wrote. 'Visitors have no space to take a break. The food options and restroom facilities are insufficient in volume, falling below international standards. The signage needs to be completely redesigned.' Pei's pyramid, she went on, creates a 'very inhospitable' atmosphere on hot days. Other parts of the old building are 'no longer watertight'. Nobody has revealed who leaked the memo, but it's hard to imagine des Cars being upset by the revelation because within days came a dramatic intervention from on high. President Macron announced a redevelopment project that he called the 'nouvelle renaissance' of the Louvre. It's masterminded by des Cars and every bit as radical a reshaping as François Mitterrand's 'grand projét' of the 1980s, which led to Pei's pyramid. By chance it will run simultaneously with something similar in London: the £1 billion masterplan to renovate the British Museum, a coincidence that hasn't escaped des Cars' notice. 'I talk a lot with Nick Cullinan [the BM's director],' she says. 'He's wonderful, a great professional and he's dealing with exactly the same issues.' The most controversial feature of des Cars' plan is her proposed solution to the problem of that huge rugby scrum around the Mona Lisa. She wants to remove the painting to one of several new underground galleries to be excavated under the Cour Carrée courtyard, where it will get its own entrance requiring punters to buy an additional ticket (the price is yet to be decided). • The secret life of the Louvre: inside the world's biggest museum She also envisages a second entrance to the Louvre on the far side from where the pyramid is. 'The idea of having just one entrance to this enormous museum was a nice idea in the 1980s when the Louvre had just four million visitors a year,' she says. 'But that was before the Berlin Wall fell, before the Chinese started travelling, before international tourism reached the levels we have today. We are going back to what was always the case — several entrances for the Louvre.' At the same time the museum will be given a technical makeover. That will take ten years, des Cars estimates, whereas she suggests that the Mona Lisa gallery and the new entrance will be ready by 2031 or 2032. 'We are running a competition to find an architect and will appoint one early next year,' she says. 'And the Louvre won't close at all. That's the strength of having a very large building. You can rebuild half of it and still function in the other half.' One benefit of all this, des Cars says, is that it will help people to get to different galleries more quickly, introducing more lifts and better signage. 'On the second floor we have the most extraordinary collection of French paintings anywhere in the world and virtually nobody looks at them,' she says. 'You start to think, what's wrong with Poussin? The answer is nothing. The real problem is that to get from the pyramid to Poussin takes 20 to 25 minutes, and that's if you walk quickly and don't get lost. If we can sort out these problems people will discover many new joys.' It comes at a price, though. The ten-year project is expected to cost about £700 million. Unlike the British Museum's masterplan, however, at least half the required funding is already guaranteed. 'The technical renovation will be funded by the Ministry of Culture,' des Cars says. 'As for the new galleries and entrance, our trademark licence deal with the Louvre Abu Dhabi [which des Cars spent six years helping to set up] will give us at least £175 million. The rest we will raise from corporate and private supporters.' Even here, des Cars has an advantage over her British counterparts. 'When you say the word Louvre people all over the world pay attention,' she says. The gallery has one other huge income stream not available to UK museums. It charges for admission and the ticket prices are about to go up — £19 for EU citizens and a hefty £26 for non-EU visitors, including the poor old Brits. Sounds as if we need to rejoin the EU, I say. 'Please do!' des Cars says, beaming. But what does she think of the UK's generous policy of keeping its national museums free to all, even foreigners? 'I am absolutely not allowed to make any judgment on that,' she says with a laugh, and then makes one anyway. 'I mean, it's very admirable but is it sustainable in today's world? That's a political decision. I leave you to have your debate.' • Best time to visit the Louvre: top tips for your trip The daughter and granddaughter of distinguished French writers, des Cars was a respected art historian, writing a classic study of the pre-Raphaelites before she started running big Parisian museums (she was head of the Musée d'Orsay and the Musée de l'Orangerie before the Louvre). Surely it must break her heart to see thousands of people using great art merely as background for their selfies, disrupting other visitors' enjoyment in the process? Has she considered banning the use of phones, as other art galleries have done? 'I know they are trying but I simply don't know how you do it,' she says. 'We considered it when I was at the Orangerie and the security team said, 'We can't force people not to use phones.' Also I think it's dangerous to go against the times we live in, but you can remind people that they are in a cultural space and need to respect each other, the staff and the artworks.' • Mona Lisa to get her own room in the Louvre And perhaps be a bit more curious about venturing into galleries that don't contain the most famous paintings on the planet? 'We are already making changes to attract people to less-visited parts of the museum,' des Cars says. 'For instance, we could have put our new Louvre Couture [the museum's first venture into fashion] in our exhibitions space, but instead we placed it within the department of decorative arts and now those galleries get a hugely increased number of visitors, especially young people.' As the Louvre's first female director, can she do anything to mitigate the fact that the vast majority of artworks here were created by men? 'You cannot change history but there are other ways of addressing that question. In the spring of 2027 I'm programming an exhibition on the theme of amazons, ancient and modern — from Greek women warriors to powerful women today. It will be a fascinating journey.' And how is this very powerful woman enjoying her own fascinating journey? 'When I was appointed I felt ready to run the Louvre, which sounds immodest,' des Cars replies. 'Maybe I will be a disaster and someone will have to shout, 'Stop!' I don't know.' I would be amazed if anyone did that — or at least not until the mid-2030s, when she has finished remaking the Louvre for the 21st century. Additional research by Ziba Manteghi