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This Neo-Gothic Church was originally the chapel of the "Dame Inglesi" It was designed by Ferdinand Mungenast, and built in 1903. The longitudinal plan ends in an apse which is decorated with a striking mosaic of over three million pieces, in neo-Byzantine Ravenna style. It depicts Christ seated in majesty, flanked by Mary and Joseph an angels, with the hand of God, the Creator, above. In the lower part of the mosaic there is a row of six saints interspersed with palm trees.

The Parish Church of Vöran/Verano, which is dedicated to Saint Nicholas, is one of the oldest churches on the Tschögglberg high plateau. The church was first documented as far back as 1330.

The walls of the nave date from that time as well. Towards the end of the fifteenth century, the apse was redone in the Gothic style, the nave fitted with two pointed arched doors, and the tower built. During the baroque period, the nave was supplemented with flat-arched windows and a barrel vault; a side chapel was also added. Frescoes depicting the Coronation of the Virgin are interesting from a historical and art-historical perspective, but are not preserved in their entirety.

Small church with three apses in Romanesque style, with a cycle of frescoes dating back to 1215. Restored in 1969 and 1982.

Traces of the Middle Ages are omnipresent throughout South Tyrol. Among many fortresses, castles and mansions, important monasteries and thousands of churches and chapels there are also impressive historic examples of the early and high Romanesque period.

In Lana, that alone boasts more than 30 monasteries and chapels, you can find architectural and artistic traces from before 1000 AD. One highlight, among many others, is the cycle of frescoes in early Romanesque style that can be seen in the three apses church of St. Margareth's.

Stories date St. Margareth's back to the end of the 10th century and it is said that the small church with its three apses was a gift of Theophano, the Byzantine wife of Emperor Otto II. The only remains from the original Romanesque building that can still be seen today are the round apses with their paintings from 1215. Like in the church of St. Kastelaz the bases depict bestiaries.

More detailed information and map of the cultural site are available in the tourist office Lana and surroundings and on www.stiegenzumhimmel.it . Discover our virtual tour >

The parish church was built around 1180 and the Romanesque church was consecrated in 1184. This was replaced around 1500 by a late Gothic building with a three-aisled nave and a single-aisled choir. This is indicated by the year 1498 carved on the lintel of the side portal.

The location of the church directly above the Rienzsch1ucht led to an unfortunate event in 1688. After the parish tower had already been severely damaged by lightning, particularly in 1687, part of the crumbling rock collapsed a year later, taking with it part of the cemetery adjacent to the church and, according to local tradition, the old presbytery. Soon afterwards, the damage was repaired by building a retaining wall at the demolition site so that it was possible to walk around the church again, and the cemetery was extended towards the castle. Between 1794 and 1795, the church was extended to the west and the Gothic ribs were removed. The removed vault ribs were restored in 1959.

The last restorations date back to 1983. The interior is largely neo-Gothic from around 1870, although some of the wooden sculptures on the high altar date back to Adam Baldauf (1616 -1618). The gravestones of various Wolkensteins, the lords of Line (14th century) and the caretaker Caspar von Gufidaun, the great opponent of Cardinal Nikolaus Cusanus, who died in 1458, remind us of the history and connection with Rodenegg Castle. The well-kept cemetery with its lawn and exemplary wrought iron crosses contains around 200 graves and a simple cemetery chapel dating from 1697 with the image of St. Michael with the scales of the soul.
In 2008, the entire belfry was thoroughly renovated and new sound shutters were fitted to the tower openings in 2013.

The Church of St. Anna in Aschl/Eschio, near Vöran/Verano, is a Romanesque Revival building that was dedicated on July 26th, 1905: St. Anne’s Day.

A merchant, who hailed from Mölten/Meltina and had found prosperity in Bolzano/Bozen, founded the church. The curate of Vöran, Anton Locher, helped with the construction financially, buying a forest and a meadow for the small house of worship.

The church of Saint Blasius is a small romantic church with wall paintings of the year 1676. Additionally, the church is dedicated to Saint Blasius.

The church was consecrated in 1116 to St. Leonhard. Of interest are the neo-Gothic high altar, the baptismal font of Andreas Hofer in white marble and the precious mural above the sacristy door.

The Chapel of St. Agatha stands on a wooded hill in complete seclusion and silence. It remains unknown why it exists in such a remote place. It is speculated that there was a prehistoric settlement on this site, while the legendary Kegelberg hill and old mining tunnels can be found nearby.
The building itself is of Romanesque origin, with the later extensive modifications showing ostensibly Gothic elements. The beautiful, stone-framed pointed-arch portal dates from that time, with its figurines of saints, grapevines and a zigzag band in the ogee, with a rod that ends to the left in a root and to the right in a shovel.
The church interior underwent major renovation in the 17th century: the simple sandstone pulpit and richly carved altar date back to that time. Sadly, the free-standing statues were stolen by art thieves. The altarpiece by Orazio Giovanelli, showing St. Agatha and St. Anne with Jesus and Mary, dates back to 1619. Remains of old murals can also be seen on the church. The façade probably shows St. Christopher with the infant Jesus and scenes from the life of the patron saint, while inside parts of a nativity scene are visible.
Location: Nova Ponente
Opening times: The church is closed; the key is kept at the Unterkofelhof farm and may be collected from there.

Mentioned as early as 1178, in the later 17th century the church was extended and embellished with stucco. The tower with onion dome dates from this period. The four beautiful Baroque altars and pulpit were built by the Passeirer Malerschule school of painting.

The chapel of the dead is situated at an altitude of 2186 metres between the mountain pass of Villandro and Sarentino on the high plateau of the Villandro Alp. The little church has to be renovated constantly due to the unique location. The last renovation was in 1981 by the “shooters of Villandro – Villanderer Schützen”. The crucifixion group inside the chapel is larger than life, for this reason it impresses every visitor. To the chapel of the dead leads a way of the cross which is 4 km long and has 14 stations. Besides, a way of the cross leads from Sarentino to the little church.

The church of Saint George in St. Georgen originates from the 12th and 13th Centuries. This original round church was previously the fortress chapel of St. Georgen or Alt-Schenna. When lightning struck in 1591 and nearly half of the church was destroyed, the central part of the church was strengthened with an additional pillar. The frescoes from the 14th Century are well restored and represent the martyrdom of Saint George, the Day of Judgement and the legend about Saint Nicolas. The Gothic wing altar shows Saint George on a horse, fighting with the dragon. It is also worth mentioning that there is a rare illustration of Saint Kummernus from the 17th Century. Legend has it that she was a king’s daughter from the Iberian peninsula. She had taken a vow to stay a virgin. However, her father, the king, wanted her to marry. In this difficult situation, she prayed she would grow a beard, so to disguise her face. Her prayer was answered, but her father got her thrown into the dungeon and nailed to a cross. The only remain from the former St. Georgen fortress is the keep, which is known today as the ’Uhlentower’.

The gothic Parish Church of S. Martino was mentioned for the first time in 1425. In 1778 the Church was rebuilt in baroque style with frescos from Johann Mitterwurzer. In 1906 the nave was remodeled with frescos from Heinrich Kluibenschedl.

The St. Michael’s Church plays a relevant part in contributing to the scenic appearance of the village. The construction is located nearby the main church of Villandro and was dedicated in 1344. Nowadays, the almost quadratic basement of the church acts as a funeral chapel. Sanct Michael, who is the patron saint of the dead, stands sentinel over the cemetery. The cemetery of Villandro represents one of the most beautiful and unusual cemeteries in the region. There are exclusively forged grave crosses and the front side of the grave crosses is averted from the burial grave.

Bad Egart Chapel was built in the 18th century and is dedicated to Our Lady Mary. The little church is located in the Töll area and belongs to the oldest spa in Tyrol, Bad Egart. The history of the Egart health spa appears to go back to Roman times.

Bad Egart was once among the best-known health spas in the vicinity of the spa town of Meran. In the past, only renowned spas also had a chapel. For this reason, the owner in those days, Joseph Joachim von Wolfenthal zu Spauregg und Gaudententurm had a chapel built for his guests during the renovation of the bathhouse in 1730.

Today the little spa church is a pilgrimage chapel. Over the years, many visitors have written down their wishes and thoughts in letter form. The chapel is also believed to help reconcile separated couples.

The structure of Bad Egart chapel was altered in 1926 and renovated at the end of the 20th century in keeping with the wishes of Karl Platino. It is a protected monument.

Opening times: see Restaurant / Museum Bad Egart / Onkel Taa opening times.

The old church is a simple building made by wild rocks between the tower and the sacristy. Its today`s shape dates back to the XIVth century and under the plaster of roof and walls were found frescos dated back the same period.

The hamlet of Tisens stretches down a southward slope to the west of Kastelruth. St Nicholas´s Church stands in the middle of the community, and its pointed tower defines the village´s general appearance. Tisens was mentioned for the first time in the urbarium (register of fiefs) of Count Meinhard II of Tyrol. The first written mention of the church , together with other filial churches in the Parisch of Kastelruth, was in 1353 in connection with the granting of an indulgence. It was expanded and given a vaulted ceiling in the 16th c. According to the inscription on the western gable, the roof´s framework was altered in 1712, and the furnishings were supplemented and restored under Dean Bamhack. around 1880. The wooden-shingle roofing was renewed in 2019.

The construction of the parish church of St. Joseph began in 1764. The baroque country church is decorated in rococo style in the interior and impresses with many details. The church was consecrated in 1768.

The parish church is located in the centre of Ridnaun.

1334: First mentioned, then rebuilt several times over the centuries, from Gothic to Neo-Gothic.
1472: pointed arched sound windows in the tower.
1879: neo-Gothic forms in the interior according to plans by Josef Vonstadl.
1963: Extension by one bay and redesign by architect Erich Pattis. Preserving all the Gothic style elements, in addition sculptures in the Nazarene style: the guardian angel, St. Notburga, St. Joseph and the Sacred Heart of Jesus. They were made by the local artist Michael Hintner, the Immaculate was executed by Josef Mersa.
Stations of the Cross from a local workshop: Romanesque four-nail cross, on the high altar the wooden sculptures of St. Sebastian and the weather patrons St. John and St. Paul, on the left of the altar St. Nicholas, on the right St. Andrew. On the altar are placed alternately Mary with the Child or the Sacred Heart of Jesus.
Altars: neo-Gothic, from the workshop of Colli and Adam. On the right side altar the statues of St. Leonard, St. Mark and St. Anthony, on the left one those of Ursula, Mother Anne and St. Catherine. The patron saint of the church is St. Nicholas on December 6. Memorial to the fallen of the two world wars in the cemetery area.

The church, mentioned as far back as 1332, with its flat ceiling was increased in height in the late Gothic period and lengthened by the chancel with ribbed vaults above short round pillars and pointed corbels. The church was rededicated in 1472. The small tower that was built from hewn stone at the same time as the chancel remained incomplete and was later finished in brick.

In 1900 the church was extensively renovated. There is a large painting on the façade at the top of which the earlier, lower gable can be seen. In addition there is a broad border with small bust portraits in quatrefoils. On the southern side is the sundial which bears the date 1537. Inside there are traces of gilded frescoes from the early 15th century. The winged shrine with ancient sculptures is of the Schnatterpeck school.

St. Rupert’s Church was most recently renovated in 2007/08, and the altar dedication took place on 21st September 2008.

The long aisle in the monastery is impressive, with its many votive plaques. Maria Weissenstein / Pietralba (1,520 meters above sea-level) is South Tyrol's most-important place of pilgrimage. It is among the most highly venerated religious sites in the entire province. This place of pilgrimage has been served by good roads from two directions for a couple of decades, now. The one road comes from the Eggen Valley, via Deutschnofen / Nova Ponente and Petersberg / Monte S. Pietro to Weissenstein/Pietralba. The other road ascends from the Etsch/Adige Valley, touches Aldein/Aldino, and ends in Weissenstein/Pietralba. The stream of pilgrims has increased markedly since the visit here by Pope John Paul II in July of 1988. This place of pilgrimage – including the church, the Pilgrims' House (built in 1897), the souvenir store, the inn (built in 1708), and the parking lot – is well-equipped not only for devout pilgrims, but also for the many hikers who stop by here. Open daily from 8:00 a.m. till 6:00 p.m.

This tiny, charming place of silence and meditation was dedicated to the patron saint of cattle. 300 year-old frescoes illustrating the history of Jesus' life were uncovered during restoration work in 1993.

This “new chapel” was opened on November 12th 1510. It is outside the castle and you can reach it through the small inner courtyard by a wooden ladder. In 2000 this area of the castle was fastened and anchored and during these restoration works small colour strokes were discovered. In autumn 2005 an important restoration work was started and, above all, the dry paintings on the eastern wall, the ancient walled altar and, sideways, the apostolic symbols of different ages were discovered. The paintings represent Christ Crucified, on the left Mary and St. George with the dragon. On the right there are St. John the Apostle, St. Blaise (painted as a young martyr with only one candle and not as a Bishop) and St. Florian who is throwing water on a building in a blaze. On the top angles there are the two baronial coats of arms of the Welspergs. The work was painted between 1540 and 1560 at the end of the Gothic Age. The ceiling is more recent and belongs to the Baroque Age.

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 Parish Church of Hafling, which is first mentioned in documents dating from 1291, is dedicated to John the Baptist. The walls of the nave date from the same period while the Gothic chancel and tower, which can still be seen today, were added in the second half of the fifteenth century.

The rededication took place on June 11th, 1469. In the seventeenth century, a barrel vault replaced the flat wooden ceiling. Of particular note is the remarkably large mural depicting St. John the Evangelist, which dates to around 1600. In the chancel arch, there is a precious fresco by Karl von Blaas. A few sculptures from the eighteenth century grace the church as well.

The porphyry relief on the outside of the cemetery chapel, now the vestry, is a mystery. It depicts a man, a tree, a flower, and a wheel-shaped ornament. The enigmatic relief is often associated with an agrarian devotion to the sun, but a precise interpretation has yet to be firmly established.

Built in 1402/03 in Gothic style with a 52m high church spire. The altarpiece dates from the Baroque period. The impressive Via Crucis was made by artist Nikolaus Auer from the Passeirer Malerschule school of painting.

The origins of the "Unsere liebe Frau" Sanctuary in Mörre/Mora just outside St. Leonhard/S. Leonardo can be traced back to a curious occurrence. Legend has it that village doctor and farmer, Matthias Pichler, purchased a votive image of the Virgin Mary from a street trader. Sometime later, in 1750 he decided to build a chapel on his property. Since word of Pichler’s ability to cure diseases and heal wounds was widely known, many came to him for help and also to see the image of the Virgin Mary. The growing number of needy visitors prompted Matthias Pichler to enlarge his chapel in 1752 and again in 1764. But as the miracles diminished in frequency, so did the number of pilgrims. This happened just at the time when Emperor Joseph II had decreed a program of enforced secularization and the chapel fell into disuse and eventually ruin.
In the mid-nineteenth century, a number of well-intentioned benefactors decided to renovate and further enlarge the church into the valued place of worship that it is today. An image of the Madonna was placed at the center of the new Baroque altar, inspired by a work of painter Giovanni Battista Salvi (known as "Sassoferrato"). Matthias Pichler was the first country doctor in the Passeiertal Valley to have been mentioned officially in the town records and his descendants followed in his footsteps. The country doctor could cure a variety of ailments afflicting both humans and animals and various treatments were administered, such as to stop haemorrhages. Many patients flocked to the doctor partly because of the scarcity of doctors and partly because the bad state of repair of the roads leading elsewhere. The first public pharmacy only opened in 1983 in the village of San Leonardo, serving the entire valley.
The two statues created by the sculptor Anton Ferner represent Saint Leonard and the canonised medical practitioner, Damian (1764).
The votive images are also noteworthy in themselves. Impressive and rich in detail, they express the gratitude of the population. Most of the votive paintings date back to the nineteenth century, one of which is the work of Josef Haller (1737-73). Among the best known of the late Baroque painters of Tyrol, together with sculptor Anton Ferner, Haller is one of the greatest exponents of the Passeiertal Valley School of Arts (his original work from 1768 is displayed at the MuseumPasseier museum).
So the ascent to Mörre from St. Martin is certainly worthwhile, to pray or meditate at the pilgrimage shrine, as well as to admire the works of local artists. Not least, there is the spectacular view of the valley below to enjoy.

The 19th century neo-Gothic nave was demolished in 1988 and replaced by a modern octagonal structure. The beautiful chancel dating back to 1670, however, was preserved, complete with the painting of the Madonna with Child by Lukas Cranach on the high altar (now a copy). In 1503 Wilhelm von Wolkenstein had a chapel dedicated to the Virgin built here, which subsequently had to be enlarged several times to cope with the large numbers of people who came to this popular place of pilgrimage as they still do today. On the outside wall of the sacristy there is a stone painted with the coat of arms of the Counts of Wolkenstein.

The mausoleum was built between 1860 and 1869 according to the plans of the Vienna architect professor Moritz Wappler, as a burial place for Archduke Johann of Austria and his family. The church is situated on an artificial terrace at the western edge of the church hill and is one of the earliest and without doubt the most successful sacred building in the Neo-Gothic style. The building was constructed of red sandstone and granite from the Ifinger region. In the underground crypt chapel with its heavy ribbed vaults, there is the marble sarcophagus of Archduke Johann and his wife.

High above the entrance into the Val Gardena, to the north of Kastelruth and surrounded by meadows and forest, lies the hamlet of Tagusens. The little church dedicated to St Mary Magdalenen stands at the edge of the dispersed settlement on a distinctive rocky hill. Its position permits the conjecture that a cult site may have already been located here in pre-Christian times. The church building itself is from the Romanesque period and was presumably built in the 13th c., later modified in the Gothic style and finally adapted to the Baroque in 1667.

This church is one of the most coherent structures of the late baroque period in the Pustertal valley. It was built around 1770 reutilising the late Gothic walls of a previous nave. Consequently fragments of frescos by the master Simon von Taisten have remained. The interior was decorated by Franz Anton Zeiller in 1768, while the St. Erasmus chapel contains tomb stones in memory of the Counts of Welsberg who are buried here. The adjacent chapel of St. Jacob is graced with murals by Simon von Taisten.