Hocheppan Castle
Castle chapel and frescoes
The chapel is the oldest building at Hocheppan Castle and was originally dedicated to St. Mary Magdalene. Around 1210, Count Ulrich III had the chapel decorated with frescoes showing influences of Byzantine art, likely inspired by his travels to the Holy Land. Particularly striking is the depiction of the wise and foolish virgins, a popular medieval motif illustrating the relationship between virtue and sin. The frescoes are among the oldest and best-preserved of their kind in the region, making the chapel a unique art-historical treasure.
The Chalk Tower
The Chalk Tower lies below the castle at a height of 538 meters and served as an alarm tower to warn of attackers. The name is derived from "kreyen," which means "to scream," and indicates the tower's function. It is around 34 meters high and surrounded by a protective wall. Access was via an entrance about three meters high, which made the tower difficult to access. It was built around 1230, about 100 years after the castle was founded, and underscores the importance of Hocheppan Castle as a strategic outpost. In the event of approaching danger, people would communicate using highly visible fire signals at night, and during the day, damp wood would be lit to send out smoke signals.
Location and access to the castle
The path to Hocheppan Castle leads through the Mediterranean landscape of Eppan, where typical plants such as cypresses and holm oaks thrive. In wet weather, fire salamanders can occasionally be observed in the morning, a testament to the natural beauty of this area. Historically, however, the path to the castle was considerably steeper and more challenging than it is today. The footpath offers views of the Etsch Valley, which was once an important customs post. This location made Hocheppan a valuable strategic point and source of financial income for the Counts of Eppan.
Architectural style and special features
Hocheppan Castle combines the scenic beauty with the romance of a medieval castle complex. The impressive keep, with its pentagonal shape, dates back to the 12th century. The highlight of the castle's art history is the Hocheppan Castle Chapel, with its valuable Romanesque fresco cycle. It is also called the "Sistine Chapel of the Alps."
Castle Inn Hocheppan
The castle tavern is open daily from 10:00 a.m. to 6:00 p.m. (closed on Wednesdays). The menu focuses on dumplings typical of South Tyrol, in keeping with the frescoes in the Romanesque castle chapel depicting the so-called "Knödelesserin" (Dumpling Eater). In addition to this delicious Tyrolean dish, there are classics such as Brettlmarende (a traditional Tyrolean snack), goulash, polenta, and homemade cakes. Various theme weeks treat visitors to seasonal culinary delicacies. A selection of exquisite Eppan wines and refreshing drinks for thirsty hikers are also available.
Archery course
The castle's own 3D archery course, with a total of 28 life-size animals, guarantees excitement and a medieval experience. Also suitable for beginners and children from 6 years!The entire archery course takes about 3 hours.Prices: Archery course € 10.00 | Archery course including bow and arrow rental € 20.00
History of Hocheppan Castle and the Counts of Eppan
Hocheppan Castle was built in the 12th century on a porphyry spur and quickly became considered one of the most powerful fortifications in South Tyrol. It served to protect and control the Überetsch and Etsch Valleys, which formed an important trade route. The castle belonged to the Counts of Eppan, one of the most influential noble families in the Alpine region, who enjoyed far-reaching political influence through family ties. The Eppan family controlled large areas from South Tyrol to Istria and from Lake Constance to the Adige River. A particularly outstanding representative was Count Ulrich III of Eppan, who was known as a courageous crusader. Around 1210, he had the castle chapel decorated with precious frescoes, not only to enhance the castle but also to underscore his Christian faith and cultural influence. Ulrich's participation in the Crusades led to Byzantine influences finding their way into the art of the castle chapel. However, the Eppan family repeatedly came into conflict with other noble families, particularly the Tyrolean counts and the Bishopric of Trent. Their influence began to wane when they attacked a papal embassy in 1158—a serious political mistake that contributed to the weakening of their power. The Eppan family eventually died out, and Hocheppan passed through marriage and inheritance to other noble families, including the Lords of Taufers and the Tyrolean princes. Later, the castle was given to the Eppan family Fuchs von Fuchsberg, who held it until the 19th century. Today, the impressive complex, with its strategic location, defensive structures, and ornate chapel, recalls the former importance of the Counts of Eppan and their formative role in the medieval history of South Tyrol.
The keep
The keep is part of the oldest part of the castle and was built around 1162/64. It was erected on the highest point of the castle hill to protect the inner castle. The tower was not originally pentagonal, but had the shape of an irregular square. It was constructed from large, beautifully hewn stones and corner bossed ashlars. The entrance to the tower was reached via a long ladder. Around 1200, the young Count Ulrich III set about expanding and embellishing the castle. The first step was to raise the keep and provide it with a battlement. However, the northwestern section probably collapsed under the weight. Subsequently, the outer wall was significantly reinforced, hence its pentagonal shape. On the eastern and southwestern sides, you can still see the cracks where the walls were not precisely fitted together. You can also see the difference in the masonry: the old one is much more carefully and beautifully executed, while the new one was purely about security.
The draw well
For a castle, it was of utmost importance to have an adequate water supply, for example during a prolonged siege. For this purpose, a well was built on Hocheppan to collect rainwater. A 9 m deep and 3 m wide square shaft was dug into the porphyry rock—a mammoth feat at the time. A round shaft with small holes was placed in the center, and sand was placed between the shaft and the porphyry as a natural filter for the incoming rainwater. The draw well held approximately 6,500 liters of water, which was drawn up with buckets (hence the name "draw well").
The hunting scene
An unusual scene shows a nobleman on horseback pursuing a stag with hounds. The meaning of this hunting scene remains unclear to this day, which makes it particularly fascinating. Some see it as a symbol of the human soul haunted by temptations, while others think of the "Ride into Hell" of the Ostrogothic king Theodoric. However, this scene could also allude to medieval nobility, as stag hunting was considered the noblest form of hunting. In the early 14th century, the hounds were transformed into a dragon, the stag was whitewashed, and the rider was given a spear and shield. Thus, the hunting nobleman was transformed into St. George. The second layer was painted "secco" over the first image, i.e., onto the dry wall instead of the damp one. This is why it is less well preserved today than the hunting scene.
The Crucifixion of Christ on the north facade
Christ hangs on the cross between Mary and John. Behind them stand two soldiers, each with a vinegar sponge and a spear. In the upper part, next to the head of the crucified Christ, the sun and moon are visible, symbolizing the participation of the cosmos in Jesus's death.
Christopher on the north facade
At the same time as the hunting scene was being painted over, the St. Christopher painting next to the door was created. St. Christopher is very frequently depicted this way; we find such images not only in churches and chapels, but also in secular buildings such as houses. St. Christopher remains one of the most popular saints to this day. This is despite the fact that St. Christopher is actually a saint abolished by the Church. Due to insufficient historical evidence, he was removed from the liturgical calendar. But what makes this saint so popular? In the Middle Ages, it was believed that whoever cast a glance at St. Christopher would not suddenly die that day. In the Middle Ages, it was especially important not to die a sudden death. It was believed that at the moment of death, the devil would fight for the soul one last time on the deathbed. Those who were not well prepared—in the event of a sudden death—might have a soul stained with sin and had less chance of standing before the Final Judgment.
The Parable of the Wise and Foolish Virgins
The frescoes of the virgins on the east wall tell the parable of the wise and foolish virgins: The wise virgins hold their lamps ready and are blessed by Christ, while the foolish virgins stand outside, contemplating the closed gate. This was a popular theme in the Middle Ages and symbolized the importance of true faith and vigilance for entry into paradise. The finely crafted figures demonstrate the painters' high level of skill and the vivid symbolism of the time.
The Lamb of God and John the Baptist
In the left apse is a depiction of the Lamb of God accompanied by John the Baptist. John is depicted wearing a typical fur coat, and the lamb symbolizes Christ as the sacrificial lamb for humanity. This depiction recalls John's central role as the forerunner of Christ and the Baptist, who announced the arrival of Jesus with his sermon. The fresco lends the chapel a sacred atmosphere and emphasizes the significance of the biblical narratives for the faithful.
Baptism of Jesus and Wedding at Canaan
Two frescoes on the south wall depict the baptism of Jesus by John the Baptist and the wedding at Cana, where Jesus transforms water into wine. The baptism symbolizes the importance of purification and redemption through faith, while the wedding scene emphasizes the divine power of Jesus in everyday events. The wedding at Cana, in particular, illustrates how the wonder and joy of life intertwine in medieval art and religion.
Annunciation to Mary
The fresco of the Annunciation depicts the Archangel Gabriel blessing Mary and announcing the birth of Jesus. Mary is depicted holding a spindle, a typical representation of her domestic duties. This intimate yet solemn scene is an outstanding example of Romanesque art and demonstrates the strong influence of Byzantine stylistic features, which lend the figures expression and intensity.
Birth of Christ and the “Dumpling Eater”
In the depiction of the birth of Jesus, Mary is depicted reclining, while a maid in the foreground prepares food over the fire—the so-called "dumpling eater." This unusual framing is often explained as a misinterpretation by the painter, who may have made a false connection to the gifts of the Magi. This scene is unique and simultaneously conveys the down-to-earth nature and everyday relevance of medieval depictions.
The Massacre of the Innocents
On the north wall, a dramatic scene of the Massacre of the Innocents is depicted. King Herod gives the gruesome order, and the fresco depicts the horrors of this act. This scene is a symbolic image of the innocent sacrificed for the sake of power and, at the same time, one of the most powerful depictions of the Passion of Christ. The scene has been preserved as an intense example of medieval emotion and symbolism.
Christ and the Apostles
Christ sits enthroned above the three apses, surrounded by groups of three apostles. Christ is depicted as a half-length figure and stands out from the apostles due to his height and blessing gesture. This depiction symbolizes the superiority and omnipotence of Christ as teacher and savior of the world. The apostles, some with books or scrolls, are lavishly placed on decorated thrones, emphasizing their importance as Jesus' most important disciples.
Enthroned Madonna with Child
Above the altar sits the Virgin Mary with the Christ Child, flanked by two archangels holding spires as symbols of Christ's world sovereignty. This depiction of Mary as ruler and mother of Christ is typical of Byzantine-influenced Romanesque art. It illustrates Mary's role as mediator between the faithful and God and demonstrates the high esteem she was held in during the Middle Ages.
Epiphany cycle
At the beginning of the north wall, an extensive cycle of the Three Kings (Herod's Magi, the Dream of the Magi, the Journey Home of the Magi) can be seen. Notable is the depiction of King Herod, seated and cross-legged. When the Three Kings ask him about the new King of the Jews, he replies that he knows nothing of a new king. With his hand, however, he makes it clear that he is the king. With his other hand, he appears to be sending the saints away to seek this new king. After the dream of the Three Kings, in which they are warned not to return to Herod, one of the Three Kings flees the city (frontal depiction of horse and rider).
Art history tours
Hocheppan Castle and its chapel can be visited on guided tours every 30 minutes from 11:00 a.m. to 4:30 p.m. on the following days: -5 April 2025 – July: Thursday to Sunday -August: Thursday to Monday -September – 9 November 2025: Thursday to Tuesday At the following times: -On the hour: Castle tour -Every half hour: Art-historical chapel tour Special tours for larger groups or outside of these hours are available upon request. Tours are available in German, Italian, and English. For further information about the guided tours, please contact the Eppan Tourist Office at info@eppan.com or by phone at +39 0471 662206.
The Barbican
In front of the castle is a three-quarter-round barbican, which was once divided into two levels by a wooden floor. This was an outwork to cover the access route. What can still be seen today are two rows of seven loopholes each with conical openings. They are diagonally offset and were used for firing firearms. The loopholes could be closed with wooden panels from the sides of the wall. But why is the barbican open on one side? The opening towards the castle served as a quick escape route. The mercenaries were protected by the fortifications in the second Zwinger.
Legend of the “Golden Skittles”
Some shepherd boys grazed their goats near Hocheppan all summer. One day, after being up there for so long, they finally dared to enter the castle. Seized by curiosity, they immediately began rummaging through the entire courtyard, searching every nook and cranny. They noticed an old, rusty iron door. With combined strength, they tugged and pulled on it until it finally gave way with a loud creak, revealing a long, dark passage behind it. Curious about what might be hidden at the end of this tunnel, the boys could no longer contain themselves and crawled inside. After opening a second door with combined strength, they found themselves at the end of the passage in an old, spacious vault. There, they saw a golden skittle set lined up against the wall and immediately burst into joyful cheers. The boys grabbed the skittles and balls and planned to go back the same way. At that moment, however, the castle walls began to creak and rumble, and the ground beneath them began to creak and groan. Seized by fear, the boys threw the skittles behind them and dashed into the corridor, hoping to quickly reach the exit. But they couldn't find it, as the bell had already rung at St. Paul's for dinner. Desperately, they wandered around, but had to wait until the bell rang in the morning for the iron doors to open again. Happily, they then rushed outside. The skittles, however, disappeared again and were never seen again.
