The best walks and hikes around Creissels

The Baoumas fountain springs from a real cavity carved into the limestone wall, at the foot of the rock that bears the castle of Creissels. The name of the place, which comes from the Occitan « bauma » (cave, rock shelter), thus very accurately describes what is observed: the water gushes out in a lively jet from the darkness of the small cave, before falling back into a basin with green reflections, surrounded by a stone wall. This configuration is not an architectural coincidence: it testifies, like the Pesquié basin a little further in the village, to the karstic functioning of the Creissels subsoil, where water infiltrated into the Larzac limestones re-emerges through multiple springs and cavities, to the point of having earned the village the nickname of « Venice of the Larzac ».

In the heart of Creissels, the Pesquié basin forms a surprisingly vast body of water (1,000 m²) compared to the modest stream that feeds it. Its name, which comes from Occitan and means "fish pond", recalls the ancient purpose of the place, linked to fish farming. The town hall now occupies the premises of a former fish farm. The basin is fed by the Creissels waterfall, a typical resurgence of the karst functioning of the Larzac: the water infiltrated into the limestones of the plateau reappears after an underground journey. In September 2023, the municipality dredged the basin and created a spawning ground for brown trout (Salmo trutta). The restoration has borne fruit, as trout have since recolonized the body of water, alongside amphibians and other aquatic organisms that find refuge in the surrounding wetland.

Built between 1818 and 1821, the Lerouge bridge became one of the main structures for crossing the Tarn in Millau. It replaced the Pont Vieux, several arches of which had been destroyed by a flood in 1758, leaving the town without a permanent bridge for over sixty years. During this long period, crossing the Tarn was mainly done by ferry. The project was launched on the initiative of the prefect of Aveyron, d’Estourmel. The plans were drawn up by Pierre-Jacques Le Rouge, an engineer for the district. The first stone was laid on June 20, 1818, and the bridge was opened to traffic in January 1821. Its name therefore comes from its designer, not from the color of its stones. A curious detail: its construction was largely financed by private individuals, and a toll was collected until 1875. This tax even caused tensions with the inhabitants of Creissels, some of whom continued to cross the Tarn on foot or by boat to avoid paying it.

From the Larzac plateau, the Brunas site offers a vast panorama of the Millau valley. Stretched between the two banks of the Tarn, the viaduct with its seven concrete piers appears in its entirety. Behind it unfolds the entire Causse Rouge, a large limestone plateau whose undulations dominate the valley. Then, the Puech d’Andan is distinguished by its wooded silhouette, cut in two by a clear central notch. Further to the right stands the Pouncho d'Agast, a pyramidal promontory marking the beginning of the Causse Noir at an altitude of 841 m. Brunas is also a real site for paragliding. The take-off area is located directly on the plateau; the site is mainly used with a north wind and allows paragliders to take off and land near the same area, with an altitude difference of about 370 m to the valley. The spectacle of the sails evolving in front of the viaduct adds a special dimension to this panorama.

Three stone crosses, erected in a line on this small rise above Creissels, give the place its name, but in reality there are five in total: a fourth is hidden below, a fifth watches further on at a crossroads, on the side of the old Tournal mill. This marking, inherited from centuries-old rural piety, perhaps outlined an ancient processional path now fallen into oblivion. The panorama unfolds in 360°: to the west, the Tarn valley and the Millau viaduct with its fine suspended line and its seven pylons. To the south, the landscape closes in on the Boundoulaou cirque, from which one can distinguish, on the right, the limestone outcrop of Puech de Fayssel which closes the natural amphitheater carved into the edge of the causse. To the north, the town of Millau unfolds almost entirely below, dominated in its center by the massive silhouette of Puech d'Andan, whose summit plateau is divided into two distinct parts. Further to the right stands the Pouncho d'Agast, a pyramid-shaped promontory that marks the beginning of the Causse Noir at an altitude of 841 m.

Perched at an altitude of about 730 meters, the Cap de Coste viewpoint overlooks the eastern end of the Boundoulaou cirque. It reveals a vast panorama of the Millau basin and its surrounding massifs. To the left, the easily recognizable Millau Viaduct spans the Tarn valley to connect the Larzac to the Causse Rouge. Further to the right stretches the latter: a large limestone plateau whose undulations dominate the valley. Then, the Puech d’Andan stands out with its wooded silhouette, cut in two by a clear central notch. Finally, further away, the Pouncho d’Agast, an emblematic relief of the Causse Noir, is easily recognized by its profile like a true limestone pyramid.

Installed on rue de la Fontaine, this washhouse testifies to the importance of water in the daily life of the former village of Creissels. Fed by springs that descend from the causse and cross the town, it was once used by the inhabitants for washing clothes. It is part of a hydraulic system that is particularly present in Creissels, where waterfalls, canals, mills, and springs have long contributed to the village's activity. The washhouse thus recalls a time when water was both a domestic resource and an essential element of the local economy.

In the heart of old Creissels, this medieval dwelling is known as the “Prieuré”. The two-story building most likely dates from the first half of the 13th century. Each level has a large hall lit by two twin bays, whose capitals rest on polygonal columns. The travertine construction bears witness to the medieval civil architecture of the village. The ground floor, called the Pierre Granier hall, is named after a painter, sculptor, and architect born in Creissels around 1679. It is now used as a cultural space and regularly hosts temporary exhibitions and various events. A copy of one of his works, The Holy Family, is also presented there. To understand the historical importance of Creissels, one must place the village within its former political context: it was the capital of a viscounty, which entered the house of Rodez in 1270 before passing to the Armagnacs in 1304. This viscounty lasted until 1497. The castle, perched on the rocky spur overlooking the village, still recalls this seigneurial function and Creissels' strategic position in the Tarn valley.