Interiors

After 1754, both of the large princely suites dating from the 17th century were reworked in accordance with the rather more modest ideas of the last Princess Eggenberg, Maria Eleonora and her husband, Johann Leopold Count Herberstein. Whilst Herberstein, who was also a Styrian provincial governor, lived at his main residence within the family’s City Palais at Sackstrasse 16, Graz, the now out-dated princely Residence remained the domain of his wife.  At the time of the Residence’s refurbishment, the princess, facetiously known as the “Old Fairy”, was already advanced in years. The building would now have to be reappointed in line with her requirements.

Aside from the couple’s private rooms and bedchambers to the rear of the Residence, two public suites were again created: the State Apartments to the south side and the Semi-State Apartments to the north. It was in the latter apartments that soirées were held, with guests enjoying playing at the numerous games tables set up in the rooms.

The incorporation of chinoiseries reached the height of its popularity in Europe in the 18th century. Indian treasures such as Chinese porcelain, silk screens or Japanese lacquer work were imported from Eastern Asia and presented in the Palaces throughout Europe. And in Eggenberg three rooms were also furnished to house East Asian treasures from the princely collection. 

In the course of the refurbishment five rooms were endowed with particularly charming painted wall coverings. The dark north wing of the building is notably enhanced and enlivened by bright scenes depicting aristocratic society at the time with illusionistic views of the garden and the open countryside. They illustrate the pastimes and amusements of those who had commissioned the work and show how the rooms themselves were used.

A special feature offered at Schloss Eggenberg is the opportunity to experience its Baroque rooms under Baroque lighting conditions. Since the State Rooms were not occupied during the whole of the 19th century, there were few alterations between 1770 and 1945. Even when the palace was opened again as a museum in 1948, no modernisation or technical improvements were undertaken in these rooms.