Eggenberg Castle

Upon first glance, Schloss Eggenberg appears today as a well-preserved 17th-century building.However, significant portions of the building’s core can be traced back to the late Middle Ages and early modern times.

Balthasar Eggenberger purchased the Orthof located in the Algersdorf fields sometime between 1460 and 1463.The fortified noble residence was given the family name and underwent expansion and remodeling in the subsequent years.A square chapel room had already been established in the free-standing tower prior to 1470.There is a Roman cardinal indulgence that exists from this chapel, dated May 30, 1470. It grants specific privileges to the capella Beate Marie Virginis sita in Castro Eckenperg.This document establishes the earliest possible date for the completion of the chapel.Balthasar generously donated a stunning winged altar for this chapel room, and the panels have been returned to their original location.

During the 16th century, this castle, which was likely in an L-shape and built in the late medieval period with a single tower, underwent modifications to accommodate the changing social status of the family. Additionally, it was expanded multiple times.The building still retains features that reflect its different construction phases. These include window jambs that reveal the heights of previous storeys, corner ashlars, acanthus-framed biforia windows, and charming furnishings in each room.In 1625, a significant renovation project commenced when it became apparent that the existing building could no longer accommodate the needs of the new royal family.The older components were skillfully incorporated into the new building. This was likely done to preserve the value of the building material and also to honor the family’s ancestral home by not completely demolishing it.The Gothic Marienkapelle remained unaltered and served as the central feature of the new complex.

In 1625, Prince Hans Ulrich commissioned Giovanni Pietro de Pomis, the court architect, to design his new palace.De Pomis, hailing from Lodi near Milan, established himself as the preeminent artist at the Graz court, showcasing his exceptional talents as an architect, painter, and medalist.He accompanied Archduke Ferdinand on court trips to Italy and Spain, along with Hans Ulrich.It is likely that these trips influenced de Pomis’ architectural design language.His style is influenced by the upper Italian mannerist architecture of the second half of the 16th century, particularly the buildings designed by Palladio, as well as the distinctively unadorned Herrera style.The floor plan of Schloss Eggenberg closely resembles that of the Palazzo Thiene, while its external appearance bears a striking resemblance to the palace and monastery El Escorial near Madrid, despite the significant differences in size.Additionally, there are further parallels that can be observed in the stylistic similarities. For instance, both structures feature facades that are characterized by a lack of ornamentation and a strong emphasis on horizontal lines. The corners of the buildings are designed to resemble towers, adding to their architectural appeal. Furthermore, the festival hall and church interior are juxtaposed, creating an interesting contrast between the two spaces.However, the most significant similarity between these two buildings lies in their architectural symbolism. Through their design, the builders have encapsulated their respective ideas about the nature of the universe, creating a comprehensive and intellectually symbolic concept.

De Pomis was in charge of overseeing the construction work until he passed away in 1631. The master builder, Laurenz van de Syppe, diligently continued the work for a span of two years until the building was ultimately completed. This accomplishment was made possible with the assistance of de Pomis’ two skilled foremen, Pietro Valnegro and Antonio Pozzo.The construction of the building’s shell was most likely completed in 1635/36.From 1641 to 1646, the stonemasons and carpenters continued their work.During that period, the castle was in a usable condition and temporarily occupied by the family.The decoration work on the missing piano nobile was temporarily halted due to the unexpected death of the second prince, Johann Anton.

In 1666, Johann Seyfried von Eggenberg successfully completed the construction of the palace, which exuded the grandeur and opulence of the Baroque era.The ceiling cycle of the rooms on the state floor, which consists of approximately 600 paintings, was completed in just 7 years under his supervision.When Claudia Felizitas, the bride of Emperor Leopold I, announced herself as a guest in 1673, it was evident that the house had been completed.The banquet hall was the only area that lacked any picturesque decoration.In 1678, Hans Adam Weissenkircher commenced his role as a court painter to the princely Eggenberg in Graz.By 1684/85, he had finished the series of paintings in the festival hall, which is now known as the Planet Hall.The furnishing work for the first phase of Schloss Eggenberg has been completed.

After the male line of the Eggenbergs died out, the state rooms were left in a state of neglect and partial emptiness.Johann Leopold Graf Herberstein, the husband of the last Eggenberg princess, commissioned a thorough renovation of the complex.From 1754 to 1762, the house and gardens underwent a significant phase of furnishing, characterized by the Rococo style.Most importantly, the state floor’s furnishings were modernized.However, the planetary hall and the cycle of ceiling paintings remained unaltered.The scope of the work was restricted to wall decorations, stoves, and furniture.Three East Asian cabinets were established in accordance with the prevailing taste of the time.The north wing of the building has five rooms that have been adorned with painted wall coverings.One of the most significant interventions was the demolition of the Eggenberg Castle Theater, which was replaced by a castle church.Joseph Hueber, a student of the Graz court architect Hildebrandt, was responsible for overseeing this project.

The third phase of changes in the 19th century was specifically focused on renovating the living quarters situated on the first floor of the castle.The piano nobile remained untouched and unused throughout the entire century.During this period, the primary emphasis was on completely transforming the formal baroque garden into a romantic English-style landscape garden.

The Herberstein family owned the entire complex until 1939.Just before the war, the province of Styria acquired Schloss Eggenberg and its park.Schloss Eggenberg, which suffered damage during the war and occupation, was subsequently integrated into the Landesmuseum Joanneum. After undergoing extensive restoration work, it was opened to the public in 1953.