The Château du Grand Jardin was a maison de plaisance attached to Claude de Lorraine, duc de Guise, who built it between 1533 and 1546 as a grand pavilion designed for fêtes and entertainments. The château formed an annex to the medieval castle overlooking Joinville, a stronghold of the House of Guise that was demolished at the French Revolution.
In addition to its grand festive hall, which dominated the interior, were a suite of semi-private rooms to which the duke and duchess could withdraw with their most honored guests; they included a chamber preceded by its antechamber and a more private garde-robe within, but no bedrooms, as the seat of the Duke, the château de Joinville itself, was so near at hand. The Château du Grand Jardin functioned as a banqueting house on the grandest scale, a fit demonstration of the power and prestige of the head of the House of Guise.
The site, partly in ruins, was purchased at the beginning of the 1980s by the conseil général of Haute-Marne. The building was restored, and the grand park created in the 19th century has been restored and replanted.
The site has also reacquired its original vocation as a place of culture: concerts of classical music are presented at the Grand Jardin, expositions of contemporary art, and colloquiums. The château du Grand Jardin is currently a member of the European network of Centres culturels de rencontre.
The plan of the château, surrounded by its moat in the usual French manner, comprises a rectangular corps de logis without wings or outbuildings. Richly ornamented, it combines elements of Italian architectural style, under its prominent French slate roof with dormer windows.
References:The Pilgrimage Church of Wies (Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann. It is located in the foothills of the Alps in the municipality of Steingaden.
The sanctuary of Wies is a pilgrimage church extraordinarily well-preserved in the beautiful setting of an Alpine valley, and is a perfect masterpiece of Rococo art and creative genius, as well as an exceptional testimony to a civilization that has disappeared.
The hamlet of Wies, in 1738, is said to have been the setting of a miracle in which tears were seen on a simple wooden figure of Christ mounted on a column that was no longer venerated by the Premonstratensian monks of the Abbey. A wooden chapel constructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italy became so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary.