Perched on a hillside overlooking the Aveyron River, the Château de Féneyrols stands as a testament to medieval architecture and the region's layered history. Its strategic location on the riverbank once protected an important crossing, blending natural defenses with its formidable structure.
The origins of the château date back to the late 13th or early 14th century, though the surrounding area was first mentioned in records from 1259. The fortress itself was formally documented in 1323 within a charter of rights granted to the villagers. Ownership of the château became notable in 1338, following the death of Raymond de Castelnau, when it was divided between his daughters, Hélène and Hélix, who shared jurisdiction over Féneyrols. During the turbulent years of the Hundred Years' War, the château briefly fell into English hands but was retaken in 1363.
By the 17th century, the structure had evolved into a substantial fort, as evidenced by records detailing 57 rooms distributed across three floors, with spaces ranging in size from modest chambers to larger living quarters. Despite this impressive scale, by 1763, when Antoine de Rous, a prominent treasurer from Montauban, acquired the property, he described the château as 'old and dilapidated.'
Architecturally, the château retains its medieval fortified character, particularly in the northwest facade, which features timber-framed machicolations resting on tuff stone supports. Over the centuries, the complex expanded to include several additional structures and features, such as an old mill, a raised terrace, remnants of moats, a park, a former orangery, a kitchen garden, a kennel, and agricultural buildings surrounding the central courtyard. A dovecote, a hallmark of noble estates in the region, also remains.
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.