Stjärnsund castle

Askersund, Sweden

The beautifully situated Stjärnsund Manor and estate lies on the point where Alsen joins Lake Vättern. The present building was built between 1798-1801. The interior furnishings, curtains, carpets, chandeliers and mirrors together form one of the best preserved interiors from the mid 19th centry in Sweden. The décor originates from Prince Gustav, "The Singing Prince".

The manor of Strjänsund was established in 1637 by Johan Gabrielsson Oxenstierna. The present castle was built by Olaf Burenstam, who acquired the manor in 1785. His son-in-law sold it to the King Carl XIV Johan. Today Stjärnsund is owned by Vitterhetsakademien, The Royal Institute of Lettets, History and Antiques.

Guided tours of the main living quarters and two wings are given daily. The café is nearby, in what was once the Estate Manager's cottage.

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Details

Founded: 1798-1801
Category: Palaces, manors and town halls in Sweden
Historical period: The Age of Enlightenment (Sweden)

Rating

4.3/5 (based on Google user reviews)

User Reviews

Eva Wahlborg (2 years ago)
En under plats. Vackert, fantastisk god mat och härlig äggbod med mycket gott att erbjuda
Mathias Karlsson (3 years ago)
Otroligt fin miljö. Slottet eller mera herrgård skulle Jag klassa den som såsom västanå slott som med är herrgård fast kallas slott... . I alla fall hit har ja planerat åka i flera år och idag blev det äntligen. Så fint så man får gåshud och välbevarat och omskött. Guidningen av Matilda var väldigt bra och professionell. Hon hade vanan inne och vi var hennes femte visning för dagen. När man kommer in i hallen i slottet så är det som att resa tillbaka i tiden och man känner en närvaro av det gamla. Alla målningar som hur man än står så ser de rakt in i din själ. Mycket mäktigt med målade väggar och målade stukaturer istället för riktiga. Alla möbler var otroligt fina och välbevarade såsom allt annat. Solljuset har de försökt att hålla ute så mycket det går för att inget ska bli blekt. Rekommenderar starkt ett besök och guidad visning (60kr vuxen) . Även ett besök på äggboden med alla läckerheter från närodlade råvaror som sylter, saft, marinader, färskvaror, kött i alla former och smaksatta olivoljor. Slottscafeet var fin och gammal miljö mycket gott att välja bland.
mohammad alafandi (3 years ago)
Bra
Alexander E. (4 years ago)
Went to this place more or less by accident. It has some nice views over the surrounding lake and good paths to take a stroll.
Åsa Bengtsar (7 years ago)
Nice place to take a strall and lunch.
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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.

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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.