ABOUT
THE NAME
The name of the villa came from the old name of the tip of Cap-Ferrat Peninsula that once was called Sainto-Sospiro Francine Weisweiller, the owner of the villa, found out the old name of the neighborhood by chance. One day she and Jean Cocteau were looking at a 12th century map of the region that Ms. Weisweiller bought a while ago. She adored everything that was connected to the sea, ships and voyages.
Accidentally they learned that the name of Cap-Ferrat was Cap-Sainto-Sospiro in the past. The artist proposed to give that name to the Villa. Since then the estate on the Cote d'Azur has been known as Villa Santo Sospir.
Santo Sospiro came from the old local Niçard dialect (generally considered a subdialect of Provencal) and meant "a sacred sigh". Originally the neighborhood was home to families of fishermen. When the sea was rough, sailors came to bay of Villefranche-sur-Mer to take refuge. They heaved a sigh of relief when they saw the lighthouse at the tip of Cap-Ferrat Peninsula. Hence the name.
Accidentally they learned that the name of Cap-Ferrat was Cap-Sainto-Sospiro in the past. The artist proposed to give that name to the Villa. Since then the estate on the Cote d'Azur has been known as Villa Santo Sospir.
Santo Sospiro came from the old local Niçard dialect (generally considered a subdialect of Provencal) and meant "a sacred sigh". Originally the neighborhood was home to families of fishermen. When the sea was rough, sailors came to bay of Villefranche-sur-Mer to take refuge. They heaved a sigh of relief when they saw the lighthouse at the tip of Cap-Ferrat Peninsula. Hence the name.
THE ROMANTIC BEGINNING
The history of the villa is strongly connected to the Weisweillers, a wealthy family with Jewish origin. At the beginning of World War II, the couple stayed at Villa Altana in Antibes with Alec's mother Betty Weisweiller. However, in September 1943 when the Nazis came to the south of France, Francine and her husband Alec together with their newborn daughter Carole decided to escape to Spain. Later they planned to join a ship to the USA. To survive they hid their Jewish background and used a nickname Lelestrier. But the Gestapo came to arrest them when they reached Pau. The couple left their kid to the locals and ran away into the forest. Alec hid his wife from the enemies in fallen leaves. At that precise moment, he whispered that if they survived, he would buy her a dream house. Alec's mother remained in Antibes and was deported to Auschwitz. She died on the way to the concentration camp.
In 1948 Francine and Alec were sailing around the peninsula Cap-Ferrat. From a boat Ms. Weisweiller noticed the villa. At that very moment, she realized that finally found a dream house. Soon her husband bought her the estate, which was built in 1930. Alec kept his word and presented an ideal house for his wife. He was a millionaire related to the Rothschilds, with whom the Weisweillers became neighbors in Cap-Ferrat.
The neighbourhood, which was empty until 1920es quickly turned into a luxurious holiday resort that was dotted with villas of rich and powerful people, like King Leopold II of Belgium. Cap-Ferrat attracted millionaires, aristocrats and creative minds, like Rainier III, Somerset Maugham, Winston Churchill, Hubert de Givenchy, Charlie Chaplin, Isadora Duncan, Elizabeth Taylor and Richard Burton. Thanks to the Weisweillers the number of famous guests increased even more.
In 1948 Francine and Alec were sailing around the peninsula Cap-Ferrat. From a boat Ms. Weisweiller noticed the villa. At that very moment, she realized that finally found a dream house. Soon her husband bought her the estate, which was built in 1930. Alec kept his word and presented an ideal house for his wife. He was a millionaire related to the Rothschilds, with whom the Weisweillers became neighbors in Cap-Ferrat.
The neighbourhood, which was empty until 1920es quickly turned into a luxurious holiday resort that was dotted with villas of rich and powerful people, like King Leopold II of Belgium. Cap-Ferrat attracted millionaires, aristocrats and creative minds, like Rainier III, Somerset Maugham, Winston Churchill, Hubert de Givenchy, Charlie Chaplin, Isadora Duncan, Elizabeth Taylor and Richard Burton. Thanks to the Weisweillers the number of famous guests increased even more.
THE RENAISSANCE
Few months later, the whole house was covered with drawings that Cocteau used to call "tattoos". He said: "I didn't have to dress the walls. I had to paint on their skin, that's why I treated the frescoes linearly, with few colors that enhanced the tattoos. Santo Sospir is a tattooed villa".
When Cocteau made the very first tattoo, he showed it to his friend Henri Matisse, who had been living on the French Riviera. The painter found it beautiful and said: "When you decorate a wall, you decorate the others". Pablo Picasso also supported Cocteau and advised him to go on painting. Cocteau said: "Picasso opened and closed all doors; so it remained to paint on the doors: this is what I tried to do. But the doors open in the rooms; the rooms have walls, and if the doors are painted, the walls look empty…"
The artist covered almost every wall of the house without sketches. He tattooed the walls in charcoal and after that he put colored powder that was prepared specially for him by an Italian workman. Those pigments were mixed with raw milk. This technique is called frescoes in tempera. In total Cocteau created around 200 tattoos. Sometimes he didn't move the furniture and draw directly over objects.
In 1951, the artist decorated ceilings and created two mosaics for the patio next year. Tapestry, one of the main attractions of the villa, was also designed by Cocteau. It was made on the legendary Aubusson tapestry manufacture, which is known since the 16th century, granted the status of Royal Manufacture and actually it is inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. Also, in 1948 Jean Cocteau made a sketch of the biblical story of Judith and Holofernes and sent it to the manufacture. It took five years for weavers to make it. Finally, in 1953 the tapestry was finished and occupied a whole wall.
Jean Cocteau returned to the villa every summer and stayed there for almost eleven years. He once said: "When I was working at Santo Sospir, I became myself a wall and these walls spoke for me". The artist even made a 35-minute film about the estate, "La Villa Santo-Sospir."
When Cocteau made the very first tattoo, he showed it to his friend Henri Matisse, who had been living on the French Riviera. The painter found it beautiful and said: "When you decorate a wall, you decorate the others". Pablo Picasso also supported Cocteau and advised him to go on painting. Cocteau said: "Picasso opened and closed all doors; so it remained to paint on the doors: this is what I tried to do. But the doors open in the rooms; the rooms have walls, and if the doors are painted, the walls look empty…"
The artist covered almost every wall of the house without sketches. He tattooed the walls in charcoal and after that he put colored powder that was prepared specially for him by an Italian workman. Those pigments were mixed with raw milk. This technique is called frescoes in tempera. In total Cocteau created around 200 tattoos. Sometimes he didn't move the furniture and draw directly over objects.
In 1951, the artist decorated ceilings and created two mosaics for the patio next year. Tapestry, one of the main attractions of the villa, was also designed by Cocteau. It was made on the legendary Aubusson tapestry manufacture, which is known since the 16th century, granted the status of Royal Manufacture and actually it is inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. Also, in 1948 Jean Cocteau made a sketch of the biblical story of Judith and Holofernes and sent it to the manufacture. It took five years for weavers to make it. Finally, in 1953 the tapestry was finished and occupied a whole wall.
Jean Cocteau returned to the villa every summer and stayed there for almost eleven years. He once said: "When I was working at Santo Sospir, I became myself a wall and these walls spoke for me". The artist even made a 35-minute film about the estate, "La Villa Santo-Sospir."
With the villa, the Weisweillers started a new chapter in their life. Francine invited her good friend and the legendary designer Madeleine Castaing to work on the interiors. She was often called an eccentric decorator. Some people even said that she had an insane sense of style. But everyone agreed that Madeleine had its own unusual manner that later was followed by many aficionados.
Francine became part of the social scene. She was a friend and client of Christian Dior, Balenciaga, Coco Chanel, and Yves Saint Laurent. In 1949, Ms. Weisweiller met Jean Cocteau. He was shooting "Les Enfants Terribles", the movie being made of his famous novel. The leading role belonged to Nicole Stéphane (born Nicole de Rothschild), the French actress of the banking clan and the cousin of Alec Weisweiller. She introduced Cocteau to Francine.
Shortly after that meeting Ms. Weisweiller invited the director to spend a vacation in her villa. Jean Cocteau kindly accepted the offer and arrived together with his adopted son Edouard Dermit, who played the role of Paul in "Les Enfants Terribles". Very soon the artist felt that he was tired of idleness. "I wither here," he told Francine and proposed to draw something above the fireplace in the living room. The first image turned out to be Apollo's head, the Greek god of music, poetry, and art. That is how Cocteau began painting the walls of the estate.
Francine became part of the social scene. She was a friend and client of Christian Dior, Balenciaga, Coco Chanel, and Yves Saint Laurent. In 1949, Ms. Weisweiller met Jean Cocteau. He was shooting "Les Enfants Terribles", the movie being made of his famous novel. The leading role belonged to Nicole Stéphane (born Nicole de Rothschild), the French actress of the banking clan and the cousin of Alec Weisweiller. She introduced Cocteau to Francine.
Shortly after that meeting Ms. Weisweiller invited the director to spend a vacation in her villa. Jean Cocteau kindly accepted the offer and arrived together with his adopted son Edouard Dermit, who played the role of Paul in "Les Enfants Terribles". Very soon the artist felt that he was tired of idleness. "I wither here," he told Francine and proposed to draw something above the fireplace in the living room. The first image turned out to be Apollo's head, the Greek god of music, poetry, and art. That is how Cocteau began painting the walls of the estate.
THE VILLA AS A PIECE OF ART
THE DECADENCE
No wonder why Santo Sospir was called one of the loveliest villas on Cap Ferrat. It hosted many iconic visitors, including Pablo Picasso, Pierre Cardin, Alexander Calder, Charles Aznavour and Marlene Dietrich. Romy Schneider and Alain Delon spent their first romantic weekend here.
But the idyllic period came to its end in 1961, when the relations between Ms. Weisweiller and Cocteau cooled. The reason was a new romance of Francine. She started relationships with the writer and screenwriter Henri Viard. Cocteau found that as a betrayal and moved out of the villa.
Francine Weisweiller stayed at Santo Sospir until 2003, when she died at the age of 87 in the arms of Eric Marteau. Eric is long-time housekeeper of the villa. Around 30 years ago he came to Santo Sospir to be a private nurse for Ms. Weisweiller. Later, her daughter Carole proposed Eric to stay in the villa and be its caretaker.
After the death of Francine, Carole Weisweiller became the legal heir of the villa. She allowed private excursions, but on request. With time Santo Sospir became worn-out. The tattoos were facing damages. Carole could neither keep the estate in good condition, nor afford taxes. She decided to sell the villa to people who will be able to breathe new life into it.
But the idyllic period came to its end in 1961, when the relations between Ms. Weisweiller and Cocteau cooled. The reason was a new romance of Francine. She started relationships with the writer and screenwriter Henri Viard. Cocteau found that as a betrayal and moved out of the villa.
Francine Weisweiller stayed at Santo Sospir until 2003, when she died at the age of 87 in the arms of Eric Marteau. Eric is long-time housekeeper of the villa. Around 30 years ago he came to Santo Sospir to be a private nurse for Ms. Weisweiller. Later, her daughter Carole proposed Eric to stay in the villa and be its caretaker.
After the death of Francine, Carole Weisweiller became the legal heir of the villa. She allowed private excursions, but on request. With time Santo Sospir became worn-out. The tattoos were facing damages. Carole could neither keep the estate in good condition, nor afford taxes. She decided to sell the villa to people who will be able to breathe new life into it.
Villa Santo Sospir: where heritage meets destiny
Years ago, Marina Melia, a renowned professor of psychology and business coach with over 40 years of experience, first visited Villa Santo Sospir during a guided tour. Known for her philanthropy supporting children’s hospices and refugees, she was immediately captivated by the villa’s profound history and artistic legacy, feeling a deep connection to it.
Marina’s life intertwined with the villa’s story — she was born around the same time the Weisweillers bought Santo Sospir and Jean Cocteau immortalized it with his legendary artwork. Her love for France and admiration for Cocteau influenced her family deeply. Her son, Ilia, attended a French school and embraced French culture, while her daughter, Marina Jr., discovered Cocteau’s genius through his collaboration with Sergei Diaghilev and the Ballets Russes. Their bond with the Cote d’Azur dates back to Marina’s grandfather, Solomon Melia, who visited the region in his youth and shared stories that enriched their love for its cultural heritage.
In a chance conversation, Ilia Melia discovered the villa was up for sale, and the family immediately felt it was fate. When Carole Weisweiller sold Santo Sospir in 2016, she described the deal as a match made in heaven — one that Jean Cocteau himself would surely have approved.
Marina’s life intertwined with the villa’s story — she was born around the same time the Weisweillers bought Santo Sospir and Jean Cocteau immortalized it with his legendary artwork. Her love for France and admiration for Cocteau influenced her family deeply. Her son, Ilia, attended a French school and embraced French culture, while her daughter, Marina Jr., discovered Cocteau’s genius through his collaboration with Sergei Diaghilev and the Ballets Russes. Their bond with the Cote d’Azur dates back to Marina’s grandfather, Solomon Melia, who visited the region in his youth and shared stories that enriched their love for its cultural heritage.
In a chance conversation, Ilia Melia discovered the villa was up for sale, and the family immediately felt it was fate. When Carole Weisweiller sold Santo Sospir in 2016, she described the deal as a match made in heaven — one that Jean Cocteau himself would surely have approved.
A restoration rooted in reverence
The restoration of Villa Santo Sospir was carried out with exceptional care and dedication, addressing the urgent need to preserve its historic character. The original engineering systems, dating back to the 1940s, required a complete overhaul. This presented a challenge, as the villa's walls, adorned with Jean Cocteau's priceless frescoes, had to remain untouched. Innovative solutions were developed to safeguard the structure from humidity, ensuring the frescoes would endure for generations to come.
The restoration journey was anything but simple. The pandemic brought delays and logistical complications, yet the team’s determination and attention to detail ensured the project stayed true to its vision. Credit is due to Ilia Melia for his unwavering commitment, as well as to renowned architect Marc Prigent, whose expertise and sensitivity made this endeavor both meaningful and successful. The villa’s iconic charm was further enhanced by celebrated designer Jacques Grange, who revitalized the interiors while honoring their unique artistic legacy.
Florence Cremer, a renowned expert in the restoration of historic frescoes, oversees the meticulous preservation of Jean Cocteau’s iconic "tattoos." Every single millimeter is handled with precision and care.
Madison Cox, the acclaimed landscape architect, applied his visionary talent to shaping the villa’s garden. Known for his work with notable figures like Sting and Michael Bloomberg, he is perhaps most famous for redesigning the legendary Marrakech home of Yves Saint Laurent and Pierre Bergé.
The villa’s decor holds immense artistic value, curated by the renowned decorator Madeleine Castaing. She adorned the interiors with a refined selection of antique furnishings that, despite their inherent fragility, have gracefully withstood 70 years of use. These carefully selected pieces were meticulously restored in Milan, where the iconic Judith and Holofernes tapestry, designed by Jean Cocteau, was also brought back to its former glory.
Today, the restoration is nearly finished, with only a few final details left to perfect. The villa stands as a living tribute to its remarkable history, seamlessly blending modern updates with its timeless charm. Jean Cocteau’s visionary artistry continues to inspire, his work as relevant and evocative today as ever.
The restoration journey was anything but simple. The pandemic brought delays and logistical complications, yet the team’s determination and attention to detail ensured the project stayed true to its vision. Credit is due to Ilia Melia for his unwavering commitment, as well as to renowned architect Marc Prigent, whose expertise and sensitivity made this endeavor both meaningful and successful. The villa’s iconic charm was further enhanced by celebrated designer Jacques Grange, who revitalized the interiors while honoring their unique artistic legacy.
Florence Cremer, a renowned expert in the restoration of historic frescoes, oversees the meticulous preservation of Jean Cocteau’s iconic "tattoos." Every single millimeter is handled with precision and care.
Madison Cox, the acclaimed landscape architect, applied his visionary talent to shaping the villa’s garden. Known for his work with notable figures like Sting and Michael Bloomberg, he is perhaps most famous for redesigning the legendary Marrakech home of Yves Saint Laurent and Pierre Bergé.
The villa’s decor holds immense artistic value, curated by the renowned decorator Madeleine Castaing. She adorned the interiors with a refined selection of antique furnishings that, despite their inherent fragility, have gracefully withstood 70 years of use. These carefully selected pieces were meticulously restored in Milan, where the iconic Judith and Holofernes tapestry, designed by Jean Cocteau, was also brought back to its former glory.
Today, the restoration is nearly finished, with only a few final details left to perfect. The villa stands as a living tribute to its remarkable history, seamlessly blending modern updates with its timeless charm. Jean Cocteau’s visionary artistry continues to inspire, his work as relevant and evocative today as ever.
