Tegernsee Abbey, officially known as St. Quirinus Abbey for its patron saint St. Quirinus, was founded either in 746 or around 765 AD. It was settled by monks from St. Gall and dedicated to Saint Quirinus of Rome, whose relics were brought here from Rome in 804. Soon, the monastery spread the message of Christianity as far as the Tyrol and Lower Austria. Until 1803, it was the most important Benedictine community in Bavaria.
After the fall of Tassilo III, Duke of Bavaria (748-788), Tegernsee became a Carolingian Empire royal monastery during the Carolingian Renaissance. The community was greatly weakened by Hungarian raids and by repeated attempts at secularisation during the reign of Arnulf I, Duke of Bavaria (907-937) and in the course of the 10th century suffered a sustained decline, culminating in the fire of around 970.
Restored and re-founded, however, under Emperor Otto II (973-983) as an Imperial Abbey in 978, and re-settled by monks from St. Maximin's Abbey, Trier, Tegernsee entered a new period of growth. With the activities of the monk Froumund (1006-1012) and Abbot Ellinger (1017-1026 and 1031-1041), the abbey became a centre of literature, manuscript production and learning, and was also active in the resettlement of other Benedictine houses in Bavaria, including the newly founded abbey of Saints Ulrich and Afra in Augsburg in c. 1012.
This golden age of the abbey lasted almost to the end of the 12th century. Many literary and scientific works produced at that time. Tegernsee was largely spared the political and ecclesiastical confusions arising from the conflict between Pope Alexander III (1159-1177) and Emperor Frederick II, and even managed to acquire substantial privileges from both pope and emperor. However, despite those privileges and its early status as an imperial abbey, Tegernsee lost that status as it was never able to effectively enjoy Imperial immediacy. Therefore, it remained subordinate to Bavaria throughout its existence.
The shape of the future was made plain with the appointment of Abbot Manegold of Berg, son of the Count of Berg, to this Bavarian abbey in 1189, as the result of political intrigue by the Counts of Andechs, Vögte (lords protectors) of Tegernsee, and Bishop Otto of Freising. The political and economic interests of the noble families of Berg, Andechs and Hohenstaufen, now came to dominate the abbey and as a result, it declined during the 13th and 14th centuries into little more than a private monastery dependent on a small number of noble families. To make matters worse, it burnt down in 1410.
However, in 1426, Tegernsee received a Visitation from the Vicar-General, Johannes Grünwalder, which marked a new beginning. Over the next decades, with the support of the Papal Legate Cardinal Nikolaus von Kues, it became a focus of the Reforms of Melk Abbey, which opened Benedictine houses hitherto restricted to the nobility to a wider range of social classes. In 1455, monks of Tegernsee settled Andechs Abbey and were appointed abbots at Benediktbeuern, Oberalteich, Wessobrunn and others. In 1446, a Passion altar was dedicated. Johannes Keck (who was the Tegernsee delegate at the Council of Basle and died in 1450) wrote a work on music, and the Prior of Tegernsee, Bernhard von Waging (d. 1472) composed his mystical writings.
This second flowering continued into the Early Modern period. From 1573, the monastery had its own printing press, which thanks to Imperial privileges was allowed to print many books on theology, liturgy and the theory of music. The community survived the confusion of the Thirty Years' War (1618-1648), when the abbey was raided by Swedish soldiers. Tegernsee Abbey was also a prominent member of the Benedictine Bavarian Congregation, established in 1684.
During the abbacy of Abbot Benedikt Schwarz (to 1787), the first signs began to show of the secularisation which eventually took place on 17 March 1803, thus bringing the abbey to an end. Gregor Rottenkolber, the last Abbot of Tegernsee, died on 13 February 1810. The greater part of the site was bought by Baron Drechsel for his brewery, but he later sold a small part back to an unofficial monastic community, who remained until 1861.
The buildings of the monastery itself were acquired in 1817 by king Maximilian I Joseph of Bavaria and later became a possession of the Dukes in Bavaria (a side branch of the ruling Wittelsbach family, the kings of Bavaria), attracted by the unusually beautiful location, and turned it into their summer residence. Known since then as Schloss Tegernsee, it is still the property of that family, the present owner is Prince Max, Duke in Bavaria.
The former Carolingian style abbey church built at the end of the 10th century had been converted in the 11th to a Romanesque basilica, which in its turn had been re-fashioned between 1455 and 1460 into a Gothic church. The monastic buildings and the church were refurbished in the Baroque style between 1684 and 1688.References:
Kroměříž stands on the site of an earlier ford across the River Morava. The gardens and castle of Kroměříž are an exceptionally complete and well-preserved example of a European Baroque princely residence and its gardens and described as a UNESCO World Heritage Site.
The first residence on the site was founded by bishop Stanislas Thurzo in 1497. The building was in a Late Gothic style, with a modicum of Renaissance detail. During the Thirty Years' War, the castle was sacked by the Swedish army (1643).
It was not until 1664 that a bishop from the powerful Liechtenstein family charged architect Filiberto Lucchese with renovating the palace in a Baroque style. The chief monument of Lucchese's work in Kroměříž is the Pleasure Garden in front of the castle. Upon Lucchese's death in 1666, Giovanni Pietro Tencalla completed his work on the formal garden and had the palace rebuilt in a style reminiscent of the Turinese school to which he belonged.
After the castle was gutted by a major fire in March 1752, Bishop Hamilton commissioned two leading imperial artists, Franz Anton Maulbertsch and Josef Stern, arrived at the residence in order to decorate the halls of the palace with their works. In addition to their paintings, the palace still houses an art collection, generally considered the second finest in the country, which includes Titian's last mythological painting, The Flaying of Marsyas. The largest part of the collection was acquired by Bishop Karel in Cologne in 1673. The palace also contains an outstanding musical archive and a library of 33,000 volumes.
UNESCO lists the palace and garden among the World Heritage Sites. As the nomination dossier explains, 'the castle is a good but not outstanding example of a type of aristocratic or princely residence that has survived widely in Europe. The Pleasure Garden, by contrast, is a very rare and largely intact example of a Baroque garden'. Apart from the formal parterres there is also a less formal nineteenth-century English garden, which sustained damage during floods in 1997.
Interiors of the palace were extensively used by Miloš Forman as a stand-in for Vienna's Hofburg Imperial Palace during filming of Amadeus (1984), based on the life of Wolfgang Amadeus Mozart, who actually never visited Kroměříž. The main audience chamber was also used in the film Immortal Beloved (1994), in the piano concerto scene.