Im Juni 1896 fand die „International exhibition for physical education, health care and sport" took place. Exhibitions and trade fairs such as the World Exhibition may seem a little bland today, but back then they were a curiosity for the citizens. Nobody could have known at the time just how much Innsbruck was at the cutting edge with this event. In distant Athens, an exhibition with a sporting background also took place at almost the same time. Over the next few decades, the Olympic Games would develop into the biggest sporting event in the world and bring Innsbruck back onto the world stage almost 70 years later.

Unlike the Olympic Games in Athens, the Tyrolean exhibition was modelled less on antiquity than on the "vielfältigen Beziehungen zwischen dem Erziehungswesen, dem Sport und der Gesundheitspflege einerseits und Handel und Gewerbe andererseits inform. They were certain that "jede Nation, jeder Staat… seine Besonderheiten in Bezug auf Schuleinrichtungen und Principien der Gesundheitspflege und die Ausübung des Sportes hat.

Whereas three years previously the exhibition had used the Leopoldsbrunnen as a symbol of the connection between the House of Habsburg and the province of Tyrol, this time a non-Habsburg was chosen. Who better to represent Tyrol as a nation than the heroic Andreas Hofer, who had even sacrificed his life for God, Emperor and Fatherland?

The panorama building was erected as part of the exhibition in a wooden structure near today's exhibition centre to visually present the heroic battle of the Tyroleans against the superior forces of the French and Bavarians in 1809 to visitors from near and far. Visitors were able to see the Riesenrundgemälde by the Munich painter Michael Zeno Diemer (1867 - 1939), which captured his vision of the 3rd Battle of Mount Isel on 13 August 1809 on 1000 square metres. Film and moving pictures were still in their infancy. Panoramas were the most exciting way of the end of the century to convey history and events to an audience in an exciting and lively way, almost in 3D. In all major European cities, it was fashionable to present historical, patriotic events as a panorama. The Innsbrucker Nachrichten described the hervorragende Object auf dem Ausstellungsplatze The response on the day of the opening was correspondingly enthusiastic:

„Es ist dies ein Rundbild, wie es herrlicher und prächtiger nirgends gefunden werden dürfte. Der Besucher ist geradezu überrascht, entzückt, wenn er das Panorama betritt. Die Illusion ist so vollkommen, dass er vergisst, dass er in einem geschlossenen Raume sich befindet. Wenn ja, so kann man men es hier sagen, dass der Künstler sich selbst übertroffen hat.“

Lange währte der Holzbau allerdings nicht. Ein glücklicher Zufall wollte es, dass das Gemälde auf großer Reise in London bei der Imperial Austrian Exhibition war, als das Gebäude zehn Jahre später abbrannte. Die Innsbrucker Nachrichten notierten dazu am 6. Februar 1906:

„Heute nachts um 2 ¼ kam in dem in letzter Zeit unbewohnten Gebäude des Panoramas der Schlacht am Berg Isel 1809 auf bisher unbekannte Weise ein Feuer zum Ausbruch, welches bei der leichten Bauart des Gebäudes rasch um sich griff, sodass es schon gegen 3 Uhr in sich zusammenstürzte und nur noch das Gerippe der Seitenwände Zeugnis gibt, wo einst das vielbesuchte tirolische Gemälde von Diemer, Egger und Burger seine Anziehungskraft ausübte.“

The current building was opened just one year later. The octagonal building designed by Anton Fritz next to the valley station of the old Hungerburg railway is one of the buildings that symbolises the development of modern Innsbruck in Saggen around the turn of the century. The Saggen was not only home to the giant circular painting, but also to the old Chain Bridge, built in 1837, and the valley station of the Hungerburg railway, two other buildings that symbolised the renewal of the city. A tourist advert advertised the patriotic work of art:

„… das Riesenrundgemälde des akademischen Malers Michael Zeno Diemer an der Station der Hungerburgbahn; 96 Meter breit und 12 ½ Meter hoch. Zählt zu den bedeutendsten Sehenswürdigkeiten Innsbrucks.“

1917 ging das Riesenrundgemälde erneut auf Wanderschaft, diesmal nach Wien. Der Kampf der Tiroler gegen die französische Übermacht war mittlerweile zum nationalen Symbol geworden und sollte die Kriegspropaganda unterstützen. Während in ganz Europa das industrialisierte Massensterben an den Fronten vor sich ging, zeigte das Gemälde Ziemers eine idyllische Version des patriotischen Krieges. Der Schriftsteller Alfred Polgar notierte dazu:

„Dort ist’s still und kühl. Die Gewehre und Kanonen schießen, aber sie knallen nicht. Die Getroffenen fahren mit der Hand ans Herz, aber es tut ihnen – dieses tröstliche Bewußtsein haben wir – nicht weh. Feindliche Soldatenhaufen stürmen wild den Berg hinauf, aber sie kommen nicht vom Fleck.“

After the war, the panorama building was used as a garage and cattle shed. The battle painting, which weighed several tonnes, was stored in the Hofburg. For the time being, people had seen enough of the war. It was not until 1924 that the rotunda was reopened to the public. The enterprising Josef Hackl, landlord of the Gasthof Golden Eaglebought the giant circular painting and exhibited it again. In 1974, the building was placed under a preservation order, but since the construction of the museum on Mount Isel and the relocation of the giant circular painting there in 2011, it has stood empty. As of 2025, it has not yet been decided what will happen to the building, which is in need of renovation but is steeped in history.

Innsbruck is the self-proclaimed capital of the Alps. There may be disagreement about the title of capital city, Grenoble, Turin, Trento, Bern - many other cities could also lay claim to it. However, Innsbruck holds a special place in this ranking thanks to its encircled location between the surrounding mountains and the city's direct connection to them. The highest point in the city is the summit of the Praxmarerkarspitze auf 2642 Meter über Meereshöhe. Schon um 1900 begann man mit der technischen Erschließung der Nordkette. Erste Standseilbahnen gingen in Europa um 1880 in Betrieb. Mit etwas Verspätung sollte auch Innsbruck sein Exemplar erhalten. Es war Tourismus- und Verkehrspionier Josef Riehl, der das Potenzial in der Verbindung von Stadt und Gebirge sah. Gemeinsam mit Panoramagebäude und der alten Kettenbrücke bildete die Bahn auf die Hungerburg Anfang des 20. Jahrhunderts das moderne Zentrum der Stadt. Den drei Sehenswürdigkeiten ist nicht nur die Lage im Saggen, sondern auch ein vorzeitiges Ende gemeinsam. Die alte, majestätische Kettenbrücke wurde 1939 gegen eine modernere Stahlbetonbrücke ersetzt, das Panoramagebäude steht seit 2011 leer. 2005 war es um die Hungerburgbahn, die bis heute viele Nostalgiker und Liebhaber historischer Verkehrsmittel und Züge besitzt, geschehen. Trotz mehrerer Appelle aus der Bevölkerung wurde der Betrieb der Bahn eingestellt. Erhalten blieben die Stahlfachwerkbrücke über den Inn und das Stampfbetonviadukt im oberen Bereich der Bahn. 101 Jahr zuvor war die als Verbindung zwischen Innsbruck und dem neuen Ortsteil geplante Verkehrsverbindung das Gesprächsthema Nummer 1 in den Innsbrucker Nachrichten:

„The Hungerburgbahn opened this morning at 7 a.m. - not exactly favoured by the best weather. Trains run every quarter of an hour until 10 o'clock in the evening. It seems that the local population is particularly interested in the new railway, which is the first cable car in North Tyrol. Yesterday, an internal evening at the Hotel Mariabrunn brought together representatives of the company, the construction management, the "Union", the municipal power station and the press for a cheerful get-together. Engineer Innerebner commemorated the creator of the railway, Mr Riehl, who is currently taking a cure in Karlovy Vary ... Works inspector Twerdy has taken over the management of the plant. Six and a half years ago, he only took over the local railway Innsbruck - Hall; since then, he has taken over four railways of all systems: the low mountain railway, the Stubai valley railway, the electric tramway and now the cable railway to the Hungerburg.“

Die Schwebebahn auf die Nordkette wurde 1928 eröffnet, im gleichen Jahr wie ihr Äquivalent auf der südlichen Seite des Inntales am Patscherkofel. Damit war Innsbruck am Puls der Zeit. Die erste Seilschwebebahn der Welt war nur 20 Jahre zuvor im schweizerischen Grindelwald in Betrieb gegangen. Das atemberaubende Projekt in der Tiroler Landeshauptstadt umfasste die Talstation auf der Hungerburg, die Mittelstation auf der Seegrube und die Bergstation am Hafele Kar im hochalpinen Bereich. Die Arbeiten an diesen hochalpinen Projekten wurden zum größten Teil noch mit Trägern gemacht, die das Material auf den Berg schleppen mussten. Nur für besonders exponierte Stellen kamen Flugzeuge zum Einsatz. Trotzdem betrug die Bauzeit nur wenig mehr als ein Jahr. Entworfen hatte das Wunderwerk der bis dahin unbekannte Franz Baumann, der sich mit seinem kühnen Entwurf in einer Ausschreibung durchsetzen konnte. Er wandte sich von den vorherrschenden Stilen des 19. Jahrhunderts, dem Klassizismus, dem Heimatstil und dem Historismus ab. Die Gebäude sollten sich an die Landschaft anschmiegen und darin aufgehen, anstatt zu stören. Baumann verstand es, die funktionellen Stationen mit Maschinenhäusern und Ein- und Ausstiegszonen mit den gastronomischen Bereichen harmonisch zu verbinden. Die Mittelstation auf der Seegrube beheimatet ein Restaurant und Hotel. Großen Wert legte er auf die Terrasse, die einen atemberaubenden Blick auf die umliegende Bergwelt bietet.

The mountain station on the Hafele Kar is particularly spectacular, nestling against the rocks like an eagle's nest and providing space for an inn in the shape of a quarter circle. Baumann designed both the building and the interior. Traditional alpine hospitality with tiled stoves meets modern furniture such as the now famous Baumann chair. Er entwarf sogar eine eigene Schriftart, um den Gesamteindruck sicherzustellen. Clemens Holzmeister, der international bekannteste Architekt der Tiroler Moderne outete sich in einem Fachartikel 1929 als Fan der Nordkettenbahn:

"The railway starts at the so-called Hungerburg plateau (300 metres above Innsbruck). The station is characterised by its simple integration into the forest area and a particularly remarkable staircase. The intermediate station at Seegrube (1905 metres above sea level) lacks the unity of the layout ... due to subsequent extensions, but appears splendidly positioned in front of the rocky cirque of the Seegrube peaks. The final station (2,256 metres above sea level) is the most successful in its integration into the wild Zipfelschrofen. Everything has been taken into consideration and the naturalness has a liberating effect."

Innsbrucker Verkehrsbetriebe has been operating the mountain railway since 1979. During the renovation in 2007, the interior and exterior of the middle and top stations were preserved as far as possible. Today, you can board the Nordkettenbahn at the Kongresshaus in the centre of the city and reach the Hafele Kar at an altitude of 2256 m in no time at all. The stations of the new railway at the Löwenhaus, Alpenzoo and Hungerburg were designed by star architect Zaha Hadid in a breathtakingly futuristic design.

In den 1930er Jahren wurde auf der Nordkette Wissenschaftsgeschichte geschrieben. Victor Franz Hess veranlasste 1931 die Einrichtung eines Labors in einer aufgelassenen Baubaracke auf dem Hafele Kar in 2300 m Seehöhe, um dort ein Labor für Ultrastrahlenforschung zum Studium der kosmischen Strahlung zu betreiben. 1936 erhielt er dafür den Nobelpreis für Physik. 

On the western side of the Nordkette (Note: seen from the city on the left), a striking mountain peak rises up. With a little imagination, this rock formation resembles a woman on a horse. This figure is the inspiration for the best-known legend of the Innsbruck region, which made it into the famous Grimm brothers' catalogue of stories in the 19th century. It is about the stingy, hard-hearted and greedy giant queen Mrs Hitt. While playing, her son fell into a bog along with his expensive clothes and came home filthy from top to bottom. Mrs Hitt got a servant to bathe the boy in milk and clean him up with white bread. Later, the queen met a beggar woman who begged the rich woman on horseback for bread. Instead of alms, Mrs Hitt handed her a stone. As a result, an earthquake caused her palace to collapse, a mudslide buried her lands and, as punishment, Mrs Hitt was transformed into the stone pillar that is still clearly visible above the town today. Innsbruck's children have grown up with this legend, whose moral is a warning against arrogance and extravagance, for generations.

Tyrol has always seen itself as a Heiliges Land in einem streng katholischen Sinn. Das änderte sich auch nach 1848 nur langsam. Trotz des Protestantenpatents Following Emperor Franz Joseph I's decree of 1861, which allowed Protestants to practise their faith, Protestant services in Innsbruck could only be held in private. Nevertheless, the number of Protestants increased rapidly during this time.

In 1879, the town's Protestant community bought the school building in Kiebachgasse, as it at least offered a chapel. The Catholic-orientated press was shocked. On 8 November, the following appeared in the newspaper Neue Tiroler Stimme ein Artikel zur Eröffnung:

„Unter den Eigenthümlichkeiten des Landes Tirol nimmt die Einheit des Glaubens den ersten Rang ein. Sie ist jenes Gut, welches uns am meisten von andern Ländern unterscheidet. Sie hat dem Lande in alter und neuer Zeit die schwersten Kämpfe gekostet, sie ist das theuerste Vermächtnis unserer Väter. Umso tiefer ist unser Schmerz bei dem Gedanken, daß man diese Glaubenseinheit feierlich begraben hat. Es ist jetzt eine Thatsache, daß in Innsbruck eine protestantische Gemeinde besteht, daß dieselbe eine katholische Kapelle erworben hat und in derselben öffentlich den protestantischen Gottesdienst feiert.“

However, public outrage could not stop the liberalisation of religious matters. The Protestant community grew, mainly due to people moving in from outside the town, and became too large for the small, temporary church in the old town centre. Thanks to donations from private individuals, plans were made to build a church of their own. The city of Innsbruck provided a building plot in Saggen for this purpose.

The church opened its doors to the Protestant congregation in 1906. The architecturally interesting building has both neo-Gothic and neo-Romantic elements. The pointed church tower is a beautiful contrast to the barrel vault and round arches. In contrast to the baroque churches in Innsbruck, the interior of the Christuskirche appears very modest. The windows are small works of art, some with critical content. They were made by the Tyrolean Glass Painting and Mosaic Institute Innsbruck. Anstatt Putti und Heilige zeigen die Glasmalereien die Kirchenreformatoren Zwingli, Luther und Melanchthon. Die Darstellung des schwedischen Königs Gustav Adolf, dem Widersacher der Habsburger im Dreißigjährigen Krieg, kann durchaus als zeitgenössische Kritik an den katholischen Machthabern gelesen werden. Auch die Darstellung der Vertreibung der Zillertaler Inklinantenwho were forced to emigrate from Zillertal to Prussia in 1837, did not show the Austrian ruling dynasty in the best light. The fresco on the rectory connected to the church was designed by Ernst Nepo, who also painted the fresco of St Theresa in the entrance area of the Theresienkirche on the Hungerburg.

Like many other buildings, such as the Triumphpforte, the Christuskirche was built from Höttinger Breccie from the old quarry under the Hungerburg.

The colossal building of the Jesuit dormitory and chapel occupies a worthy place in the Saggen residential neighbourhood. If you look from Villa Blanka just above Innsbruck onto Saggen, the first thing you see is the Canisianum dominating the entire street like a palace with its more than 20 window axes across its width. The entrance with the Ionic column portico and the tower with lantern rising above it form a beautiful unit. The mosaic on the façade, which shows St Peter Canisius teaching the common people, was created by the Tyrolean Glass Painting and Mosaic Institute designed.

The Collegium Canisianum is the second piece of the Jesuit influence on Innsbruck's educational landscape, alongside the Jesuit church with its theological faculty, which is still visible in the cityscape today. As early as 1587, the Nikolai House in today's Universitätsstraße as a convent for destitute pupils of the Latin school run by the Jesuits. The pupils were entertained at the expense of the archducal court or wealthy citizens. In return, the pupils had to pray rosaries and litanies for the salvation of the noble patron. After the founding of the University of Innsbruck in 1669, it served young theologians as a convent for the theological faculty.

Under the enlightened Emperor Joseph II, who was not well-disposed towards the Jesuits, the order was banned from the education system at the end of the 18th century. The University of Innsbruck was downgraded to a lyceum. It regained its status after the Napoleonic Wars. A short time later, under Franz Josef I, the Jesuits also returned to their traditional teaching position. Soon the Nikolai House in what is now Sillgasse was too small for the large number of students. The construction of a new convent in Saggen began with great pomp, even though the city's liberal circles were anything but enthusiastic about another ecclesiastical building in the cityscape. As with the Monastery of Perpetual Adoration however, the conservative forces were able to prevail.

In 1911, the Collegium Canisianum opened its doors to 276 seminarians from all over the world. A member of the Habsburgs was not present at the opening, in the Innsbrucker Nachrichten konnte man am 28. Oktober aber den „kaiserlichen Dank“ zum Projekt lesen:

„Der k.k. Statthalter für Tirol und Vorarlberg hat im allerhöchsten Auftrage für die anläßlich der Weihe des neuerbauten Hauses Collegium Canisianum des theologischen Konviktes in Innsbruck telegraphisch zum Ausdrucke gebrachte Loyalitätsbekundungen den Beteiligten den allerhöchsten Dank bekanntgegeben.

Wie viele andere kirchliche Einrichtung mussten auch das Canisianum und die Theologische Fakultät dem Furor der Nationalsozialisten 1938 nach dem Anschluss Österreichs weichen. Die Jesuiten exilierten nach Sitten in der Schweiz, kehrten nach dem Krieg 1945 aber bald wieder zurück. Seit 2013 ist das Collegium Canisianum ein Wohnheim für Studierende. Regelmäßig finden im Untergeschoß Heilige Messen statt, die auch für die Öffentlichkeit zugänglich sind.

Hardly anyone in Innsbruck can claim never to have dreamed of living in one of the beautiful villas in Saggen. Between Kaiserjägerstrasse, Siebererstrasse and Claudiastrasse are some of the most beautiful houses in the city. The Villensaggen with its beautiful avenues, manicured gardens and stately homes, takes strollers back to the days of the late monarchy. Innsbruck's posh neighbourhood developed towards the end of the 19th century as a kind of ghetto for the upper middle classes. If you look at a historical map from 1880, you can see that the area between the monumental Kettenbrücke bridge in the north and the monastery barracks near the Hofgarten was more or less undeveloped. The city map from 1910 already shows more or less the buildings that still exist today. Within less than thirty years, a neighbourhood had been created on a greenfield site.

The first villa was built at Bienerstraße 1 and still exudes the splendour and charm of a Victorian English-style property. Neighbouring houses gradually sprang up like mushrooms. The main axis of the new settlement was Falkstrasse. As in a Roman planned city, this avenue in the style of a Cardo Maximus was to connect the settlement from the Kettenbrücke bridge in the north to the monastery barracks near the Hofgarten. The villas were built in the style of the time by the usual suspects of the Innsbruck architecture scene. The city's master builders let off steam in the open countryside. Tyrolean Heimatstil, classicism, cottage houses and Art Nouveau are lined up in a wild mix of styles. After just over ten years of intensive construction, the area up to Claudiaplatz was developed. The neighbours were made up of Innsbruck's patrician class. With a few exceptions such as the commercial academy, which was built before 1886, the ÖBB administration building on the edge of the settlement, Johann Sieberer's orphanage, also planned before 1886, and the Evangelical Church of Christ after the turn of the century, there was hardly any infrastructure in the new neighbourhood. Wealthy tradespeople, merchants, entrepreneurs, university professors and freelancers remained undisturbed by city life in their hideaways without being disturbed by shops, factories, churchgoers or restaurants. In 1898, the municipal council under Mayor Greil put a stop to the hustle and bustle in what the press affectionately called the Stadtsaggen square, which was named Planquadrat. Only residential buildings with at least two storeys were allowed to be built to the east of Claudiastrasse. The time when villas were built in the spacious cottage style was lost in the combination of a lack of space and a growing population. Anyone who wanted to fulfil their dream of a bourgeois residence outside the hustle and bustle of the city after 1900 had to move to the new, even more exclusive neighbourhood up on Hungerburg.

One of the most striking buildings is the Villa Exl in Falkstraße 19. In 1896, the Innsbruck municipal councillor Karl Wildling had the house built as a Villa Alpenheim by the company Josef Mayr & Söhne in the Tyrolean Heimatstil at the north-eastern end of the Stadtsaggen. Mayr was responsible for several houses in this style, for example the Villa Fiegl at Elisabethstraße 3, with Our Lady of Mercy Mariahilf decorating the façade, was involved in the planning. The façade patriotically depicts St George, the patron saint of Tyrol, and St Christopher. The enterprising Wildling, who also invested diligently in property in the city centre, sold his Alpine home. After several changes of ownership, the house came into the possession of the famous Exl theatre family in 1918. With the same humility that is bestowed on pop and film stars today, they renamed their property Villa Exl and had the inscription placed under St Christoph. When the last heiress from this dynasty died in 2009, she bequeathed the villa to her foundation. As part of a refurbishment, an inconspicuous wooden building was tastefully placed next to the Tyrolean Heimatstil house.

The corner of Bienerstraße and Claudiastraße at the other end of the neighbourhood is home to two neo-Renaissance villas that are well worth seeing. The smaller building is the Fischervilla, which was built in 1896 for the Innsbruck pharmacist Carl Fischer. The orange Villa St George is located at the very edge of the Villensaggen in Claudiastrasse. Thanks to its unusual height for the Villensaggen and its massive, cubic form, it formed an almost naturally organic-looking border to the Blocksaggen like a particularly striking outpost. The three-storey residential building was commissioned by a master butcher from the master builders Gogl & Hupfauf in planning. The first owner and operator of the Restoration Claudia in the annex was the tourism expert Sebastian Kandler. He also sold the building after a short time in order to devote himself to the development of the Hungerburg. After several changes of ownership, the pub had to close its doors in 1925 due to an official refusal to grant a licence. Despite several additions, the magnificent building with its beautiful gardens still exudes the charm of the turn of the century.

The Villensaggen has survived the air raids during the Second World War in its original form, surprisingly unscathed. In aerial photographs, the area looks like a well-composed collection of small castles. Almost all of the buildings are listed and form the backdrop for wonderful walks away from the crowds of tourists.

The colossal building of the Jesuit dormitory and chapel occupies a worthy place in the Saggen residential neighbourhood. If you look from Villa Blanka just above Innsbruck onto Saggen, the first thing you see is the Canisianum dominating the entire street like a palace with its more than 20 window axes across its width. The entrance with the Ionic column portico and the tower with lantern rising above it form a beautiful unit. The mosaic on the façade, which shows St Peter Canisius teaching the common people, was created by the Tyrolean Glass Painting and Mosaic Institute designed.

The Collegium Canisianum is the second piece of the Jesuit influence on Innsbruck's educational landscape, alongside the Jesuit church with its theological faculty, which is still visible in the cityscape today. As early as 1587, the Nikolai House in today's Universitätsstraße as a convent for destitute pupils of the Latin school run by the Jesuits. The pupils were entertained at the expense of the archducal court or wealthy citizens. In return, the pupils had to pray rosaries and litanies for the salvation of the noble patron. After the founding of the University of Innsbruck in 1669, it served young theologians as a convent for the theological faculty.

Under the enlightened Emperor Joseph II, who was not well-disposed towards the Jesuits, the order was banned from the education system at the end of the 18th century. The University of Innsbruck was downgraded to a lyceum. It regained its status after the Napoleonic Wars. A short time later, under Franz Josef I, the Jesuits also returned to their traditional teaching position. Soon the Nikolai House in what is now Sillgasse was too small for the large number of students. The construction of a new convent in Saggen began with great pomp, even though the city's liberal circles were anything but enthusiastic about another ecclesiastical building in the cityscape. As with the Monastery of Perpetual Adoration however, the conservative forces were able to prevail.

In 1911, the Collegium Canisianum opened its doors to 276 seminarians from all over the world. A member of the Habsburgs was not present at the opening, in the Innsbrucker Nachrichten konnte man am 28. Oktober aber den „kaiserlichen Dank“ zum Projekt lesen:

„Der k.k. Statthalter für Tirol und Vorarlberg hat im allerhöchsten Auftrage für die anläßlich der Weihe des neuerbauten Hauses Collegium Canisianum des theologischen Konviktes in Innsbruck telegraphisch zum Ausdrucke gebrachte Loyalitätsbekundungen den Beteiligten den allerhöchsten Dank bekanntgegeben.

Wie viele andere kirchliche Einrichtung mussten auch das Canisianum und die Theologische Fakultät dem Furor der Nationalsozialisten 1938 nach dem Anschluss Österreichs weichen. Die Jesuiten exilierten nach Sitten in der Schweiz, kehrten nach dem Krieg 1945 aber bald wieder zurück. Seit 2013 ist das Collegium Canisianum ein Wohnheim für Studierende. Regelmäßig finden im Untergeschoß Heilige Messen statt, die auch für die Öffentlichkeit zugänglich sind.

The railway was perhaps the most important technical innovation of the 19th century. It connected the major cities of Europe with remote corners such as the hard-to-reach Tyrol. In 1898, Innsbruck was given a local administrative centre. As there was no space near the railway station, the Saggen was chosen as the location. The ÖBB administration building reflects the importance of the railway at this time. It is no coincidence that the building resembles a palace. The historicist architecture is typical of the Belle Epoque. Symmetrical shapes, towers and columns characterise the building. Höttinger Breccie, which was extracted from the old Höttinger quarry, was used as building material for the lower plinth. The conference room is particularly magnificent, with its double eagle, ceiling stucco, large chandeliers and the long table, which has fallen out of time and is still in use today.

The railway was one of the connecting elements within the multi-ethnic state of the Habsburg Monarchy. Railway stations resembled each other in all parts of the monarchy, from Innsbruck in the far west to Lviv in today's Ukraine, much as airports do all over the world today. The railway was not only a means of transport, but also a way of connecting people and gave citizens, no matter where they were in the vast empire, a certain recognition value, similar to that which airports have worldwide today. The time when the monarchy dominated the public space via places of worship was over, especially in the cities. It was now official buildings that brought the splendour of the empire to all parts of the empire.

Today, railway station districts in Austria are usually not the best areas of the respective cities, and the stations themselves are modern buildings. The chic railway stations, which were built between the 19th century and 1914, and their surroundings were often victims of Allied air raids during the Second World War. In addition to the ÖBB administration building, the small Innsbruck Westbahnhof Wilten still retains the original aesthetic of the turn of the century.

Bienerstraße 8, also part of the ÖBB administration building, fulfilled an inglorious task for a year. From March 1938 to May 1939, it housed the Gestapo headquarters before the Secret State Police moved to Herrengasse.

The period around 1900 brought about a new, globalised world. For 50 years, telegraphy and the telephone had enabled the rapid dissemination of news, which led to a „simultaneity“ between events and reporting in the media. Innsbruck's first telephone probably went into operation in 1877, the city's first telephone exchange followed 16 years later. It was another 14 years before the first cross-country call to the capital, Vienna, was made. The entertainment industry worked the other way round. The cinema and gramophone made it possible for the first time for a larger audience to store events and consume them „non-simultaneously“. In transport, bicycles began to conquer the streets, which were increasingly illuminated at night. Electric sewing machines and irons made housework easier for wealthy ladies thanks to the expanding electricity grid. Freud and Nietzsche brought new perspectives to medicine and philosophy, which, although not widely recognised by the masses, were received by an ever-growing audience thanks to the new possibilities. Zweig, Klimt, Kokoschka, Schiele, Mahler, Wagner, Schönberg and Freud characterise a nostalgic image of Vienna and Austria of this period abroad to this day.

Innsbruck was not Vienna and that Fin de Siecle was not as celebrated in Tyrol as it was in Paris, but the bourgeoisie of the Alpine region was influenced by the European one. While nations were increasingly moving away from each other politically, architecture in many European cities was converging. The new bourgeois elites in Buenos Aires, Istanbul, Madrid, London, New York and Vienna had discovered historicism for themselves. Innsbruck was no exception. You can experience a little of the flair of this period around Claudiaplatz. The city centre roundabout, which was named after Claudia de Medici, is one of many examples of the architecture of this period. Belle Epoque und bildet bis heute so etwas wie das Zentrum des Stadtteils Saggen. Er grenzt den „Villensaggen" in the north-west of the "Blocksaggen“ mit den Mietshäusern im Osten des Stadtteils ab. Nicht nur architektonisch, auch sozial bildete der Claudiaplatz schon immer eine Art Grenze. Während sich in den Wohnblöcken des Blocksaggen vor allem Freiberufler und Angestellte ansiedelten, residierte in den Villen eine Elite aus Kleinadel, Unternehmern und Großhändlern. Nur etwas weiter östlich entstand mit dem Slaughterhouse block weniger als 25 Jahre später Innsbrucks erste Siedlung im Stil des Wiener städtischen Wohnbaus. Die Entstehung des Claudiaplatzes hingegen spiegelt die Kapitalisierung in der Innsbrucker Immobilienwirtschaft der späten Monarchie wider. Bauträger und Unternehmer mit Kapital investierten ihr Geld schon damals in Betongold. Claudiaplatz 1, 2 und 3 sowie Elisabethstraße Nummer 11 wurden ab 1898 von Reinhold Boos finanziert. Der gebürtige Rheinländer gründete in Innsbruck eine Dachdeckerei, bevor er sich als Realitätenhändler Namen und Vermögen schuf. Er ließ die herrschaftlichen Wohnhäuser mit bis zu sieben Wohnungen für ein finanzkräftiges Publikum errichten. Anders als die Villen waren diese Immobilien als Mietobjekte gedacht. Die prächtigen Häuser sind trapezförmig im Grundriss und reizvoll mit Erkern und überbordendem Schmuck verziert. Schon die Stiegenhäuser, die in der Gründerzeit gebaut wurden, waren kleine Kunstwerke und sollten den Besucher auf die Wohnungen und das Ambiente einstimmen. Fünf Straßen münden in das Rondell Claudiaplatz. Westlich des Platzes führt die Elisabethstraße in das Villenviertel, während die Kaiser-Franz-Josef-Straße mit dem reizvollen begrünten Mittelstreifen mit größeren, aber ebenfalls sehenswerten Wohnhäusern bestückt ist. Bemerkenswert ist das Haus Conradstraße 6, das sich nur wenige Meter vom Claudiaplatz befindet. Der Steinbruchbesitzer Josef Leutsch ließ sich vom Architekten Josef Mayr dieses Haus im Jugendstil planen. Gegenüber mündet die Claudiastraße in den Platz, die schon zum sogenannten Blocksaggen gehören. Die bunten Häuser dieser Zeile sind vom Rondell des Platzes aus ein beliebtes Fotomotiv. Hier siedelte sich an, wer genügend Geld für eine Luxuswohnung, aber nicht genügend für eine Villa hatte. Das Milieu in diesem Teil Innsbrucks bestehend aus Akademikern und Freiberuflern hat sich zu einem gewissen Grad bis heute dynastisch erhalten.

"Wie der Bürgermeister in einer der letzten Gemeinderatssitzungen berichtete, trägt sich Herr von Sieberer mit dem Plan, hier ein großes, schönes Armenhaus zu errichten … Der Bau soll auf einer jetzt freistehenden Parzelle hinter dem Claudiaplatz, neben dem Südbahnviadukt errichtet werden und zwei gesonderte Trakte (einen für Frauen und einen für Männer) erhalten. Zwischen den Trakten ist die Erbauung einer Kapelle projektiert."

Das konnte man am 1. Juni 1907 als Innsbrucker der Presse rund um die Pläne des Gönners entnehmen, der die Wohnstätte für Innsbrucks Senioren plante. 1908 stiftete Johann von Sieberer das Innsbrucker Greisenasyl zur Ehre des 60jährigen Thronjubiläums von Kaiser Franz Josef I. Am 29. August 1909, zum 100. Jubiläum der Berg-Isel Schlacht the building was personally inaugurated by Franz Josef I in the presence of the Bishop of Brixen. 

Alongside the ÖBB administration building and the orphanage, the old people's asylum is the third impressive secular building in Saggen. The building's own chapel is characterised by a bell tower. You can see the statues of St Peter and St Paul as well as Christ as a symbol of kindness towards all people. The magnificent 86 metre-long façade has been preserved to this day. It is not only remotely reminiscent of a palace, but was deliberately designed to provide a suitable architectural framework for the dignity of the age. This was also reflected in the modern furnishings of the old people's asylum at the time of its opening. The kitchen was equipped to cater for up to 300 people.

Eine staatlich geregelte Pensionsversicherung wie wir sie heute kennen, gab es vor der Gründung der Republik Österreich nach 1918 nicht. Ältere Untertanen, die nicht mehr arbeiten konnten, wurden zu Hause von Verwandten oder Angestellten versorgt. Bei Bauern wurde dies mit dem sogenannten Ausgedinge was regulated as part of the transfer of the farm. Anyone who did not belong to one of these privileged classes quickly fell through the cracks. Labourers, journeymen, day labourers, farmhands and menial staff had to beg or were dependent on the care of the poor and elderly by patrons or the church. From the 16th century onwards, care in Tyrol was the responsibility of the community to which a subject belonged. In times of need, however, the communities were often overwhelmed. Even the church was unable to take on this problem permanently and reliably.

Due to the influx of people to Innsbruck as a result of industrialisation and urbanisation and the sale of two poorhouses in St. Nikolaus, the situation in Innsbruck was particularly tense around 1900. Johann von Sieberer, who was already of an advanced age at the time, decided to support the city of Innsbruck by planning the project and financing a large part of it to establish an asylum for the elderly. The city under Mayor Wilhelm Greil had to commit to providing a building site, taking over the development of the sewage system and electrification and the costs for legal matters, architects and construction management. The city's poor relief office was to run the retirement home. The care was left to the Sisters of Charity of St Vincent and Paul.

The idea Freiherr Johann von Sieberers was to give older couples the opportunity to spend their twilight years together. By the standards of the time, the rooms were well equipped with iron beds, bedside cabinets, wardrobes and spittoons. The unadorned room was intended to make it easier to maintain the accommodation and keep it free of vermin and pests. Residents who were difficult to socialise, such as alcoholics, were accepted but housed separately. Facilities such as the old people's asylum and orphanage were very important for the development of the town.

The retirement home still exists to this day, although it has of course been modernised several times. The moderate lettering on the east side of the building commemorates the builder "Gespendet von einem Patrioten".  

If some particularly cautious Innsbruckers are to be believed, the gateway to hell is located in the centre of Innsbruck. Others, however, associate the Bogenmeile with some of the best memories of their own youth. The nightlife district on the railway viaduct between Pradl, Dreiheiligen and Saggen has divided opinion for decades and is a constant source of discussion and controversy. Urban Legends. Since the major remodelling in the 1950s, the arches have been home to workshops, shops and, above all, bars and restaurants of all kinds. In 1985, the Z6 youth centre moved to the rear of the arches. The Sheet 13 opened in the same year. For the first time, the pub attracted an alternative Innsbruck scene from the city centre to the Viadukt. Today, pubs, bars, clubs, breweries, pubs and snack bars of all kinds attract a colourful crowd that usually parties peacefully until late in the morning. In recent years, many facades have been decorated with street art that is well worth seeing. The bad reputation stems from rare exceptions to peacefulness, but above all from the global tradition of mature generations to find youthful hustle and bustle generally threatening.

The arches are the largest structure in the city. The viaduct stretches for 1.8 kilometres along Ing.-Etzel-Straße from the railway station to the Mühlau railway bridgewhich releases the trains over the Inn towards the east. The mighty structure was built between 1855 and 1858, when North Tyrol's first railway line was built. The building material used was Höttinger Brecciewhich forms the basis for countless Innsbruck monuments in the historic city centre, from the Triumphal Gate to the Südtirolersiedlungen in the 1930s, before the Hungerburg quarries closed their doors. Thousands of workers toiled on the huge construction site. Unlike today, the area traversed by the stone belt was not densely populated; the great era of the conquest of eastern Saggen with apartment blocks, the Train barracks, the exhibition centre with its cycle path and the abattoir was still a long way off.

The viaduct arches were like an artificially constructed border wall between Pradl and the city centre. The fact that the separation was not permanent is due to the mastermind of Austrian railway construction Carl Ritter von Ghega (1802 - 1860). It is thanks to the turmoil of global politics that he was involved in what was probably the largest infrastructure project in the monarchy, and perhaps even in Austrian history. When he was born Carlo Ghega, the son of a naval officer of Albanian descent in Veneto, northern Italy was under Napoleonic rule. It was not until the Congress of Vienna in 1815 that the region came under the control of the Imperial-Royal Monarchy as Lombardo-Venetia. Monarchy. After a short time in the army, he decided to study in Padua. At the age of just 17, he successfully completed maths and engineering. After gaining some professional experience in road construction and at the Ferdinands-Nordbahn between Vienna and Moravia, he travelled to England and North America in the mid-1830s to see the new technology in the motherland of the railways and the Wild West for himself. In 1848 Ghega became Inspector General of State Railways at the Ministry of Public Worksthe following year, the Management Board of Railway construction section and the General Construction Directorate for State Railway Buildings. Raised to the nobility by Emperor Franz Josef I, the Albanian-born Italian Carlo became Carl Ritter von Ghega, whose likeness adorned the twenty-schilling banknote of the Republic of Austria from 1968 to 1989, eliminating the foreign -o. It was his plans that traversed the vast empire of the Habsburg monarchy between Lemberg, Bregenz and Trieste. Innsbruck owes part of its spatial growth to his genius. Von Ghega rejected Alois von Negrelli's older plan, which envisaged an embanked railway embankment between Innsbruck and Pradl. Although this solution would have been cheaper and quicker to realise, it would have permanently prevented a transport link from Innsbruck to the east.

In 1958, Museumstraße was extended to Rapoldipark via the viaduct, which today forms the main traffic axis between Pradl and the city centre. Since then, the viaducts have been repeatedly renovated and adapted to the traffic conditions. Several connections through the railway viaduct's 175 arches link Dreiheiligen and the individual parts of Saggen. Some of the passageways have been extensively renovated with lighting installations. At the level of Claudiaplatz, not only was a new regional railway station created, but also a traffic-calmed inner-city park. It was probably not planned that Carl Ritter von Ghega's foresighted design would not only create a traffic solution, but also a place to go out.

Between Pradl, Saggen and Dreiheiligen stands a monument to urban development and the interwar period, which to this day brings the charm of Viennese municipal housing to life in Innsbruck. The Slaughterhouse block has been renovated time and again, but thanks to its status as a listed building, its basic features have been preserved. The inner courtyard with its carpet bars is just as consistent as the bad reputation enjoyed by the estate on the Sill, where the eponymous abattoir used to be located. Together with the new houses in Kaufmannstrasse, which were later to be christened Stalingrad, and the Bocksiedlung in Reichenau, which developed a few years later, the block was the focal point of Innsbruck and notorious far beyond the city limits. In 1978, Klaus Pirchmoser wrote the following, not through political correctness shining lines across the residential complex:

"Wilful destruction in the stairwell and basement shows the degree of the "filtering down phase" that has been initiated and also points to a necessary social reorganisation."

The oldest parts of the building, which have since been demolished in the course of renovation, date back to the pre-war years. In 1911, a service building with nine flats for abattoir employees was built, and the following year the Municipal housing assistance another block with 16 flats. As early as 1920, the first resolutions were passed by the local council to expand the complex. In Vienna that year, the Metzleinstaler Hofthe first council house, was handed over to tenants in order to tackle the post-war housing shortage. As in the federal capital, thousands of people in Innsbruck were without a roof over their heads. The Social Democrats, who were strongly represented in Innsbruck's municipal council, called for the social example of Vienna to be followed. In 1921, a project for the construction of 18 apartment blocks was presented, and the following year, Mayor Wilhelm Greil tabled the urgent motion of the municipal council for the construction of a housing programme. Housing committees in the municipal council.

If you follow the press coverage of the construction, you can't help but think of the political discussions about major projects in the here and now over 100 years later. How should the investment be divided between the city, state and federal government? Due to the currency problems in the young Republic of German-Austria, the projected construction costs rose from 50 million crowns to 1.5 billion crowns within a year. The costs were also used by the individual factions to argue for their respective political purposes and agendas. The interest rate for the loan that the city had to take out was estimated by one councillor at 14%, and the interest alone would eat up the rental income in subsequent years. Another councillor warned against the possible sale of municipal properties to foreigners and described the restrictions of the Tenant Protection Act as the cause of the stagnation of private construction activity, which would come under even greater pressure as a result of the non-profit approach of the new housing estate. The proposal to set up a joint-stock building company was also put forward, as was the idea of duty-free imports of expensive cement from abroad in order to save on construction costs. Those in favour of reforming the existing structures of the city's housing policy instead of new buildings were also heard. The municipal housing authority should restrict the use of large units by individuals instead of using taxpayers' money for new projects.

The building on the Residential complex at the abattoirwhich only in the following decades gained the nickname Slaughterhouse block Theodor Prachensky took over the planning on behalf of the Vaterländische Baugesellschaft. Drei Jahre später konnten die 19 fünfgeschossigen Gebäude übergeben werden. Prachensky hielt sich an die sozialdemokratische architektonische Vorstellung modernen städtischen Wohnbaus, die sich in vielen europäischen Städten zu etablieren begann. Wie Gotik, Barock und Neoklassizismus in der Vergangenheit war auch die Gestaltung des Gemeindewohnbaus stilistisch internationalen Trends unterworfen. Neben 183 Einheiten mit 55 qm Wohnfläche entstanden 4 Geschäftslokale und ein Kindergarten. Der Block gruppierte sich um einen großzügigen, begrünten Innenhof mit Spielgeräten für Kinder. Prachensky gestaltete die Fassaden zwar glatt und ohne den Pomp des Historismus, ganz auf Schmuck verzichtete er noch nicht. Die mit Blumen reich gefüllte antike Amphore symbolisiert Wohlstand, Fruchtbarkeit und Freude, ein starkes Zeichen für den Aufbruch nach den Krisenjahren. Ein ähnliches Symbol prangt an der Nordseite der Fassade der alten Markthalle. Im Fall des Schlachthofblocks sollte das Relief den neugewonnen Stolz der Arbeiterklasse widerspiegeln. Die gegenüberliegende Wohnhausanlage in der Erzherzog-Eugen-Straße 42 – 44, die Fritz Grüll für die Wiener Baugenossenschaft 1929 plante, kommt im Gegensatz dazu bereits komplett ohne Ornamente aus und orientierte sich mit den runden Balkonen am Bauhausstil. Auch der Pembaurblock Prachenskys, der nur kurze Zeit später gebaut wurde, unterscheidet sich markant vom ersten Gemeindebau Innsbrucks.

The beginning of the 16th century was a turning point in the city's history. The Goldene Dachl may be the most famous building constructed at this time, but the armoury had a much greater influence on the lives of contemporaries. Between 1500 and 1506, Emperor Maximilian I had this armoury built by Jörg Kölderer in today's Saggen district. The large artillery cannons in particular, which increased in number at the end of the 15th century, could not be stored in the old armoury in Andechsburg Castle, which was too small. The Äußere Zeughaus was the largest armoury in the Holy Roman Empire and contained equipment and cannons for up to 30,000 soldiers. Court painter Jörg Kölderer captured it pictorially in his reference books fixed. Under Maximilian, mobile and light artillery was developed, which was to revolutionise warfare in Europe. Thanks to its location between the theatres of war in northern Italy and Switzerland, Innsbruck was strategically ideally placed to not only house a camp but also the empire's arms production. Thanks to the facility, including early industrial production, the small town became the centre of the early modern armaments industry in the German-speaking world. 

The inner courtyard was enclosed by a two-storey, castle-like complex. There were several smaller work buildings around the main building. A moat surrounded the armoury until the 18th century. The armoury itself was the centre of a large industrial complex. A few kilometres to the east, an extension to the armoury was built from 1511 in what is now the Weyrer area in Mühlau. Thanks to the energy of the Mühlaubach, the village had become a centre for armourers and platers. The armoury was an economic engine and important employer in the town. The early industrialisation that took place in Kohlstatt resulted in a massive influx of people and population growth. However, the labour force not only brought quantitative growth to the town, it also created an entirely new population class. If we look at the development of Kohlstatt, the home of the labourers, and the financing of imperial policy by the Augsburg Fuggers, we get a picture of early capitalism. Although Emperor Maximilian achieved great success in expanding the empire through shrewd marriage policies for the Habsburg dynasty, he was also a zealous warlord. His loans were fuelled by the war cycle, which had already become an economic factor. He also influenced people's living conditions away from the front in the manufacturing centres.

In the second half of the 17th century, the armour industry in Innsbruck declined markedly. Armour had gone out of fashion and the war front had moved from Italy to Central Europe, where the Turkish wars shaped contemporary events. The armoury remained true to the business of war. The armoury was used as barracks until 1918. If you stroll around the building, you will not only find the Gothic back door on the east side, but also other interesting buildings. The flat houses grouped around an inner courtyard are a reminder of its former military use. Today, the armoury is home to a museum with changing exhibitions and a permanent exhibition on the cultural history of Tyrol. Large blocks of flats have been built around the armoury. The buildings of the former barracks are used by a kindergarten. Various events take place on an ongoing basis in the 1,600 square metre inner courtyard.

In the border area between the city centre, Dreiheiligen and Pradl, like a small island surrounded by König-Laurin-Straße, Dreiheiligenstraße and Weinhartstraße, are the former imperial and royal garrison hospital and Palais Ferrari. Garrison Hospital and Palais Ferrari. Both buildings look back on a long history that has undergone a number of twists and turns.

The first owner of Palais Ferrari was Hieronymus Bernardo Ferrari d'Occhieppo (1615 - 1691). The Piedmontese nobleman entered the service of the House of Habsburg as Lord Chamberlain to Archduchess Anna of Austria, wife of the last Tyrolean Prince Ferdinand Karl. As a later member of Emperor Leopold I's Privy Council, he belonged to the highest circles of government in the monarchy. For his services, the pious civil servant received permission from Emperor Leopold to build his Tyrolean residence on the River Sill. The three-storey Palais Ferrari, designed by Johann Martin Gumpp in the typical Baroque style of the time, was built in 1686 in the middle of a spacious park. Despite several conversions and renovations, the flair of the 17th century aristocracy has been preserved to this day. The small balcony on the first floor is still dominated by the statue of the Maria Immaculata. In order to shorten his path to heaven, the pious Count Ferrari, who in addition to his political activities was also commander of the Order of St Maurice and St Lazarus, transferred part of his fortune to the church and the municipality of Innsbruck. These 30,000 guilders made it possible to bring representatives of the Society of St Ursula from Bavaria to Tyrol to found the city's first school for girls behind the hospital church. At the entrance to the Ursuline Passage the order, which was the first to dedicate itself to the education and training of girls, is clearly visible in the cityscape.

As virtuous as the first of the Innsbruck Ferraris was, his descendants were characterised above all by a lavish lifestyle. Within 200 years, the once great fortune had been used up. In 1893, the city of Innsbruck took over the property and leased it to the military, which had been operating a garrison hospital directly adjacent to the building at today's Weinhartstraße 2 since the Napoleonic Wars. A hospital for the citizens of Innsbruck had already been established here in the industrial quarter near the armoury in the early modern period. In 1541, the Infirmary and hospital mentioned. The Innsbruck Congregation doctor Weinhart, after whom the street was named, had the hospital extended during the plague outbreak in 1611. With measures such as fumigation, increased hygiene and the popular bloodletting, the doctors and clergy tried to get the Black Death under control. The hospital administration was housed in the noble Palais Ferrari.

After the garrison hospital was relocated to what is now Conradstraße in Amras before the First World War and the military was drastically downsized after the war was lost, but the housing shortage was all the greater, municipal flats were built in the empty building. In 1924, the Austrian Federal Railways took over the building to accommodate employees near the railway station. Despite several renovations, the core of the building, such as the massive entrance gates from the 17th century, still exists.

The now run-down Palais Ferrari was also converted from military to civilian use. Under the aegis of the later director Adolfine Sieberer, the Ministerial Director of the First Republic Herta von Sprung and Mayor Wilhelm Greil, the Training centre for domestic and industrial women's professions their new domicile. In 1922, the school was expanded to include a horticultural school and placed under federal administration. The Republic's ailing national budget in the years of the Great Depression also had an impact on the school: It was only through the sale of fruit and vegetables from its own garden and grants from the savings bank that it was able to keep going in the 1930s. Things were not much better for the business in the following decades. The war and air raids took their toll. During the Second World War, refugees were housed on the upper floor of Palais Ferrari. The pupils were moved to Imst to protect them from the bombing.

In the post-war decades, the garden and school were renovated, modernised and blossomed into new life. Rudi Wach, creator of the controversial crucifix on the Inn bridge, designed the stone statue Flora with deerwhich can be found in the garden alongside other works of art from the 1950s. Several extensions and additions were made to the baroque palace to meet the requirements of modern education.

The countless changes to the type of school during the 20th century show the slowly developing and changing career opportunities for young women in the 20th century. Despite all official efforts, the school was primarily perceived as a training centre for future housewives and mothers until well into the post-war period. It was not until the changeover to a fashion school that the aspect of vocational training came to the fore. Nowadays, young men are also allowed to take their school-leaving exams here, which also specialise in nursing and media design. The builder of the former palace, who also donated the first Ursuline school for girls from his fortune in 1689, would be pleased to know that more than three centuries later, his palazzo was known by the derisive name of the evil vernacular Cleaning and dumpling academy is still a pillar of Innsbruck's educational landscape. The Society of St Ursula, which was able to settle in Innsbruck thanks to Ferrari's foundation, runs a grammar school in the west of Innsbruck, where girls and boys now receive a "Christian education".

The mining boom in the Tyrolean lowlands, together with the associated migrant labourers, long-distance trade and Innsbruck's growing political importance brought more than just prosperity. In 1512, over 500 people died of the plague in Innsbruck, and in 1543 the Black death to Innsbruck again. Nature also seemed to turn against the sinful goings-on in the city. In 1572, Innsbruck was severely affected by an earthquake. In addition, there were regular flood disasters and supply problems due to failed harvests. In their piety, many people tended to blame bad events on their own sins before God. The church's efforts to counteract God's wrath were expressed not only in a lifestyle that was as God-pleasing as possible, but also in magnificent buildings and the establishment of new religious orders such as the Franciscans or the Jesuits. In addition, the city authorities, sovereigns and pious citizens also endeavoured to provide pastoral care for the workers and their families. One of these pious citizens was the doctor Paul Weinhart (1570 - 1648), who had come to Innsbruck from Augsburg. During the plague epidemic that came to Innsbruck from the silver town of Schwaz in 1611, he was in charge as Contagationsarzt the municipal plague college, which was in charge of the plague house in Kohlstatt, among other things. His wife had fallen victim to the plague.

The Zeughaus had allowed the Kohlstatt to grow quite rapidly since the time of Maximilian due to the labour force that was needed in this arsenal. The labourers and their families who had settled here lived in wooden barracks in cramped, unhygienic conditions, which exacerbated the spread of disease. The plague cemetery established in 1564 did nothing to improve the situation. In today's Weinhartstraße, Dr Weinhart had the existing Infirmary and hospital expand. However, he decided not only to trust his knowledge, but also to entrust the welfare of the town to the plague saints Pirmin, Sebastian and Rochus. Together with the chaplain of the hospital, Kaspar Melchior von Köstlan, he made a vow to have a church built if only the plague would stop. At the urging of the later court physician Weinhart, who was held in high esteem by Maximilian III, and the city government, the pious sovereign decided to endow a church near the plague hospital. The mixture of faith and science was not unusual at this time. Weinhart also saw himself not only as a doctor, but also as a pastor for the plague patients. He was known among the city's poor for his charitable work and enjoyed great popularity. At the same time, he was well connected with the prince and the Jesuits. Weinhart was also highly regarded by his colleagues. The town doctor Halls wrote about his walks with Dr Weinhart:

„Dieser Spaziergang ist mir, wie auch dem edlen, hochgelehrten meinem herzgeliebten Herrn Brudern Paulo Weinhard dermaßen wohl bekannt und befohlen, daß wir bisher wenig halbe Monate ausgelassen…“

The Dreiheiligenkirche was consecrated on 13 October 1613 after two years of construction. The present rectory in its basic structure, which was previously used as a Fürstliches Schafferhaus which served as an administrative building over the Kohlstatt, is older than the church itself. Doctor Weinhart had himself immortalised on the ceiling fresco next to the Jesuit Melchior Köstlan. If you are lucky enough to get into the interior, which is often locked, you can see a contemporary depiction of the events during the plague epidemic. The gloomy picture depicts the superstition of the people in just as much detail as the criticism of the authorities. The Tyrolean provincial government had left the city after the outbreak of the plague, prompting the artist to draw them in a palace far away from the people. The Black Death is depicted as a skeleton on a black horse with a bow and a winged hourglass. The sick had been hit by the skeleton's arrows. A sick man receives the last rites from a priest, while the devil hides behind his deathbed. In the background you can see an encampment full of soldiers who are also dying on the ground, hit by arrows.

In 1863, a porch was added to the Dreiheiligenkirche. In 1900, the striking building designed by Philipp Schumacher and built by the Tyrolean Glass Painting and Mosaic Institute mosaic on the façade. The façade of the plague church shows the three saints of the plague, who have been among Innsbruck's many patron saints ever since. The fourth in the group is Alexius, the patron saint against earthquakes. He was unceremoniously named after the dissolution of the nearby Seven chapels area In the 18th century, under Joseph II, the church also moved to Kohlstatt. The façade bears the inscriptions A peste et ab omni malo libera nos domine (Lord, deliver us from the plague and all evil), Salus Infirmorum (health to the sick) and Auxilium Christianorum (Help of Christians) . At the feet of the St Mary with child The crescent moon, a symbol that can also be seen on St Anne's Column, lies in the lap. Similar to the original building in the 17th century, the new façade was also not the initiative of an order such as the ubiquitous Premonstratensians. Unlike back then, however, it was not the sovereign, but the „Munificenz der Sparkasse der Stadt Innsbruck unter deren Vorstand Anton von Schumacher, Handelskammerpräsident u. deren Director Dr. Heinrich Falk, Altbürgermeister" which made the redesign possible.

The Monastery of Perpetual Adoration The building on the Hirschanger on the north side of the Hofgarten caused lively discussions in 19th century Innsbruck. Darwin had just presented his theory of evolution to the world, which stood in opposition to the biblical story of origins. Another monastery was not what enlightened citizens wanted for their city. Moreover, it was no ordinary religious house, but the branch of a particularly strict order. The Frauen zur Ewigen Anbetung take a vow of silence to this day.

The fact that the Order originally came from Italy also aroused suspicion. Austria had been at war with the newly constituted Italian state for some time. In the bilingual crown land of Tyrol, the animosities against the "Wallschen" is particularly pronounced.

Several locations were considered and repeatedly rejected. In 1866, the military education centre in Hall was the planned location for the convent. Shortly afterwards, the founder, Miss Sophie von Angelini, a daughter from a good family, applied for the building in Meinhardstraße, but failed due to resistance from the citizens' committee. The Chamber of Commerce and Industry hatte sich hier angesiedelt. Die Presse berichtete dementsprechend kritisch:

„Fräulein Sofie v. Angelini hat schon unterm 5. September 1868 an den Stadtmagistrat ein Gesuch um Bewilligung zum Baue eines Frauenklosters in der Meinhardstraße eingebracht, welches aber unterm 19. desselben Monats mit dem Bemerken zurückgewiesen wurde, daß in dem fraglichen Projekte die zur Anlage jener Gassenseite bereits festgestellte Frontlinie überschritten würde und auf eine solche Abweichung um so weniger eingegangen werden könnte, als es laut Ausspruch des großen Bürgerausschusses überhaupt nicht der Wunsch der Stadt ist, dass ein Kloster in gedachter Straße erbaut werde.“

After a tough back and forth, the monastery was finally built against resistance and with a great deal of insistence. Although Innsbruck's liberals had to give in in this case, they made a note of it:

„Wenn auch religiösen Gefühlen alle Achtung gezollt wird, so muss doch angeführt werden, dass diese Nonnen bloß zur abgeschlossenen gegenseitigen Erbauung sich vereinen, dabei aber Kapitalien in todte Hand sammeln, welche dem volkswirtschaftlichen Betrieben, der Industrie, dem Verkehre und vor Allem aber ihren Angehörigen entzogen werden. Dieser national-ökonomische Verlust umfasst Kraft, Zeit und Geld.“

The location agreed upon was the Hirschanger in Saggen, adjacent to the Hofgarten. Where the villas and small residential complexes are lined up today, there was open land in 1868. The company Huter & Söhne, which would later also be responsible for the construction of the parish church of St Nicholas, was responsible for the construction. The mosaic work was carried out by the Tiroler Glasmalerei- und Mosaikanstalt. Felix Schatz (1847 - 1905) from Thuringia created an impressive work with the façade. Like the two murals on the Dreiheiligenkirche and the Collegium Canisianum, which were created at a similar time, Schatz designed the picture in bold colours with a golden background. The dome-crowned interior can compete with the portal. St James and St Andrew are magnificently presented next to the main altar, which is dominated by Jesus on the cross with Mary and Mary of Magdala. Michael Stolz (1820 - 1890) from Matrei created the gold-decorated mosaic of the four evangelists.

Das erste Monastery of Perpetual Adoration wurde 1807 in Rom von Caterina Sordini gegründet, nachdem sie während ihres Noviziats bei den Franziskanerinnen eine göttliche Vision hatte, in der ihr die Gründung eines Ordens aufgetragen wurde. Das Innsbrucker Ordenshaus gehört zu dieser italienischen Föderation, die 16 Klöster und knapp 240 Mitglieder umfasst. Das Monastery of Perpetual Adoration in Innsbruck ist das einzige, das der Orden im gesamten deutschsprachigen Raum betreibt. Die Schwestern der ewigen Anbetung pflegen ein äußerst genügsames und frommes Dasein in vollkommener Abgeschiedenheit und Gemeinschaft nach der Augustinerregel:

“Das erste Ziel eures gemeinsamen Lebens ist, in Eintracht im gleichen Haus miteinander zu leben und ein Herz und eine Seele auf Gott hin zu sein.”

Die Ordensfrauen verehren Maria als Schmerzensmutter. Die Schwestern kümmern sich um Hostienherstellung und den Klostergarten. Das Zentrum ihres Glaubens ist allerdings die Ewige Anbetung des Allerheiligsten, die jedes Ordensmitglied Tag und Nacht praktizieren soll. Wer möchte, kann einige Zeit das Klosterdasein erleben, um in der Abgeschiedenheit mitten in der Stadt zur Ruhe zu kommen. Gebetsanliegen können zeitgemäß per Formular auf der Website des Klosters übermittelt werden.