Warto zobaczyć Południowy Tyrol

The St. Proculus Church was probably built at the end of the 8th century to honor its patron saint, St. Proculus, Bishop of Verona. He is also venerated as the patron saint of animals and water. The murals inside the church are among the earliest examples of pre-Romanesque art in the Alpine region. One of the most famous depictions is 'The Saint on the Swing,' located on the south wall, which, according to legend, portrays his escape over the city walls of Verona. In addition, there are many other remarkable frescoes to discover within the church. The Proculus Museum offers in-depth information about the history of both the church and the village of Naturno.

The church in Lapago is first-mentioned in 1426.
Already in 1480 it was re-consecrated after reconstruction.
1812-1815 the master-builder Johann Priller from Vandoies has built the new church.

Paul Troger, Baroque painter, was born on 30th October 1698 the son of a sexton and dressmaker in Monguelfo. His “Troger-blue” is still mesmerizing.

The high altarpiece and the two side altarpieces in the parish church of St. Margaret were donated by Paul Troger to his home church. Paul Troger gave them as a gift to his home church, which was rebuilt from the ground up in the years 1736-1738.

The high altar painting shows the Holy Margareth with the Apostles Peter and Paul, Bishop Ulrich and St. George, the dragon slayer. The right side altar image represents a single successful composition of the adoration of the Magi, on the left side altar of St. Johannes Nepomuk shows how he distributed bread to the poor. 

Another work "St. Apostle Judas Thaddeus" by Paul Troger can be viewed at the Raiffeisen Bank, in the immediate vicinity of  S. Margereth Parish Church.

With a height of 82 meters, the church steeple in Castelrotto is not only the highest in the vicinity, it's also – they say – the one with the most-beautiful-sounding bells. But the big tower bell has always been the greatest source of pride. They never fail to admiringly mention "Big Bell." The citizens of neighboring villages were so incensed by this that the young fellows in nearby Laion finally decided to teach the boastful natives of Castelrotto a lesson…
The chapel in the church tower is open daily from 08:00 - 18:00.

The church in Kematen in Taufers/Caminata di Tures was built on the end of the 13th century.

The little church of St. Catherine & St. Florian was built in 1839.

This chapel of pilgrimage is situated on the southern slope of the Spinges mountain. Its simple construction dates back to 1641, and was built by the curate Georg Stocker. There is a painting in the chapel, depicting the scene of Jesus bidding the Virgin Mary farewell.

The parish church dedicated to the Assumption of Mary represents a monument to generous design.

The chapel is consecrated to the saints Rochus and Sebastian and owes its existence to an oath which the people of Nova Levante made during the plague in 1635/36. However, the chapel was only built between 1662 and 1666 and inaugurated in 1697. The long space of time between the oath and the chapel's completion was due to the fact that the people of Nova Levante were in disagreement over the location. The chapel is a building with a round apse, barrel vault and low-arch windows. Inside, there are several altars, the pulpit, sculptures and paintings - Baroque works from the 17th Century.
The chapel is not open to the public. The key for the chapel is available at the Romantikhotel Post Weisses Rössl in Nova Levante.

The Gothic church of St. Walburg is located at the top of a former castle hill a little above Kematen - it was consecrated in 1433.
St. Walburg was once a much-visited place of pilgrimage. The pilgrims came and fetched the Walburgis oil, which could cure diseases. Like many other churches and chapels, the chapel was closed during the time of the reform-minded Emperor Josef II.

LEGEND PATH to the St. Walburg church
Route: The path leads from Bad Winkel to Kematen up to the small St. Walburg church. The trail is mostly a forest path. The path can be walked from spring to late autumn. The start is in Bad Winkel: From the parking lot at the chapel next to Gasthof Bad Winkel (getting there either by passing through Kematen or as the case may be, passing by the Sand in Tauferer’s Sports area) we briefly stay on the road to Kematen and soon branch left onto the narrow footpath into the forest (do not take the road to Wiesemann farm!). The path then has some slight ascents and descents. Note: at the road fork you go right heading downhill not left heading uphill! The path ends at a clearing near a bench and at a carved wooden Hubertus Stöckl. Now, you go left onto the wider path heading upwards until you reach the road. Continue up this path for about 300 m. and then after a bridge you reach a wooden gate, where you take the left branching trail nr. 8 leading you to the St. Walburg church (1030 m), where a magnificent view of Taufers and the Zillertal mountains rewards you. You can return on the same path as you came on or you can take the City Bus to Sand in Taufers from Kematen.

The baroque Parish Church dates from 1738, though the tower remaining from an earlier building is Gothic. The artist Paul Troger from Welsberg was one of the most famous 18th century artists in all Austria. In 1737 he donated the three altar pictures to his home village.

The church in Ahornach/Acereto is a wonderful example of the late gothic style in the Pustertal Valley. The stonecutter Valentin Winkler from Falzes had built the church in 1512.

South-west of Kastelruth, below the Laranzer Forest, lies the hamlet of St Oswald, named after the patron saint of its church. The landmark of the church´s high tower can be seen from a great distance. The church is mentioned for the first time in a historical document from 1234, which was produced on the occasion of an exchange of estates between the Benedictine monastery at Georgenberg and Count Albert III of Tyrol. However, it had probably already been built in the 11th c. One piece of evidence for this is the choice of its patron saint, because the cult of St Oswald of North Umbria spread through Europe before and during the period of the Crusades.

St Anne´s Chapel was built on a slab of rock south of the middle of Kastelruth. This High Baroque structure was consecrated in 1724 by Kaspar Ignaz von Künigl, Prince- Bishop of Brixen. The question of who served as master builder remains unresolved, but there are stylistic similarities to church buildings by the Delai family of master builders from bolzano.

The churchin S. Maurizio/St. Moritzen was builtin 1512.

The Chapel of St. Helena is particularly impressive on account of its rich frescoes, a major work of the Bolzano school of painting from around 1400. Art historians state that these are closely related to the murals in the Parish Church of Terlano and the Church of St. Catherine in Aica by Fiè. The Niederthor crest on the triumphal arch strongly suggests that the painting of St. Helena – like that in Terlan – was commissioned by the noble Niederthor family. Concealed behind paint for a long time, the coat of arms was once more revealed in 1885 and fully restored in 1938.
The outer walls feature images of St. Helena, St. Christopher and a crucifixion group on the façade, while on the south wall towards the apse there are representations of Mary with the infant Jesus and the three Holy Virgins, Catherine, Barbara and Margaret.
Inside the church, vaulted frescoes in the nave show the four evangelists with their respective symbols, each with an excerpt from his gospel. In the apse Christ appears enthroned as judge, surrounded by the symbols of the evangelists. The series of the twelve apostles below was partially destroyed during a subsequent extension of the windows. The triumphal arch points in the direction of the nave to the story of Cain and Abel, while the intrados depicts scenes from the Creation. The side walls of the nave feature images from the life of the Mother of God and Jesus’s childhood: the Annunciation, the Visit of Mary to Elisabeth, Mary and Joseph, the Adoration of the Magi, the Presentation at the Temple and the Flight into Egypt. On the west wall opposite the altar are St. Helena, St. Sebastian, a proclamation and the Bishops Ulrich and Wolfgang.
The church is Romanesque in its basic features and probably goes back to the 12th century. The small, rough stone relief to the far right of the façade dates from the 14th century. In 1410 the church was re-consecrated following completion of the painting. In 1500 the tower was given its wide pointed-arch window; the deeper-lying, coupled round-arched windows were bricked up. The altar structure dates back to the first half of the 17th century; the altarpiece is signed “J. G. Plazer 1723”.
The Church of St. Helena stands, according to legend, on silver ore. An ancient tradition tells of mining activities in the immediate vicinity of the church: G. Innerebner lists the church hill below the prehistoric settlements as a probable place of worship and orientation.
A detailed description and interpretation of the frescoes appears in the colour guide “St. Helena near Nova Ponente” SB 21 (M. Frei).

The parish church of Steinegg|Collepietra is a special place where art, history and spirituality come together in an impressive way. 
First mentioned in 1322, the church, with its walls and works of art, tells of times gone by and living tradition. Originally dedicated to St Peter and St Jakobus, later only to St Peter, and today to St Peter and St Paul - the history of the patron saints reflects the development of this sacred building.

On entering the church, the pointed arch-shaped main portal catches the eye, with its star-shaped vault dating from the first half of the 15th century. The choir, as you see it today, was built around 1664 and impresses with its three-sided apse. A special highlight can be found in the choir: a small, artistic sandstone statue of St Peter.

The 35 metre high tower from the 15th century houses six bells that carry the sound of faith far into the valley. There is much to discover inside the church: The valuable Stations of the Cross date back to 1747 and the colourful frescoes, created by Karl Joh. Henrici in 1794, tell stories from the Bible and invite you to linger.

The works of art from modern times also fit harmoniously into the story: The sculptor Friedrich Gurschler created the altar, the baptismal font and the lectern, while H. Peter Fellin painted the impressive altarpiece depicting the Most Holy Trinity - with the Virgin of Protection, embedded in the mountain landscape of the Rosengarten|Catinaccio, Schlern|Sciliar and Steinegg|Collepietra.

Another highlight are the colourful stained glass windows, designed by Prof. Widmoser and masterfully realised by the artist Ulrike Peer Huber. The Stations of the Cross were carved by Jakob Oberhollenzer and the church patrons, St Peter and St Paul, were created by Matthias Resch from Steinegg.

In the basement of the church you will find the Museum Steinegg and the Chapel of the Resurrection - a quiet place for contemplation. The cemetery, which is one of the most beautiful in South Tyrol, impresses with its artistically forged crosses and radiates a special tranquillity.

Useful information:
The church is always open during the day and is barrier-free.
Masses are always held on Saturdays at 7.30 pm and on Sundays at 7.00 am and 10.00 am. 

The parish church St. Petrus and Paulus in Kiens was built between 1835 and 1838. Only the tower dates back to the 15th century. The paintings on the ceiling are remarkable.

The Mary's Ascension into Heaven Parish Church is located in Sarnthein / Sarentino Village. The church was first mentioned in documents dating back to 1309. The church tower is the oldest part, having been built in the 14th century. Other parts of the church were added or expanded over the years.

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 current parish church was dedicated in May 1967 after a 2-year construction phase. It is a modern church with a low aisle under a sharp, gabled roof. The parish tower (37 m high) is a testimony to the oldest building activity in the village. The foundation dates back to the 13th century. In 1741, it was renovated from the belfry upward. The tower was given its octagonal center and its onion dome in 1741.

The parish church Riva-Rein was built 1908-1911. You can see the typical characteristics of the new gothic style.

The parish church in St. Sigmund is one of the most beautiful historical monuments in South Tyrol. First mentioned in the year 1363, today's building was built between 1449 and 1489. The altar (1440) is one of the oldest and most important sidepiece altars in South Tyrol. The church “Unsere liebe Frau im Stöckl” was built in the year 1621 and enlarged in the year 1644. It was built totally new in the year 1680.

At the parish church St. Martin in Hofern the longhouse walls are romanic, the vaults, the choir and the tower were built in the year 1473. At the inside there is a sidepiece altar which dates bach to the year 1520. Church is locked, information about the key at the tourist office in Kiens/Chienes.

The parish church of Nova Ponente, a Gothic building dating from the 15th century, has an impressively beautiful sandstone cladding. The inscription in the choir vault gives its date of origin: the cornerstone was laid on 5 July 1455 by Pastor Johannes Steel. Below the inscription is the coat of arms of the Diocese of Trento with the eagle, along with that of the then Bishop Georg Hack with its thin branch, also chosen as the heraldic symbol of the municipality of Nova Ponente.

The building was completed in sections, as suggested by the differences in the foundations and the sandstone cladding. Construction work was not completed until 1498, with the church consecrated on 16 September of the same year. In order to imagine it in its pure and original form, the new sacristy at the northeast corner and the organ loft with its outside staircase must be ignored. The interior of the church was vastly improved by the most recent renovation in the summer of 1975. The two neo-Gothic altars date from 1900, with a new organ installed in 1976.

Of particular note in the church are the four old relief panels on the high altar, showing the Nativity, the Adoration of the Magi, the Presentation at the Temple and the Death of the Virgin. The panels are from a famous large triptych, created around 1420 by the Master Hans von Judenburg for Bolzano’s Parish Church, as was the group of the Visitation on the wall of the choir. The main figures on the high altar – Our Lady of the Rosary and the church’s two patron saints - are beautiful works by the Innsbruck sculptor Dominikus Trenkwalder from around 1900. The relief figures of St. Barbara and St. Catherine as well as the relief panel of the Visitation, also on the choir walls, date back to around 1500. The sandstone pulpit from the early 16th century is held by Karl Atz in his “History of Art from Tyrol and Vorarlberg” to be one of the most beautiful of its kind in the entire land.

Old relief medallions of the mysteries of the rosary are inserted into the neo-Gothic rosary altar; the altarpiece was created by Franz Unterberger. Franz Haider’s beautiful nativity figures can be seen at Christmastime on this altar: his figurines and statues of saints are to be found throughout the Reggelberg area and he was a long-time resident of Monte San Pietro. The bell tower is for the most part much older than the present-day church. It dates back to the Romanesque era; inside can clearly be seen two rows of coupled arched windows that were later walled up. The tower formerly belonged to the old parish church of St. Benedict, documented as early as 1265. Today’s cupola was added in 1793 after lightning badly damaged both the tower and the church roof.

Another special feature of the church is that the pews have brass plaques, some with a rune-like mark next to the occupant’s name. These are the old house and farm marks of Nova Ponente. Each farm would use its mark to identify tools, grain sacks, logs and the like that were offered for sale. Many such marks can also be seen painted with red ochre on the outer walls of the church, now faded on account of the wind and rain. The impressive war memorial (1967) on the northern wall of the cemetery is by the South Tyrolean sculptor Martin Rainer, who was in 1976 awarded the Walther von der Vogelweide prize.

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.

According to a 6 m-long inscription preserved in the presbytery, this simple, rectangular church with round apse in the east, was consecrated on 12 May 1142. It was painted around 1210 with outstanding and historically important Romanesque frescoes, which, among other things, show the planned sacrifice of Isaac by Abraham against a mountain backdrop. After the incorporation of the tower in around 1380, the church was decorated with Gothic paintings inside and also externally on the south wall. A wooden statue of St. Jakob from 1520 which was revamped in 1610, and two Baroque altars on the west wall, can also be seen. Below the church there is a shrine with simple but expressive pictures from the period around 1440.

The Chapel of Our Lady – A Place of History and Art

The Chapel of Our Lady in Parcines is a fascinating building rich in history and tradition, dating back to 1361. According to historical records, it was built around 1350 by Knight Nikolaus Zehnter in honor of the Virgin Mary. In 1552, the chapel was extensively renovated and adorned with an elegantly crafted ceiling.
A true highlight of the chapel is the magnificent altar. While the mensa and tabernacle structure are from a more modern era, the columns with acanthus chalice and vine leaf decorations add a unique charm. The altarpiece depicts Saint Dominic and Saint Sebastian, surrounded by the representation of the Rosary Gift of Mary.

Saint Sebastian – Patron Saint and Living Tradition in Parcines

Saint Sebastian, whose feast day is celebrated on January 20, holds an important role as the patron saint of marksmen and a protector against the plague. On the altarpiece, he is depicted with the typical arrows symbolizing his martyrdom and his intercession during plague epidemics, for which he was especially revered.
In Parcines, devotion to Saint Sebastian goes beyond history. He is a living symbol of the local tradition. His values of protection, faith, and healing are celebrated through cultural customs, festivities, and the continuation of marksmen traditions. This makes him a spiritual and cultural reference point for the local community.

Other Artistic Features of the Chapel of Our Lady

The golden coat of arms on the altar is a later addition. Particularly impressive are the two angelic figures created around 1640 by Johann Patsch, which stand out for their high artistic quality. Above the broken pediment of the altar is a medallion painted on canvas, depicting a pope. It could either represent Pope Pius V or Pope Clement, but many scholars believe it depicts Pius V, under whose pontificate the decisive Battle of Lepanto took place on October 7, 1571—a victory attributed to the prayer of the rosary.

First mentioned in 1347, elements of the Tyrolean late Gothic (1488) are still preserved in the polygonal choir end, as well as in the sound windows of the tower. Around 1840 the church was extended by one bay, regotized, the same happened again in 1952 under architect Erich Pattis and carpenter Josef Pattis. The altar-pieces are by K. Jele from Ried in the Upper Inn Valley (1814 1893) and depict on the main altar the Penitent Magdalene, and on the side altars the Bishop Sylvester with the martyr Sebastian, then Joachim and Anna with the Child in the Nazarene style in a clear position. On the main altar of St. John the Baptist, wooden sculptures by Franz Xaver Nißl. Stations of the Cross panel by Maria Delago (1953). In the apse, paintings from the life of St. Magdalene by the priest painter Johann Bapt. Oberkofler. On the east side a wrought-iron cross points to the witness of the resistance against the Nazi regime. This is the Jesuit priest Johann Steinmair (1890-1944), who became a blood witness of Christ by beheading in Berlin-Brandenburg. The chapel of the dead in the cemetery area: It serves as a memorial for the victims of the two world wars, for Reverend Peter Agreiter (1911 1948) and as a place of devotion for the Lourdes pilgrims.

The St. Gertraud Church is documented the first time in 1383.
1831 the curate Johann Nepomuk Schiffer had built the new church. The gothic tower still exists.