Schloss Esterházy

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Schloss Esterházy" – news · newspapers · books · scholar · JSTOR (March 2013) (Learn how and when to remove this template message)

Schloss Esterházy (

History

The architectural history of the building involves a transition from an actual medieval castle, built for defense, to a palace meant for comfort and ostentatious display. The moats were removed in the early 19th century,[2] and the architectural style was modified at various points to fit the taste of the times.

Early period

1364: The palace comes into the possession of the powerful Kanizsai family and consequently experiences a substantial development.

1371:

city castle" included in the northwest perimeter of the city of Kismarton.

1622: Ownership falls under the possession of the

family.

Baroque building phase (1663–1672)

After the death of Count

.

18th century changes

There were few changes made during the high and late baroque periods. In the 18th century, the interior design and staircases were about all that changed. Most areas were equipped with furnaces and stucco ceilings. The only large construction work in the palace was the renewal of the two main staircases, which are presently the same.

The palace was one of the summer residences of the

Classical building phase

built considerably, despite his being in power for only a short time (1790–94). columns. Moreau also established a set of the different "high society" rooms; many with different styles.

But Prince Nikolaus's funds, ample as they were, did not suffice to complete these renovations; his expenses (maintaining numerous mistresses, paying for the art, supporting the Austrian side in the Napoleonic wars, reviving Haydn's musical establishment), coupled with the severe inflation and economic decline that war brought to Austria, meant that the renovations could never be completed, even by subsequent generations of princes. The grand entrance Nikolaus and Moreau planned is orphaned (see image to right), as the main entrance to the palace remains to this day in its original location on the opposite end of the building, facing the town.

Later history

In the late 19th century renovation work finally began. Few changes were made in the early part of the 20th century. In 1945, at the end of the Second World War, a major change was made in the purpose of the palace: it accommodated the office of the Burgenland state government and later the national court for ten years. In 1969 the Burgenland state government took over major parts of the building through lease.

The palace today

Currently, the palace is under the ownership of the Esterházy Foundation, created by Melinda Esterházy (1920–2014). As one of the most substantial palaces in Austria, it is a major tourist attraction. Visitors may view a number of rooms as well as the furnishings and artwork, and may also tour the extensive grounds behind the palace. There is a wine museum and gift shop. Guided tours are offered, as well as concerts in the Haydnsaal.

The Haydnsaal

The Haydnsaal, originally the large multi-purpose festival and banquet room, is a piece of artwork in itself in the Schloss Esterházy. With its size and ornate splendor, it reflects the political, economic and cultural dominance of the

family.

Today it ranks among the most beautiful and acoustically perfect

and the Schloss Esterházy.

The Haydnsaal was established under Paul Esterházy the first, in the course of the baroque building phase (1663–72). It was part of plans made by Carlo Martino Carlone, originating from Italy, which covered the largest part of the northern wing. It extends over three stories, whereby the side facing to the courtyard three windows are poised one above the other.

At the beginning of the classical change period, 1803, the Garden Room extended along the north side in front of the Haydnsaal. The windows previously installed there were bricked up. Friedrich Rhode, the court painter, decorated the remaining recesses with Biedermeier-style festoons. Masonry wall openings were provided at both the east and west ends, sealed off by two large alcoves, and served as access ways to the planned opera/theatre wing and gallery section.

Subsequently, two galleries were erected supported on four wooden columns headed by palm capitals. Two girandoles (candle holders) adorn the east wall of the magnificent hall.

The unique frescoes of the hall originate from the 17th century and are attributed to the painter

, while scenes taken from the lives of the two are captured in the rectangular panels.

Depicted in the cruciform volute panels are scenes taken from the myth surrounding the "Golden Apples of Hesperides". Interspaced between the ceiling frescoes are the family armorial bearings of the Esterházys (earls and alliances). Worked into the volute medallions featuring grisaille techniques are allegorical female characters symbolising the "Countries of St. Stephen's Crown".

The medallions embellishing the walls (court painter Friedrich Rohde, 1793) portray busts of Hungarian monarchs ranging from Stephen I to Emperor Leopold I. The 18 sandstone busts seen on the main façade form part of the same series.

Gallery

• 
  Red Salon; the portrait on the wall is of the Esterházy prince Paul Anton II
• 
  Inner courtyard of the palace
• 
  Entrance gate
• 
  Former stables, opposite the palace on the plaza
• 
  Orangerie

  in the palace grounds
• 
  In 1807 Prince Nikolaus's artist Albert Christoph Dies painted the view from the rear entrance, including the Leopoldinentempel. The view is similar today though more heavily wooded.
• 
  Leopoldinentempel today
• 
  Front view of palace from plaza
• 
  Silver dishes
• 
  Mirror table
• 
  Haydnsaal ceiling
• 
  Princess Maria Josepha Hermenegildis of Liechtenstein by Johann Georg Weikert, 1784. The wife of Nikolaus II, she was a friend and supporter of Haydn, who wrote his last six masses in celebration of her name day.

See also

• List of Baroque residences

References

Notes

Bibliography

• Clark, Caryl Leslie (2005). The Cambridge companion to Haydn.
  ISBN 9780521833479
  .

External links

Wikimedia Commons has media related to Schloss Esterházy, Eisenstadt.

• Esterházy Palace official website
• Fotoreport gallery Archived 2012-05-14 at the Wayback Machine

47°50′55″N 16°31′15″E / 47.84861°N 16.52083°E / 47.84861; 16.52083