Kostely a kláštery

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.

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 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.

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 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.

Chapel of St. Zyprian/S. Cipriano

The paintings on the outer wall of the 17th century represent the wonderful rescue of the "Platzliner" meadow. God father flashes out the clouds, the Saints Cipriano and Giustina protect the meadow and his flook with their coats. This painting shows that the colonization of Tires did not begin in today's centre, but in San Cipriano.

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.

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 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.

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.

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 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 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.

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 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 St. Benedikt church of Mals was ercted in the 8th century A.D. Its Carolingian frescoes are among the earliest murals in central Europe. Originally, St. Benedict's did not have a tower; this was probably only built in the 12th century and therefore appears somewhat oversized. 
Without doubt, however, the two portraits of the founders are the most interesting. They show the Bishop of Chur and a Franconian landlord in traditional costume. This portrait is unique in Europe, as there is no comparable representation anywhere else. 

Opening hours summer 21.04.2025 - 31.10.2025:
Open to the public: Tuesday, Thursday, Saturday from 10:00 - 11:30 am
Guided tours: Monday, Wednesday at 14:00, Friday at 10:00 (only in German language)
Prices: € 1.80 per person; with guided tour € 3.00 per person
Registration not required 

Opening hours winter 07.12.2024 - 15.03.2025:
Open: Saturday at 10:00 am
Price: € 1.80 per person
Registration not required 

Guided tours only in German or Italian language (Info: +39 0473 831190)

The church is closed on Sundays and public holidays.

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 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.

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.

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.

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.

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.

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.

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 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 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.

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 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.

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.

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.