The Festetics Family is one of the most significant ducal families in Hungary. The family, who was of Croatian origin, moved to Hungary in the 17th century. In 1739 Christopher Festetics (1696-1768) bought the Keszthely estate and its appurtenances, and chose it to be the centre of his estates. He began the construction of the Festetics Palacein 1745. The two-storey, U-shaped, 34-room Baroque palace was rebuilt several times in the 18th and 19th centuries. Between 1769 and 1770 Paul Festetics III, Christopher’s son had the building reconstructed. The wings were enlarged while the facades remained unaltered. His son, George Festetics I, started the next major reconstruction in 1792. He added the southern library wing to the palace.
Between 1883 and 1887 Tassilo Festetics II had the northern wing demolished and a new wing built which was joined to the old one by a turreted central part. Thus, he almost doubled the size of the palace. The building was covered with a mansard roof, and fitted with central heating and plumbing. After the modification of the facades and the interiors, especially the staircases, the palace acquired its present form.
The building is surrounded by a nature reserve park. The sights in the park include trees that are hundreds of years old, colourful flowerbeds, fountains, statues – among them the full-figure bronze statue of George Festetics I –, the garden pond and the fountain decorated with lions. The palm house and the former coach house with the coach exhibition can be found in the park, while the new building of the hunting exhibition and the historical model railway exhibition is opposite the back gate of the park.
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.