The Old Parish Church of Gries contains several precious works of art. Some parts of the original Romanesque church are still preserved, as parts of the walls of the tower and nave. There has probably been a settlement in the area since Roman times.

The Gothic, polygonal choir was built in 1414. During the course of the 16th century the Romanesque church was rebuilt. Star-shaped vaults were inserted in the nave, and in 1529 a church porch, also with star-shaped vaults, were built. The tower also received its pointed spire at this time. The chapel dedicated to Saint Erasmus was finished already in 1519.

In 1788, the church lost its position as parish church of Gries. The Muri-Gries Abbey from now on instead served this purpose. The church is surrounded by the old cemetery of the Parish, which since 1922 is closed for new graves. Among the people buried here, Austrian admiral and explorer Bernhard von Wüllerstorf-Urbair is among the more well-known.

The old parish church contains two pieces of art of high value. The one is a Romanesque crucifix, dating from circa 1200 and probably made abroad (possibly northern France)

The other is a late Gothic, carved wooden altarpiece made by Michael Pacher. Pacher made the altarpiece between 1471 and 1475. During the Baroque era, the altarpiece was considered out of date and replaced with a Baroque high altar. Pacher's altarpiece was placed in the St. Erasmus' chapel of the church. It has remained there since; it has however lost its wings, its predella, its top and other details.

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Address

Via Cologna 5, Bolzano, Italy
See all sites in Bolzano

Details

Founded: 1414
Category: Religious sites in Italy

More Information

en.wikipedia.org

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4.7/5 (based on Google user reviews)

User Reviews

Emanuela Salvatore (2 years ago)
Che meraviglia! In stile gotico (inizi del '400), il campanile ha un'alta cuspide in muratura. L' eccezionale interesse artistico di questa chiesa è dovuto a due opere di altissimo pregio: l'altare di Michael Pacher (1471/75), capolavoro assoluto dell'arte gotica degli altari lignei a scrigno, ed un Crocifisso ligneo romanico del principio del '200. La chiesa è contornata da un piccolo cimitero.
Christian cani (3 years ago)
Bellissima e suggestiva,peccato per la desolazione dell'esterno,si potrebbe tenere più pulito il suolo del cimitero.
Eduard Gruber (3 years ago)
Ein Kleinod
Marco Santoni (4 years ago)
Chiesa gotica con all'interno un bellissimo altare di Michael pacher
enrico corna (5 years ago)
Bella chiesa di forme gotiche circondata da un piccolo caratteristico cimitero.All'interno un altare in legno di M.Pacher, un crocifisso penso del '200 e altre opere d'arte.Vale una visita se ci si trova nelle vicinanze.
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.