The first historical record of Lednice locality dates from 1222. At that time there stood a Gothic fort with courtyard, which was lent by Czech King Václav I to Austrian nobleman Sigfried Sirotek in 1249.
At the end of the 13th century the Liechtensteins, originally from Styria, became holders of all of Lednice and of nearby Mikulov. They gradually acquired land on both sides of the Moravian-Austrian border. Members of the family most often found fame in military service, during the Renaissance they expanded their estates through economic activity. From the middle of the 15th century members of the family occupied the highest offices in the land. However, the family’s position in Moravia really changed under the brothers Karel, Maximilian, and Gundakar of Liechtenstein. Through marriage Karel and Maximilian acquired the great wealth of the old Moravian dynasty of the Černohorskýs of Boskovice. At that time the brothers, like their father and grandfather, were Lutheran, but they soon converted to Catholicism, thus preparing the ground for their rise in politics. Particularly Karel, who served at the court of Emperor Rudolf II, became hetman of Moravia in 1608, and was later raised to princely status by King Matyas II and awarded the Duchy of Opava.
During the revolt of the Czech nobility he stood on the side of the Habsburgs, and took part in the Battle of White Mountain. After the uprising was defeated in 1620 he systematically acquired property confiscated from some of the rebels, and the Liechtensteins became the wealthiest family in Moravia, rising in status above the Žerotíns. Their enormous land holdings brought them great profits, and eventually allowed them to carry out their grandious building projects here in Lednice.
In the 16th century it was probably Hartmann II of Liechtenstein who had the old medieval water castle torn down and replaced with a Renaissance chateau. At the end of the 17th century the chateau was torn down and a Baroque palace was built, with an extensive formal garden, and a massive riding hall designed by Johann Bernard Fischer von Erlach that still stands in almost unaltered form.
In the mid-18th century the chateau was again renovated, and in 1815 its front tracts that had been part of the Baroque chateau were removed.
The chateau as it looks today dates from 1846-1858, when Prince Alois II decided that Vienna was not suitable for entertaining in the summer, and had Lednice rebuilt into a summer palace in the spirit of English Gothic. The hall on the ground floor would serve to entertain the European aristocracy at sumptuous banquets, and was furnished with carved wood ceilings, wooden panelling, and select furniture, surpassing anything of its kind in Europe.References:
From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.
The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.
At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.
The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.
The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.
Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).
The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.
At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».
The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.