Tyrol Castle, Tirolo, Italy - SpottingHistory.com

Tyrol Castle was the ancestral seat of the Counts of Tyrol and gave the whole Tyrol region its name.

The castle hill has been inhabited since ancient times. Several artefacts and one field of graves from the early Middle Ages have been identified. Archeologists have excavated a church with three apses dating from the early Christian period.

The first castle was built before 1100. The second construction phase including the keep dates to 1139-1140. A third phase of construction took place in the second half of the 13th century under Count Meinhard II of Gorizia-Tyrol. In 1347 Meinhard's granddaughter Countess Margaret of Tyrol was besieged here by the forces of the Luxembourg king Charles IV. The castle remained the seat of Tyrol's sovereigns until 1420, when the Habsburg archduke Frederick IV moved the administrative seat to Innsbruck north of the Brenner Pass.

In modern times parts of the castle fell into the so-called 'Köstengraben', a steep gorge. It was even sold in order to be used as a quarry. In the 19th century the castle was restored; the keep was rebuilt in 1904.

Regarding art history, the frescos of the castle's chapel are of special interest as well as two Romanesque portals with opulent marble sculptures showing legendary creatures, religious themes, and geometric ornaments.

Today, Tyrol Castle houses the South Tyrolean Museum of History. Next to the castle there is a falconry with a nursing ward for birds of prey.

References:

Wikipedia

User Reviews

Richárd Vámossy (3 years ago)
Amazing historical place with a nice tiny exhibition and a great surrounding to have a relaxing walk around. Geographically the place belongs to Italy but culturally You can observe the obvious Austrian affect and background. This place is for those who seek for a relaxing day off, some fresh air and quite and charming place. Suitable for families, couples and singles travellers also, but consider that the road at some parts is inclined and might be heavy to defeat relatively small distances at this conditions. Also, the parking places are limited too.

Henrique Silvestre (3 years ago)
Interesting but not a must

Xander Haijen (3 years ago)
A well preserved castle, just a 20-minute hike away from Dorf Tirol. The tour through the castle gives you a clear overview from the castle's history and the history of South Tirol in general. Audio guides are available in English and German, among others, but doing the tour without them is possible as well. Adjacent to the castle, there is a little cafe and souvenir shop.

Jennifer B (4 years ago)
Well worth the visit; spent 2.5 hours there; museum was very enlightening about the Tyrolean culture and history; castle was well maintained; professional staff; nice gift shop with even some interesting bargains on books; small bar within gift shipping serving good espresso and excellent apple juice. I plan to return one day as there numerous castles in the area.

Iris Burks (4 years ago)
Beautiful castle on a hilltop. The way there already promises an exciting experience. A museum which can be enjoyed in an (in our case rainy) afternoon, or spend days here to discover everything about the regional history. Museologicaly beautifully designed in a layered fashion. You can walk by the exhibitions for a brief overview, or pull out every drawer or side panel, access the computers, listen to documentation and watch movies. The tower is a true architectural beauty. The outside consist of the old tower, but the inside is made up out of a very modern metal structure, providing many floors of regional history. The 'more than a tourist' layer is a bit difficult to access when you don't speak German.

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Photo from Flickr, copyright yashima

Historic Site of the week

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.

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