Brixner Dom

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Bressanone Cathedral
Facade to the cathedral square
View of the cathedral district from the western side of the Brixen valley

The Dom Mariae Admission to Heaven and St. Kassian is the largest sacred building in the South Tyrolean city ​​of Brixen and the episcopal church of the Roman Catholic diocese of Bozen-Brixen . The cathedral bears the title Cathedral and Basilica minor and is under the patronage of the Assumption of Mary and St. Cassian . Together with the surrounding buildings, including the cathedral cloister , the Johannes chapel and the Frauenkirche , it is part of the Brixen cathedral district.

The bishop's residence was moved from Säben to Bressanone soon after the town was founded , from where he ruled the once influential duchy of Bressanone. In 1964 the bishopric was relocated to Bozen , the parish church of the Assumption of Mary there has since acted as a co-cathedral. Nevertheless, the cathedra of the bishop and the cathedral chapter are still located in Brixen, which means that the Brixen cathedral takes the place of the highest-ranking church in the diocese. The first three bishops of Bozen-Brixen ( Joseph Gargitter , Wilhelm Egger and Karl Golser ) are also buried here.

history

The oldest previous building was a cathedral complex from the Ottonian times with a three-aisled double choir church (symbol of papacy and empire), which was probably equipped with a flat wooden ceiling. The complex was completed before the bishop's seat was moved from Säben to Brixen, which took place around 990. The east choir of the church was consecrated to Saints Peter and Ingenuin (Bishop of Säben around 600) and had a St. Martin's crypt, the west choir with a St. Nicholas crypt was consecrated to Saint Stephen. After the end of the investiture controversy, the double choir no longer corresponded to the spirit of the religious reforms. Bishop Hartmann (1140–1164) therefore had the west choir demolished and two facade towers built in its place.

Ceiling painting by Paul Troger: Adoration of the Lamb

In 1174 the cathedral complex fell victim to a major fire. As a result, under the bishops Richer von Hohenburg and Heinrich von Berchtesgaden, structural adaptations in the style of high Romanesque were made during the reconstruction . The nave was vaulted and a single nave transept was drawn in. The cathedral was consecrated in 1237 by Bishop Eberhard von Salzburg and consecrated again in 1274 after further fire damage. During the Gothic period , several chapels were added to the cathedral. There were more significant alterations under Bishop Nikolaus von Kues , who removed the east apses and replaced them with a Gothic high choir with pointed arched windows and net vaults. Under the direction of the court architect Hans Reichle , the Romanesque north tower was given its current early Baroque form in 1610–1613. The south tower was aligned with the north tower in 1748.

Prince-Bishop Kaspar Ignaz Graf Künigl (1702–1747) advocated a thorough renovation of the old building complex at the beginning of his long term of office, while the cathedral chapter pushed him to a new baroque building. But then he preferred to stabilize his diocese in pastoral matters first ( popular missions ) before letting his hands go to the cathedral. It wasn't until 1745. For the implementation of the extensive renovation, which lasted until 1754, the cream of the Tyrolean Baroque was brought together in Brixen: Josef Delai from Bozen as the architect, Teodoro Benedetti from Mori as plasterer and altar builder, Stephan Föger from Innsbruck, who was also involved in the planning were; furthermore Paul Troger from Monguelfo as a fresco artist , Joseph Schöpf from Telfs as painter of the altar leaves, Dominikus Moling from Wengen as designer of the altar statues, Troger's student Michelangelo Unterberger from Cavalese as painter of the high altar picture. The construction management was held by Josef Delai and the priests Franz Penz and Georg Tangl, among others. On September 10, 1758, the almost completely redesigned cathedral was completed with the consecration by Prince-Bishop Leopold Graf Spaur . The classical vestibule was completed 30 years later by Jakob Pirchstaller from Trens.

In 1895, the Paul Trogers fresco ensemble was permanently changed by the restoration work by Albrecht Steiner von Felsburg by not only changing its false dome in the crossing through his "Triumph of Religions", but also its painted false architecture around the large ceiling painting in green-gray tones replaced by gilded and colored neo-baroque stucco; This was in line with the taste of the time, but from today's perspective it was not a happy intervention, even if a design by Paul Troger for the Geras Abbey in Lower Austria served as a template for the new dome painting .

Extensive restoration work was carried out by the Peskoller workshop from Bruneck in 1985/86, with the original colors and baroque ornaments restored on the outside and the ceiling frescoes cleaned and the stucco and wall panels re-colored on the inside. In 2001 the cathedral roof was re-covered and the spiers were restored.

architecture

Interior of the Brixen Cathedral

The church, which is now baroque , was consecrated in 1758 after the originally Romanesque cathedral had been almost completely rebuilt. The classical vestibule was built in 1788 by Jakob Pirchstaller. The single-nave interior is 62.70 m long, 21.50 m wide and 22.70 m high. The church has an important baroque interior .

The ceiling frescos come from the famous Tyrolean baroque painter Paul Troger and are the only ones he created in Tyrol. They consist of the large-scale painting of the Adoration of the Lamb , the concert of angels above the organ loft, Saint Kassian as a teacher and as a messenger of faith in the two arms of the transept and the admission of Mary into heaven above the high altar. The false dome he also created in the crossing was replaced in 1895 by the Triumph of Religion by Albrecht Steiner von Felsburg , who also replaced Troger's painted false architecture around the ceiling with gilded stucco work.

On the right pillar of the choir is the so-called Leinberger Madonna , a statue of Mary and Child by the Bavarian sculptor Hans Leinberger from around 1520. This valuable figure, in the transition from Gothic to Renaissance style, came via Munich and Merano on the initiative of the prelate Ludwig Kaas and Pope Pius XII. 1952 to the inventory of the Brixen Cathedral. On the left side of the choir pillar there is a bronze relief that reminds of the South Tyrolean missionary to China, Josef Freinademetz .

Typical incrustation work in the cathedral

On both sides of the high altar there are galleries by the Swabian sculptor Joseph Stapf , which were intended as princely oratorios. The communion bench is the work of Theodor Benedetti and Rupert Röck from Gossensaß. The pulpit was created by the Brixen sculptor Josef Wieser. It shows the relief of Christ at Jacob's well ( Joh 4,5-26  EU ). The choir stalls and pews made of walnut come from the court carpenter Ferdinand Schwabl, whose workshop also made the confessionals, the furniture in the sacristies and the portals. The Sanctus candlesticks in the choir come from Flanders in the second half of the 15th century. One of the hanging lights was made in 1609 by Wolfgang Neidhardt in Augsburg , the other was copied from the other in 1754 by the Brixen bell founder Josef Graßmair. The wall arms on the triumphal arch are from 1686 and come from Nuremberg .

The episcopal marble throne was made in 1912 by the Linser company in Innsbruck. The windows date from the years 1894–1897. The glass chandeliers come from Murano and are from 1992.

Furnishing

Altars

High altar with the painting by Michelangelo Unterberger
Ceiling fresco by Paul Troger above the high altar: Assumption of Mary into heaven

High altar

The high altar was completed by Teodoro Benedetti in 1753 and is one of the most important baroque altars in Tyrol. The mighty octagonal tabernacle structure with an imperial crown, the marble statues of the apostles Peter and Paul and two angels with bulbs on both sides by the sculptor Dominikus Moling from Wengen rise above the cafeteria . The high altar painting depicting the death of the Virgin is a major work by Troger's compatriot and contemporary Michelangelo Unterberger .

People's altar and ambo

The modern folk altar comes from Martin Rainer and was created in 1966. A relief of Christ giving blessings can be seen on the copper altar. The same artist also created the ambo , which shows the Sermon on the Mount as a motif.

Cassian altar

The cassian altar was built from 1754–1756 by Franz Faber from Telfs mainly from Rosso di Francia marble. The sarcophagus made of white Carrara marble contains the relics of the holy bishops Ingenuin von Säben and Albuin von Brixen; their statues can be seen between the side columns. Paul Troger created the altarpiece in 1753; it depicts the martyrdom of St. Kassian. The relief in the altarpiece was based on a design by Franz Sebald Unterberger . It represents the funeral of St. Albuin. The altar was donated by the cathedral chapter.

Rosary altar

The rosary or sacrament altar was created by the Trento stone sculptor Francesco Oradini 1751–1753 from white Brentonico marble and black Bergamasco. The statues of St. Stephen and St. Lawrence can be seen between four pillars ; Reliefs in the gable show Jesus' farewell to the apostles, as well as King David and the prophet Isaiah . The altarpiece of the Rosary Queen with Saint Dominic and Saint Catherine of Siena is by Franz Sebald Unterberger. Eight relief medallions with the secrets of the rosary hang on both sides of the altar , probably dating from around 1611. The altar was donated by the Rosary Brotherhood.

Anne Altar

The St. Anna Altar was created by Franz Faber in 1762–1764 from yellow Brentonico and purple African pavonazzo. The side figures represent the holy virgins Katharina and Christina, the adoration of the kings can be seen in the gable relief. The altarpiece of St. Anna with Maria and Jesuskind, Joachim and Josef was created by Franz Linder from Vienna . The Rococo Altar was donated by the St. Anne Brotherhood.

Cassian altar

Salvator Altar

The Salvator altar was also made by Franz Faber and was made between 1763 and 1764. He used Genoese verde antico and yellow Torre marble from Nonsberg for this . The gable relief represents St. Augustine , the side figures made of white Carrara marble the holy bishops Martin and Nicholas . The altarpiece shows the transfiguration of Christ on Mount Tabor and was painted by Christoph Unterberger after Raphael's " Transfiguration " . The altar was donated by the Salvator Brotherhood.

Agnes altar

The St. Agnes Altar is another work by Franz Faber, this time made from Sicilian diaspro and white Carrara marble from 1764–1766. The side statues represent the bishops Lukanus and Hartmann , in the essay St. Leopold . The altarpiece by Christoph Unterberger shows the martyrdom of St. Agnes . The altar was donated by Prince-Bishop Leopold Graf Spaur.

Johannes Nepomuk Altar

The Johannes Nepomuk Altar was created in 1754–1756 by Theodor Benedetti from Brentonico and Carrara marble. It is the first classical altar in Tyrol. The side sculptures are by Dominikus Moling and represent St. Christophorus and St. Oswald . Gian Domenico Cignaroli painted the altarpiece in Vienna. The altar was donated by the then Brixen canon and later Cardinal Christoph Anton von Migazzi .

All Saints Altar

The All Saints Altar was built between 1818 and 1819. It was built by the stone sculptor Paul Defant in Trento from African pavonazzo, green Genoese and black Bergamasque marble based on a design by cathedral deficit Franz Ainackerer. The side figures are Venetian Rococo works and represent St. Barbara and St. Margarethe . Josef Schöpf from Telfs created the altarpiece in 1817. The altar was donated by Canon Hartmann and Joseph Freiherr von Enzenberg.

Cross altar

The Holy Cross Altar was also created by Paul Defant, but not until 1822, although the altar was donated by canon Josef Freiherr von Rohrbiß, who died in 1789. The material consists of rust-red marble from Corfu, white Genoese and black Bergamasco. The side statues show the prophets Isaiah and Zechariah , in the altar top the brazen serpent , who are related to the crucified Christ on the altarpiece, which Josef Schöpf painted as early as 1792.

Episcopal tombs

Tomb of Joseph von Spaur

Since the transfer of the bishopric from Säben to Brixen around the year 990, bishops of the diocese of Bressanone (today diocese of Bozen-Brixen ) have been buried in Brixen Cathedral. After the rebuilding of the cathedral in baroque style in 1745, the old gravestones were rescued from the rubble by the priest Joseph Resch; he had it installed in the cathedral district. The remains of the bishops rest today in a burial ground in the transept; their tombs are placed in different places in and on the cathedral. Here is a list of bishops and their tombs without claim to completeness, with an indication of the term of office as Bishop of Brixen:

  • Ingenuin (around 590) and Albuin (around 975–1006): grave slab at the exit of the cloister with a representation of the two bishops. While Ingenuin probably moved relics here during the construction of the cathedral, Albuin was the first bishop of Bressanone to be buried in Bressanone Cathedral.
  • Ulrich Putsch (1427–1437): His tomb is at the main portal; Around the tomb is the sentence Hie leit bishop ulreich, which is carved in the same way by ditz pild . Putsch commissioned the tomb two years after his appointment.
  • Christoph Fuchs von Fuchsberg (1539–1542): His tomb in the cloister shows him gently sleeping.
  • Christoph Andreas von Spaur (1601–1613): His tomb is located in front of the main portal on the right on the walls of the nearby Church of Our Lady .
  • Daniel Zen (1627–1628): The tomb of this only Ladin among the Brixen bishops is on the left in front of the main portal.
  • Kaspar Ignaz von Künigl (1702–1747): On his tomb in the left transept, he had a skull carved as a reminder that a bishop must always keep death in mind.
  • Joseph von Spaur (1779–1791): His tomb is in the transept on the right side.
  • Johannes von Leiß (1880–1884), Simon Aichner (1884–1904), Joseph Altenweisel (1904–1912), Franz Egger (1912–1918) and Johannes Raffl (1921–1927): the busts of these five bishops are under the statue of the Good Shepherd depicted on a common tomb in the nave.
  • Johannes Geisler (1930–1952): He commissioned the diocesan conservator Karl Wolfsgruber to have his tomb . The representation was made on the basis of a photo showing Geisler kneeling on a prayer stool with a stole. Pope Benedict had also used this stool when he was on vacation in the chapel of the seminary.
  • Joseph Gargitter (1952–1986): Gargitter was the last bishop of the diocese of Bressanone and the first bishop of the new diocese of Bozen-Brixen. His tomb is a bronze work by the artist Martin Rainer from Bressanone. The figure's oversized index finger points to the cathedral's altar.
  • Wilhelm Egger (1940–2008): Egger was Bishop of Bozen-Brixen from 1986 to 2008. He was buried on August 21, 2008 in the left transept of Brixen Cathedral.
  • Karl Golser (1943–2016): Golser was bishop of the diocese of Bozen-Brixen from 2009 until he resigned in 2011 for health reasons. He was buried next to his predecessor on December 30, 2016.

Cloister

Frescoes in the cloister

The cloister south of the cathedral, connected to it by an entrance, is one of the most important art monuments in South Tyrol. It goes back to a pre-Romanesque complex. After the fire of the cathedral in 1174 and around 1200 redesigns took place. It is assumed that this was initiated by Bishop Friedrich von Erdingen (1375-1396) and carried out by Master Utz (o), who was buried in the cloister. With minor exceptions, there were hardly any changes to the cloister in later times.

The painting began after the Gothic redesign of the cloister and took place gradually throughout the 15th century, mostly on behalf of the canons who were buried there. The names of the artists are mostly unknown, but based on stylistic analyzes one can infer the origin of the painters: These included many locals, but also wandering artists from Italy and Germany. A distinction is made between images in the soft style (1390–1440) with idealized figures and motifs, the beginning of late Gothic naturalism around the middle of the 15th century, and late medieval art, which dominated landscape and body, in the last third of the 15th century. The frescoes have been restored by the South Tyrolean Monuments Office over the past few decades and are in good condition.

Johanneskapelle

Romanesque fresco of Old Testament wisdom in the Johanneskapelle (around 1220)

The Johanneskapelle, which is entered from the 3rd arcade of the cloister, is located in the south-west corner of the cathedral district. It was probably built when the first cathedral was built in the 10th century and was a baptistery and episcopal court chapel. The high nave has a steep Gothic tent roof, the masonry gallery and the groin vault date from the 14th century.

The Romanesque frescoes, which reflect the scholastic-mystical symbol theology of the 13th century, are particularly important. The early Gothic frescoes from the first half of the 14th century in linear style are also of importance. Theophil Melicher from Vienna restored the frescoes in the Johanneskapelle between 1900 and 1902 and filled in empty spaces with new pictures and ornaments.

woman Church

Interior of the Frauenkirche with a view of the high altar

The Frauenkirche is a side church of the cathedral. Bishop Konrad von Rodank (1200–1216) had the Marienkapelle in the cloister renewed and painted with frescoes by his court painter Hugo around 1215. The originally single-nave church, which today has a main aisle and a side aisle, was incorporated as a wing element of the cathedral's facade at the end of the 18th century.

The Romanesque frescoes of the are of excellent quality, but only partially preserved. The church has several altars, all of which date from the 17th century.

Cathedral Square and Fountain of Life

Fountain of life on Domplatz

The fountain of life , created by the South Tyrolean artist Martin Rainer (1923–2012), is located on the cathedral square . The fountain represents the various phases of human life and the cycle of life as a spiral that arises from God's hand and returns into God's hand.

Organs

Organ loft

The first documented record of an organ in the Bressanone Cathedral dates back to 1531. Two organs of different sizes were installed in the cathedral by the otherwise little-known master Kaspar, but their disposition has not been passed down. The original location of the organs was in the front right next to the presbytery, where today the door leads from the Rosari altar (sacrament altar) into the south sacristy. 1620–1622 the cathedral organs were repaired and rebuilt by the well-known master organ builder Andrä Putz from Passau. In the years 1690/91 Eugenio Casparini built a new organ from the "Etschtal", as it is called in the chapter protocol of the year 1689. According to the plans of the old cathedral, at the time of the demolition in 1745 two organs were installed in the cathedral; one organ at the point mentioned above, the other organ at the western end of the priestly choir.

Although the organ was regularly used until the new cathedral was built in 1746–1754 under Prince-Bishop Kaspar Ignaz Graf Künigl (1702–1747) and Prince-Bishop Leopold Graf Spaur (1747–1778), Franz Simnacher from Angelberg near Mindelheim was asked to build a new one in 1756 Instrument. After Simsacher's death in 1757, his brother-in-law Alexander Holzhay continued building the organ, which was completed in November 1758. At that time the organ had 43 (or 44) stops, including a glockenspiel and other effect stops. The eleven-axis housing by Brixen court carpenter Johann Georg Schwab also dates from this period.

After the cathedral restoration was completed in 1898, the Brixen Cathedral received a new two-manual organ with 40 stops on pneumatic cone chests, built by the Mayer brothers from Feldkirch. It was rebuilt in 1931 by Dreher & Flamm from Salzburg, expanded to 60 registers with electropneumatic action and received two new three-manual console tables (the choir organ was assigned to manual III). After further modifications by Reinisch-Pirchner in 1967, the organ building company Johann Pirchner in Steinach am Brenner was commissioned to build a new organ in 1977 , which was consecrated on October 4, 1980 by Diocesan Bishop Joseph Gargitter. Franz Lehrndorfer was the organist at the organ consecration .

Main organ

Brixner cathedral organ
Fresco by Paul Troger above the organ: Angel concert

The main organ comprises 48 registers (with a total of 3,335 pipes) on three manuals and a pedal (mechanical slide chests). The Schwab case from 1758 was taken over and supplemented and re-gilded by the Peskoller company from Bruneck. The old bell chimes got their original place above the play cupboard behind the carved basket, which was carved by the sculptor Hackhofer from Brixen.

The disposition was determined by Egon Krauss , Otto Rubatscher, Josef Knapp and the organ builder Johann Pirchner:

I substation C – g 3
1. Metal dacked 8th'
2. Portal flute 8th'
3. Principal 4 ′
4th Dumped 4 ′
5. Octave 2 ′
6th Forest flute 2 ′
7th Quint 1 13
8th. Zimbel III 1'
9. Vox humana 8th'
tremolo
II Hauptwerk C – g 3

10. Principal 16 ′
11. Drone 16 ′
12. Principal 8th'
13. Cane-covered 8th'
14th viola 8th'
15th Octave 4 ′
16. Night horn 4 ′
17th Gemshorn 4 ′
18th Fifth 2 23
19th Super octave 2 ′
20th Mixture major VI-VII 2 ′
21st Mixture minor IV 1'
22nd Cornet V (from c 0 ) 8th'
23. Trumpet 8th'
III Positive C-g 3
24. Principal 8th'
25th Beat 8th'
26th Covered 8th'
27. Salizional 8th'
28. octave 4 ′
29 Reed flute 4 ′
30th violin 4 ′
31. Nasat 2 23
32. Octave 2 ′
33. Quarte de Nazard 2 ′
34. third 1 35
35. Scharff IV 1 13
36. bassoon 16 ′
37. Cromorne 8th'
Glockenspiel (c 0 -c 3 ) 2 '
tremolo
Pedal C – f 1
38. Pedestal 32 ′
39. Principal bass 16 ′
40. Sub-bass 16 ′
41. Octave bass 8th'
42. Gemshorn bass 8th'
43. Chorale bass 4 ′
44. Back set IV 2 23
45. trombone 16 ′
46. Trumpet 8th'
47. Clarine 4 ′
  • Coupling : I / II, III / II, I / P, II / P, III / P

Choir organ

Choir organ, built into the left box

Up until 1931 there was no evidence of an organ in the chancel. Only when a new main organ with an electro-pneumatic action mechanism was built was a smaller organ installed in the presbytery in the left oratory, which can also be found in the III. Manual the main organ could play from. The electrical connection between the two organs was given up when the new main organ was built in 1977–1980. In 1997 a new two-manual choir organ with 20 registers and electric action was built and inaugurated by Johann Pirchner. In memory of the 250th year of death of Prince-Bishop Künigl, under which the construction of the baroque cathedral began, this instrument was named "Choir organ Prince-Bishop Kaspar Ignaz Graf Künigl". The disposition is:

I main work
1. Covered 16 ′
2. Principal 8th'
3. Reed flute 8th'
4th viola 8th'
5. octave 4 ′
6th Hollow flute 4 ′
7th Fifth 2 23
8th. octave 2 ′
9. Mixture VI
II swell
10. Copl 8th'
11. Salizional 8th'
12. Principal 4 ′
13. Reed flute 4 ′
14th Forest flute 2 ′
15th Intoxicating fifth II 2 23
16. oboe 8th'
tremolo
pedal
17th Sub bass 16 ′
18th Octave bass 8th'
19th Choral bass 4 ′
20th bassoon 16 ′
  • Coupling: II / I, I / P, II / P
  • Playing aids: piano pedal, reeds off, fixed combinations (piano, mezzoforte, forte, tutti)

Bells

The ringing of the cathedral consists of eight bells. The large Sextglocke depends for itself in the North Tower (Sextturm) , the other bells are located in the South Tower. The old primary bell is the oldest bell in the cathedral. Except for the latter, all bells are equipped with clapper catchers . In the south tower, next to the big bell, there is also a clock bell, weight and tone unknown.

No.
 
Name
(position)
Casting year
 
Foundry, casting location
 
Diameter
(mm)
Mass
(kg)
Percussive
( HT - 1 / 16 )
tower
 
1 Sext 1838 Johann Grassmayr, Wilten 1,830 3,894.5 a 0 +1 North
2 Maria 1922 Luigi Colbacchini, Trento 1,470 1,873.0 c sharp 1 −4 south
3 Peter and Paul 1,180 935.0 e 1 −4
4th Cassianus 1,080 786.0 f sharp 1 −4
5 Ingenuinus and Albuinus 900 454.0 a 1 −4
6th Hertmannus 710 231.0 c sharp 2 −8
7th Odilia 590 111.0 dis 2 −4
8th Old primary bell 1532 unknown 430 ≈50.0 ?

See also

literature

  • Leo Andergassen : The Cathedral of Brixen. Bozen / Lana: Tappeiner 2009. ISBN 978-88-7073-497-3
  • Josef Gelmi : History of the Dioceses of Bozen - Brixen and Innsbruck. Echo Buchverlag, 1993.
  • Ludwig Tavernier : The cathedral district of Brixen in the Middle Ages. Architectural history studies on shape, function and meaning. (= Schlern writings 294). Innsbruck: Wagner 1996.
  • Ludwig Tavernier: The Brixen Cathedral Monastery. In: Hannes Obermair et al .: Cathedral and collegiate pens in the region Tyrol-South Tyrol-Trentino in the Middle Ages and modern times: Collegialità ecclesiastica nella regione trentino-tirolese dal medioevo all'età moderna. (= Schlern writings 329). Innsbruck: Wagner 2006. ISBN 3-7030-0403-7 , pp. 101-148.
  • Hubert Walder, Karl Wolfsgruber: Cathedral and cloister of Brixen. History and art . Bolzano: Publishing house Athesia 1988.
  • Heinrich Waschgler: The medieval shape of the Brixen cathedral. In: Publications of the Museum Ferdinandeum. Vol. 27/29 (1947/49), pp. 261–307, (PDF file; 24 MB ).
  • Karl Wolfsgruber : The Brixen cathedral district. 4th edition. Edited by Johann Mayr . Self-published by the cathedral administration, Athesiadruck, Bozen 2002.

Web links

Commons : Brixner Dom  - collection of pictures, videos and audio files

Individual evidence

  1. ^ Karl Wolfsgruber: Brixner Dom district , p. 8 ff.
  2. The High Cathedral is your tombstone . In: Dolomites , August 21, 2008, p. 9.
  3. Brixen Cathedral Choir. The main organ . Accessed January 31, 2018.
  4. ^ Alfred and Matthias Reichling (2014). Organ landscape Tyrol . Accessed January 31, 2018.
  5. Brixen Cathedral Choir. Choir organ by Johann Pirchner (1997) . Accessed January 31, 2018.
  6. ^ Jörg Wernisch: Bell customer of Austria . Journal, Lienz [2007], p. 1113.
  7. campanologia.org

Coordinates: 46 ° 42 ′ 57.2 "  N , 11 ° 39 ′ 27.9"  E