Anyone travelling in Austria will be familiar with the domes and onion domes of churches in villages and towns. This form of church tower originated during the Counter-Reformation and is a typical feature of the Baroque architectural style. They are also predominant in Innsbruck's cityscape. Innsbruck's most famous places of worship, such as the cathedral, St John's Church and the Jesuit Church, are in the Baroque style. Places of worship were meant to be magnificent and splendid, a symbol of the victory of true faith. Religiousness was reflected in art and culture: grand drama, pathos, suffering, splendour and glory combined to create the Baroque style, which had a lasting impact on the entire Catholic-oriented sphere of influence of the Habsburgs and their allies between Spain and Hungary.

The cityscape of Innsbruck changed enormously. The Gumpps and Johann Georg Fischer as master builders as well as Franz Altmutter's paintings have had a lasting impact on Innsbruck to this day. The Old Country House in the historic city centre, the New Country House in Maria-Theresien-Straße, the countless palazzi, paintings, figures - the Baroque was the style-defining element of the House of Habsburg in the 17th and 18th centuries and became an integral part of everyday life. The bourgeoisie did not want to be inferior to the nobles and princes and had their private houses built in the Baroque style. Pictures of saints, depictions of the Mother of God and the heart of Jesus adorned farmhouses.

Baroque was not just an architectural style, it was an attitude to life that began after the end of the Thirty Years' War. The Turkish threat from the east, which culminated in the two sieges of Vienna, determined the foreign policy of the empire, while the Reformation dominated domestic politics. Baroque culture was a central element of Catholicism and its political representation in public, the counter-model to Calvin's and Luther's brittle and austere approach to life. Holidays with a Christian background were introduced to brighten up people's everyday lives. Architecture, music and painting were rich, opulent and lavish. In theatres such as the Comedihaus dramas with a religious background were performed in Innsbruck. Stations of the cross with chapels and depictions of the crucified Jesus dotted the landscape. Popular piety in the form of pilgrimages and the veneration of the Virgin Mary and saints found its way into everyday church life.

The Baroque piety was also used to educate the subjects. Even though the sale of indulgences was no longer a common practice in the Catholic Church after the 16th century, there was still a lively concept of heaven and hell. Through a virtuous life, i.e. a life in accordance with Catholic values and good behaviour as a subject towards the divine order, one could come a big step closer to paradise. The so-called Christian edification literature was popular among the population after the school reformation of the 18th century and showed how life should be lived. The suffering of the crucified Christ for humanity was seen as a symbol of the hardship of the subjects on earth within the feudal system. People used votive images to ask for help in difficult times or to thank the Mother of God for dangers and illnesses they had overcome. Great examples of this can be found on the eastern façade of the basilica in Wilten.

The historian Ernst Hanisch described the Baroque and the influence it had on the Austrian way of life as follows:

„Österreich entstand in seiner modernen Form als Kreuzzugsimperialismus gegen die Türken und im Inneren gegen die Reformatoren. Das brachte Bürokratie und Militär, im Äußeren aber Multiethnien. Staat und Kirche probierten den intimen Lebensbereich der Bürger zu kontrollieren. Jeder musste sich durch den Beichtstuhl reformieren, die Sexualität wurde eingeschränkt, die normengerechte Sexualität wurden erzwungen. Menschen wurden systematisch zum Heucheln angeleitet.“

The rituals and submissive behaviour towards the authorities left their mark on everyday culture, which still distinguishes Catholic countries such as Austria and Italy from Protestant regions such as Germany, England or Scandinavia. The Austrians' passion for academic titles has its origins in the Baroque hierarchies. The expression Baroque prince describes a particularly patriarchal and patronising politician who knows how to charm his audience with grand gestures. While political objectivity is valued in Germany, the style of Austrian politicians is theatrical, in keeping with the Austrian bon mot of "Schaumamal".

One of the most important figures in the town's history was Wilhelm Greil (1850 - 1923). From 1896 to 1923, the entrepreneur held the office of mayor, having previously helped to shape the city's fortunes as deputy mayor. It was a time of growth, the incorporation of entire neighbourhoods, technical innovations and new media. The four decades between the economic crisis of 1873 and the First World War were characterised by unprecedented economic growth and rapid modernisation. The city's economy boomed. Businesses were set up in the new districts of Pradl and Wilten, attracting workers. Tourism also brought fresh capital into the city. At the same time, however, the concentration of people in a confined space under sometimes precarious hygiene conditions also brought problems. The outskirts of the city and the neighbouring villages in particular were regularly plagued by typhus.

Innsbruck city politics, in which Greil was active, was characterised by the struggle between liberal and conservative forces. Unlike in the rest of Tyrol, the conservatives had a hard time in Innsbruck, whose population had been in the grip of the liberal wind since the Napoleonic era. In addition to politicians, each side had its own associations and newspapers to make its voice heard. Greil was a skilful politician who operated within the predetermined power structures of his time. He knew how to manoeuvre around the traditional powers, the monarchy and the clergy and how to come to terms with them.

Taxes, social policy, education, housing and the design of public spaces were discussed with passion and fervour. Due to an electoral system based on voting rights via property classes, only around 10% of the entire population of Innsbruck were able to go to the ballot box. Women were excluded as a matter of principle. Relative suffrage applied within the three electoral bodies, which meant as much as: The winner takes it all. Mass parties such as the Social Democrats were unable to assert themselves until the electoral law reform of the First Republic. Mayors like Greil could rely on 100% support in the municipal council, which of course made decision-making and steering much easier. For all the efficiency that Innsbruck mayors displayed on the surface, it should not be forgotten that this was only possible because, as part of an elite of entrepreneurs, tradesmen and freelancers, they ruled in a kind of elected dictatorship without any significant opposition or consideration for other population groups such as labourers, craftsmen and employees. The Imperial Municipalities Act of 1862 gave cities such as Innsbruck, and thus the mayors, greater powers. It is hardly surprising that the chain of office that Greil received from his colleagues in the municipal council on his 60th birthday was remarkably similar to the medal chains of the old nobility.

Greil belonged to the "Deutschen Volkspartei", a liberal and national-Great German party. What appears to us today as a contradiction, liberal and national, was a politically common and well-functioning pair of ideas in the 19th century. Pan-Germanism was not a political peculiarity of a radical right-wing minority, but rather a centrist trend, particularly in German-speaking cities of the Reich, which was important in varying forms through almost all parties until after the Second World War. Whoever issues the liberal Innsbrucker Nachrichten of the period around the turn of the century, you will find countless articles in which the common ground between the German Reich and the German-speaking countries was made the topic of the day.

Under Greil's aegis and the general economic upturn, Innsbruck expanded at a rapid pace. In the style of a merchant, he purchased land with foresight in order to make projects possible. The politician Greil was able to rely on the civil servants and town planners Eduard Klingler, Jakob Albert and Theodor Prachensky for the major building projects of the time. Infrastructure projects such as the new town hall in Maria-Theresienstraße in 1897, the Hungerburg railway in 1906 and the Karwendelbahn were realised. Other milestones included the renovation of the market square and the construction of the market hall.

In addition to the visible, prestigious large-scale projects, however, many inconspicuous revolutions emerged in the last decades of the 19th century. Much of what was driven forward in the second half of the 19th century is part of everyday life today. For the people of the time, however, these things were a real sensation and life-changing. Greil's predecessor, Mayor Heinrich Falk (1840 - 1917), had already made a significant contribution to the modernisation of the town and the settlement of Saggen. Since 1859, the lighting of the town with gas pipelines had progressed steadily. With the growth of the town and modernisation, the cesspits, which served as privies in the back yards of houses and were sold to surrounding farmers as fertiliser after being emptied, became an unreasonable burden for more and more people. In 1880, the RaggingThe city was responsible for the emptying of the lavatories. Two pneumatic machines were to make the process at least a little more hygienic. Between 1887 and 1891, Innsbruck was equipped with a modern high-pressure water pipeline, which could also be used to supply fresh water to flats on higher floors. For those who could afford it, this was the first opportunity to install a flush toilet in their own home.

Greil continued this campaign of modernisation. After decades of discussions, the construction of a modern alluvial sewerage system began in 1903. Starting in the city centre, more and more districts were connected to this now commonplace luxury. By 1908, only the Koatlackler Mariahilf and St. Nikolaus were not connected to the sewerage system. The new abattoir in Saggen also improved hygiene and cleanliness in the city. With a few exceptions, poorly controlled farmyard slaughterhouses were a thing of the past. The cattle arrived at the Sillspitz by train and were professionally slaughtered in the modern facility. Greil also transferred the gasworks in Pradl and the power station in Mühlau to municipal ownership. Street lighting was converted from gas lamps to electric lighting in the 20th century. In 1888, the hospital moved from Maria-Theresienstraße to its current location.

The mayor and municipal council were able to Innsbrucker Renaissance In addition to the growing economic power in the pre-war period, the church could also rely on patrons from the middle classes. While technical innovations and infrastructure were the responsibility of the liberals, the care of the poorest remained with clerically-minded forces, although no longer with the church itself. Baron Johann von Sieberer donated the old people's asylum and the orphanage in Saggen. Leonhard Lang donated the building, previously used as a hotel, to which the town hall moved from the old town in 1897, in return for the town's promise to build a home for apprentices.

In contrast to the booming pre-war era, the period after 1914 was characterised by crisis management. In his final years in office, Greil accompanied Innsbruck through the transition from the Habsburg Monarchy to the Republic, a period characterised above all by hunger, misery, scarcity of resources and insecurity. He was 68 years old when Italian troops occupied the city after the First World War and Tyrol was divided at the Brenner Pass, which was particularly bitter for him as a representative of German nationalism.

In 1928, former mayor Greil died as an honorary citizen of the city of Innsbruck at the age of 78. Wilhelm-Greil-Straße was named after him during his lifetime.