The significance of Vrana to the medieval Croatian history was closely connected with three religious communities: the Benedictines, the Knights Templar, and the Knights Hospitaller. The arrival of these three orders in Vrana and their cultural and political influence was conditioned by the medieval circumstances in Croatia and by the Roman Pope. Vrana had become one of the most important centers of political life, especially in the period from 1070.
After the pope's deputies crowned him as the king of Croatia, King Zvonimir Dmitar in 1076 donated the city of Vrana and Benedictine monastery of St. Gregory, as a sign of loyalty to Pope Gregory VII. Vrana was the first permanent diplomatic headquarters of the pope's deputies in the entire Slavic region. Insignia of Croatian Kingdom were held within Vrana's walls for a long time. Consequently, Coloman of Hungary in 1102 came to the coronation in Biograd, as the nearest royal residence.
In the 12th century, the church Priory of Vrana donated this property to Knights Templar. At that time, Vrana was fortified with walls and towers and a moat. There are assumptions that the present ruins of a fortified facility above the village were part of a fortified town with a church. After Knights Templars, Vrana was the property of the Knights Hospitallers from 1312.
The Ottoman Empire conquered Vrana in 1527, and it remained under their control for a century, before the Republic of Venice took it in the Candian War briefly in 1647 and Morean War finally. In October 1683, the population of Venetian Dalmatia, principally Uskoks of Ravni kotari, took arms and together with the rayah (lower class) of the Ottoman frontier regions rose up, taking Skradin, Karin, Vrana, Benkovac and Obrovac.
References:The Pilgrimage Church of Wies (Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann. It is located in the foothills of the Alps in the municipality of Steingaden.
The sanctuary of Wies is a pilgrimage church extraordinarily well-preserved in the beautiful setting of an Alpine valley, and is a perfect masterpiece of Rococo art and creative genius, as well as an exceptional testimony to a civilization that has disappeared.
The hamlet of Wies, in 1738, is said to have been the setting of a miracle in which tears were seen on a simple wooden figure of Christ mounted on a column that was no longer venerated by the Premonstratensian monks of the Abbey. A wooden chapel constructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italy became so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary.