In 1924 bulit the farmer Josef Pallhuber the "Brugger" chapel next to his house. Until now it is the youngest chapel in the valley.
The St. Oswald Church is situated on 2,365 metres in the hiking and skiing area of Meran 2000.
In 1641, the farmers of Hafling/Avelengo swore to edify Oswald as the patron saint of cattle and grazing, by building a chapel at the foot of the mount Ifinger and processing there on his name-day festival. The old chapel existed for almost 250 years at the original site, until a new building was erected in 1879.
Even today, there is a procession to the chapel every 5th of August, which is St. Oswald’s Day, with an open-air mass and a related church holiday. Many of the devoted from the surrounding area flock up to services at the little mountain church and pray for nice weather and good health for the cattle, for which Oswald serves as patron saint.
The church is mentioned for the first time in the year 1208. The today lategothical building was implemented by the master Benedikt Weibhauser from Brixen and inaugurated in the year 1494. On the inside a leaflet explains the building history of the church and the artistic equipement.
The most prominent artwork of Tramin and at the same time one of the finest masterpieces of Tyrolean art can be found in the small St. Jakob church situated on a hill above the village.
It contains a well- preserved Romanescue fresco cycle dating back to about 1220. The figures portrayedin the colourful frescoes are quite atypical in painting since they are usually represented as stone sculptures. In fact, on the walls of the small chancel you can admire bizarre hybrid creatures with both human an beastly attributes, fabulous figures emanating from the myths of medieval times. They all seem to represent the sinful antagonism of the overlying scenes showing a graceful depiction of the Twelve Apostels with the enthroned Crist in the Mandorla, the almond- shaped aureole.
The southern annex of the chapel contains yet another jewel: here the painter Ambrosius Gander executed some bright and valuable murals, amongst which the well-known legend of the Pilgrims. The inscription tells us that these paintings were completed 1441.
The newest part of the village from a settlement point of view is located on a gigantic scree. Only the church, which usually provides the centre of the village, is located on a panoramic hill. It is definitely one of the most beautiful church hills in the region! The parish was devoted to the patron of water St. Nicholas. This saint was often chosen in villages prone to overflowing by raging rivers (ancient German winnen = raging). In 1507 the Prato Drava parish church was first mentioned in a document within the framework of consecration. The traditional rectangular floor-plan of proto-Romanic construction was transformed and renovated in Gothic style around1500. The elegant construction with ogive windows and portal has maintained all its Gothic charm, including the floor-plan, the section with support pilaster and pilaster strips , the triumphal art and the polygonal choir stall. Unfortunately in 1821, the vaults were stripped of their ribs, and only a Coronation of Mary and a representation of the legend of St. Nicholas (approx. 1505) are all that remain of the original frescoes in the Church of Prato Drava. The epitaph of the Klettenhammer family with its architectonic frame dates back to the 17th century. The altars, pulpit and confession boxes that date back to the early 19th century exemplify a unified and extremely rustic Baroque style. A steep path with the Stations of the Cross and four wayside shrines leads to the church hill. The wooden statues in these wayside shrines realised in rustic, realistic Baroque style show scenes from the Passion of Christ: The Mount of Olives, the Flagellation, the Crowning with Thorns, Jesus carrying the Cross; the Crucifixion group located in the graveyard is also of the same genre and period (1700 circa). Visiting hours: The church is only accessible during mass celebrations (during the summer season every day).
Lovers of Gothic ought not to miss this gem. Not only the S. Leonardo's Church winged altar from the late 15th century, associated with the wood-carving studio of Hans Schnatterpeck, but also the unique frescoes, are worth seeing.
The tower in the Vadena district of Birti is the last remnant of the curacy church of St. Mary Magdalene from the 14th century. It is 24.6 m high and the walls are 70 to 90 cm thick. You can see the bricked-up arched windows on each side, only one is still open and intact. At that time, three bells hung in the tower, two smaller and one large. The brick helmet is damaged at its top, as the wind had thrown the button off the tower in 1743/44. Due to its very unfavourable location on the open valley floor, the Madgalena Church was hit by countless Adige floods. The church was flooded in 1755. The citizens of Vadena therefore thought about moving the church to the castle chapel in the courtyard of Vadena. In 1794, the church had to be abandoned after further numerous floods, because the water exceeded the altar refectory and the death chests floated around like ships. On 2 July 1795, a contract was concluded between the castle chapel owner Menz and the neighbours in Vadena and the castle chapel was designated as the new curacy church. In 1796, the Church of Mary Magdalene was demolished, only the tower still reminds us of the location of the old church.
St Anne's Church is part of the St Anne's building complex. From the fifteenth to the nineteenth century, St Anne's served as the residence of the priests of the Teutonic Order.
The St Anne's building complex was built in the first half of the 15th century.
The building was grouped around two Romanesque towers, which formed the original building stock. The northern tower served as living quarters, while the church was built into the southern tower. It is crowned with a ridge turret set on corbels with a high pointed roof. A heavily yellowed inscription on the west front under the ridge turret indicates the year 1458 as the possible date of construction or consecration.
The Gothic style began in France in the 13th century, in Tyrol it only began in the 14th century. The building falls into the High Gothic period.
With the miraculous great Lord of Agumes the Church of St. Georg, visible from a distance, it turned into a popular destination for pilgrimages.
The Ascension Church in Ehrenburg was first built in the year 1370. Today's building was built in the baroque period between 1698 and 1701. The mercy-painting was painted by I. A. Mölck (1755). In the crypt, there is an old statue of the Virgin Mary and other interesting paintings.
The Franciscan Church was consecrated by the archbishop of Bressanone in 1697. The church is characterised by being back to basics, as the friar churches built during the Counter-Reformation clearly differ from traditional Collegiate Churches dedicated to belongings and culture through their simple and clear method of construction (planning: Franciscan friar Vitus Rastbichler from the Ötztal Valley). The Order's ideal of simplicity and poverty is reflected in the absence of a high bell tower and complex vaults and frescoes. After the entrance there's the small Chapel of Saint Anthony annexed to the nave destined for private meditation. The Fathers originally recited the choral prayers from the gallery. Not much of what distinguished the initial version of the church remains to be seen today, with the exception of the large oil paintings behind the side altars and the Franciscan saints on the southern wall. Today's altars are nice examples of Rococo art. The careful restoration works performed between 1992 and 1994 provided the Convent with its original appearance. The restoration project was awarded the Europa Nostra Prize in June, 1994. Visiting hours: daily (except Monday morning) 8 am - 6.30 pm
The church was first mentioned in 1237. The main patron is the Saint James the Greater, but the church was also dedicated to St. Barbara and St. Christopher. Originally, the little church was a Romanesque nave construction, which in the 15th century has been adjusted to the new gothic architectural forms. The old Gothic winged altar, also of the 15th century, is still preserved inside the church.
Located on the Passer Promenade, it was built between 1883 and 1885 in a neo-Gothic style. The church belongs to the Evangelical Lutheran Church in Italy and is a true symbol. Particularly notable is the large Christ figure, blessing the faithful – a masterpiece made of Laas marble, inspired by Bertel Thorvaldsen’s statue.
The construction of the church is closely tied to the development of Merano as a spa town. As early as 1861, the first members of the Evangelical community began to organise in the city. In 1870, the first pastor was appointed, and in 1876 the Evangelical community of Merano was established as part of the Evangelical Church A.B. in Austria. This open, cosmopolitan atmosphere is still very much present in Merano today – the city has preserved its welcoming spirit over the centuries.
The building itself is steeped in a unique atmosphere. It sits amidst an idyllic garden and is crowned by a striking spire. The exterior walls are a true masterpiece of neo-Gothic architecture, with intricate flying buttresses and pointed windows. The interior is kept simple, offering plenty of space for reflection and prayer. Noteworthy are the wooden reliefs of the altar and pulpit, created by Franz Xaver Pendl, as well as the impressive crucifix.
The Christ Church is not just a place of worship but also a cultural meeting point. Regular sacred music concerts and organ performances take place here, and those strolling along the Passer Promenade can often feel as though they have been transported to another country. The atmosphere of the garden, the imposing building, and the harmony between nature and architecture make the Evangelical Christ Church a truly special destination for anyone visiting Merano.
Merano, with its cosmopolitan character, invites people to explore different cultures and religions. The Christ Church stands as an extraordinary testament to this unique heritage and is a place that reflects both the faith and the diversity of life in Merano.
This church was first mentioned in 861 in connection with a court hearing. It is designed in two floors and remarkable for its Romanesque architecture, as well as for its frescos by the masters Leonhard from Brixen and Simon von Taisten, the latter a pupil of Michael Pacher’s.
The small pilgrimage church Unsere liebe Frau im Walde stands on the Schmelz, in middle of the wooded Martell Valley, where a mine is mentioned as early as 1448. This charming miners' chapel was donated in 1711 by the Counts Hendl from Kastelbell, sold in 1816 due to famine, extended with a tower in 1856 and rebuilt in Neo-Gothic style in 1894. Until after the Second World War, the people of Martell moved in procession from the parish church in the main village to the chapel on the Schmelz for the annual celebration of the church consecration. The day of patron saints is on first Sunday in July, around the Visitation of Mary (2nd July), with a field mass and sermon by the erratic block next to the church.
Although this church originally built in Romanic style dates back to the 12th century, renovation performed after 1735 transformed it to the Baroque jewel we see today with the lavish ornamentation that recalls the exuberance of Rococo. The outside is characterised by arched windows, niches with statues, the impressive main facade crowned by a cross, angels blowing trumpets and bearing glowing braziers, and the walls' buttresses in the form of scrolls. Without doubt, this church is one of the most beautiful sacral buildings in Tyrol.
The first documentary mention of the St. Cyprian Chapel in Sarnthein / Sarentino Village was in the year 1328. In the middle of the 15th century, the church was rebuilt in the Gothic style. The well-preserved frescoes are a special treat.
Old parish church St. Genesius.
Kastelruth's exceptionally imposing, free-standing bell tower already beckons to visitors from a great distance. The tower and church form a captivating achitectural ensemble together with the town hall and the houses built around the church square by leading citizens. It is no coincidence that this village's historical core has been selected as one of the most beautiful in Italy.
The Parish Church of Kastelruth – also known as the “cathedral on the mountains” is dedicated to the apostle princes Peter and Paul. The parish church is an example of Viennese engineering.
Open daily from 08:00 - 18:00.
Worship services: Sunday: 10.00 a.m. (in German)
The parish church is open during the day throughout the year
Die den beiden Apostelführern geweihte Kirche liegt gegenüber der Kapuzinerkirche und ist
ein Anbau des Ansitz Jöchlsthurn. Sie wurde von der Familie Jöchl erbaut, welche auch nach
damaliger Zeit selbst den Kaplan auswählten. Mit Aussterben der männlichen Linie wurde die
Kirche vom Hofgericht der Stadt übertragen. Die Erben der Familie Jöchl erhielten die Empore
zugesprochen, so dass sie der Messe beiwohnen konnten ohne sich unters Volk zu mischen.
Hierfür hatten sie sogar einen eigenen Zugang über das Wohnhaus. 1787 wurde die Kirche mit
dem schönen spätgotischen Flügelaltar des Tiroler Meister Friedrich Pacher von der Familie
Enzensberg, welche inzwischen Eigentümer des Jöchlsthurn war, zurückgekauft. Sie ist bis heute
im Privatbesitz und wie der Ansitz Jöchlsthurn selbst derzeit nicht zu besichtigen.
Festivities:
S. Antonio da Padova: June 13 th
Francesco d’Assisi: October 4th
The first Franciscans came to Bolzano during the lifetime of S. Francesco, probably in 1221. In the framework of the reform guided by Bernardino of Siena a second propagation wave of the Franciscans took place. In this context the monastery foundations of Kaltern were built. Claudia de Medici, Provincial Princess of Tyrol and promoter of the Franciscan movement, donated the ruins of the Rottenburg to the Franciscans, which were destroyed at the beginning of the 15th century. Parts of the garden area for the construction of the church and monastery. At the beginning of the 18th century, the church was expanded to the present state. The image of St. Anthony of Padua on the right-hand side altar is of great importance for piety. The Antonius cycle in the cloister was painted in 1721 by Matthias Pußjäger.
Source: Parrish office Kaltern
The church of Saint Ulrich was founded during the 12th Century by the cloisters of Saint Afra in Augsburg and has been used as the Nals parish church since 1910. Time table: Saturday 19.00 Sunday 10.00
St. Anthony’s Chapel built in 1673 and situated on the main square in Ortisei/St. Ulrich is a popular photo motif thanks to its simple and unadorned style and roof turret.
It features an altar painting depicting St. Anthony from Padua, by the Swiss painter Melchior Deschwanden.
The Parish church of St. Vigilius with its Romanesque church tower was mentioned for the first time in 1337. The old baptismal font inside dates from an earlier time, from 1033. At the beginning of the 16th century, the church was remodeled and a sandstone arch was added. In 1850, the late Gothic high altar was built where the baroque altarpiece showing the martyrium of Str. Vigilius was built in. A further gem inside the Cortaccia church is the legendary crying picture of the Virgin Mary which was first exhibited on July 17, 1738 and has since been the goal of many pilgrims.
Parish church St. Genesius.
Patronal feast: 6th of December
The core building dates back to the 13th century (late Romanesque brickwork on the tower floor and on the west wall). Around 1520, a new building was built by construction workers from Como. Vault paintings have been made by Bartlmä Dill Riemenschneider, son of Tilman Riemenschneider. Since 1733 pilgrimage place.
Source: Parrish office Kaltern
The story of the Benedictine Monastry of Muri Gries Dates back to the 13th Century, commissioned by the Counts of Morit-Greifenstein. It was first inhabitated by Augustinian Monks, then pillaged during farmer's war, destroyed during the Napolenic war and discontinuing during the Bavarian government. The curch ist dedicated to St. Augustin and houses important frescoes by Martin Knoller. Access permitted only to the inner gatter.
Erected in the 12th century, St. Mark’s Church – known colloquially as “St. Marx” – is located close to the parish church of Lasa and is considered one of the most beautiful Romanesque structures in South Tyrol despite lacking a bell tower.
The walls of this desecrated church consist of large stones hewn into even layers. St. Marx catches the eye on account of its exceptional height for the time at which it was built and its division into two storeys. The crypt was used for a number of centuries as a depot for storing bones, while fragments of frescoes have been revealed around the apse in the interior.
In the course of the Josephine church reform, St. Marx was desecrated and ultimately used for entirely different purposes. Following an extended period in which the church housed a workshop for the renowned Lasa stonemasonry school, the upper storey subsequently served as a rehearsal venue for the local brass band.
The church underwent a thorough restoration in 2000, which led to the discovery of long-forgotten fragments of valuable Gothic frescoes from around the year 1400.
Opening times:
closed, to be visit from the outside
Guided tours:
no guided tours
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