[4] On 22 February 1708, Louis Le Boultz sold the house and seigneury of Chanteloup to Jean Bouteroue d'Aubigny, who also acquired the office of Grand Master of Waterworks and Forests of France for the département of Touraine, Anjou and Maine.

"[12] A plan of 1761 from the Municipal Library of Tours shows gardens around the château in the formal French style, perfected by André Le Nôtre in the latter half of the 17th century, with parterres of broderie and lawn, galleries of topiary, extensive bosquets (especially to the east and southeast), water basins, tree-lined paths and kitchen garden (potager) on the west side, south of the stables and other service buildings.

[13] The Marquise d'Armentières, a descendant of d'Aubigny, sold the château in 1761 to King Louis XV's prime minister, the Duke of Choiseul, who also acquired adjoining land, increasing the size of the estate to 6,000 arpents (4,600 hectares, 11,000 acres).

[17] A 1761 general site plan, from the French National Archives in Paris, shows that one of the first changes Choiseul made was to cut numerous tree-lined avenues and alleys in complex geometric patterns in the newly acquired Forest of Amboise to the south of the château, creating a Grand Park.

Six miniature paintings by Louis-Nicolas van Blarenberghe dated 1767, which decorate a gold snuffbox, show the architectural composition as intended by Choiseul and his architect, such as the theatre wing, rather than that which had actually been built.

Each was topped with a promenade enclosed with balustrades decorated with ornamental vases and terminated with rectangular pavilions, the one on the east with a Salle des Bains (Bath Hall), and the one on the west with a chapel.

[22] Choiseul and Le Camus also shifted the main entrance to the north, allowing access from the road along the Loire by which carriages arrived from Amboise and Paris.

[24] The cascade is depicted in two of Van Blarenberghe's snuffbox miniatures and in a 1768 painting by Jean-Pierre Houël, part of a series of six overdoors for the music room of the château, of which four survive.

[25] Around 1770 another important water feature was added, a canal, leading to the south side of the demi-lune lake and aligned on the central axis of the château and the Grand Park.

The canal is shown on a 1770 site plan attributed to Le Camus and is depicted in paintings by Louis-Nicolas Van Blarenberghe and Nicolas Perignon.

[28] Le Camus used them again to fill in the setback of one toise (about two yards) of the south facade of the corps de logis (facing the cour d'honneur) with a seven-bay colonnaded portico, including a central avant-corps of three bays with a wider set of steps (perron) leading down to the courtyard.

[30] In the center of the corps de logis, Le Camus created a large entrance hall, through which one could pass to reach the courtyard on the south, the cour d'honneur.

Before returning to Paris in 1775, after the lifting of his exile by Louis XVI, Choiseul introduced a large, informal jardin anglo-chinois (replacing the French formal gardens east of the main axis of the château) and commissioned the construction of what is now the former château's most famous feature, the seven-storey, 44 metres (144 ft)-tall Pagoda of Chanteloup, built in 1775 by Le Camus.

The French Revolution began a period of decline, the property becoming a public good in 1797 and suffering abandonment until 1802, when it was bought by the chemist-industrialist Jean-Antoine Chaptal.

In 1823 Chaptal sold the remainder of the park and gardens and the château itself to a consortium of goods merchants, the "bande noire" ("black bandits"), including the socialist banker Barthélemy Prosper Enfantin and the speculator Baudrand, acting for the wealthy Alfred de Montesqiou-Fézensac [fr].

[45] The château and its gardens were depicted by Louis Nicolas van Blarenberghe in six miniatures (1767, Metropolitan Museum of Art, commissioned by the Duke of Choiseul), which were used to decorate a gold snuffbox.