To the right of the central courtyard, an imposing staircase leads towards the rear garden. On the way there is a small cloister, nestling at the foot of the east gable-end of the house. The noisette rose Mme Alfred Carriere covers the entire wall, its scent filling the cloister. The space consists of 4 squares of box planted, in spring, with tulips, muscari, and spring-flowering bulbs and, in summer, with annuals and with pots of species Pelargoniums. The cloister is enclosed by stone walls, chestnut trellis and a roof of old tiles. On leaving the cloister, one discovers the vast garden at the rear of the house. Overlooked by a terrace which extends the whole length of the house is a garden clearly inspired by the Italian mannerist gardens of the beginning of the 17th century. Four squares of lawn are created by two large axes. Each square is planted with yew, clipped as carousels and as consoles, and with large isolated topiary pieces. Around the four squares is a double alley of pleached limes enclosed by a high hornbeam hedge, expertly sculpted in pillars and swags. This is the most important architectural element of the garden.

It is from this terrace that one can best admire the extent of the extraordinary transformation of this landscape, which, only 20 years ago, was bare. The perspective extends several hundred metres. Below the Italian garden, with its yew, lime and hornbeam, is a large canal, 70m long, bordered by plane trees. Here the garden is becoming, little by little, a water garden where, in a few years, the visitor will discover a grotto evoking the grottos and nymphaea of the Italian Baroque. Behind the canal is a colonnade planted in hornbeam, and, continuing on the same axis, William Christie has built columns of stone on the hilltop to finish the perspective. The trees on the surrounding hillside were all planted by William Christie.