286 Best Sights in Austria

Bärnbach offers the amazing vision of the Church of St. Barbara; it was completely redone in 1988 by the late Austrian painter and architect Friedensreich Hundertwasser. The exterior is a fantasy of symbols in brilliant colors and shapes, including 12 towers representing all of the world's religions. A tour is available and must be booked in advance at the rectory; it costs €3 and lasts an hour.

Built around 1350, the historic Katharinenkirche houses a Gothic winged altar dating from 1515. This World War II memorial church has brass plaques commemorating those who resisted the Nazis, as well as an eye-catching stained glass window erected in memory of the United States' 42nd Infantry Division, known as the "Rainbow Division." Kitzbühel is also blessed with several other beautiful churches, including St. Andrew's (1435–1506) with its lavish Rococo chapel, and Christuskirche (1962) with its striking white bell tower.

According to local legend, St. Briccius, after obtaining a vial of the blood of Jesus, was buried by an avalanche, but when his body was recovered the tiny vial was miraculously found hidden within one of the saint's open wounds. The town gets its name, Heiligenblut (Holy Blood), from this story. Today the relic is housed in the Sakramenthäuschen, the chapel of this small but beautiful Gothic church. Completed in 1490 after more than a century of construction under the toughest conditions, the church is marked by its soaring belfry tower. Sublimely, the sharply pointed spire finds an impressive echo in the conical peak of the Grossglockner. St. Vincent's contains a beautifully carved late-Gothic double altar nearly 36 feet high, and the Coronation of Mary is depicted in the altar wings, richly carved by Wolfgang Hasslinger in 1520. The region's most important altarpiece, it imparts a feeling of quiet power in this spare, high church. The church also has a noble crypt and graveyard, the latter sheltering graves of those lost in climbing the surrounding mountains.

See pianos that belonged to Brahms, Schumann, and Mahler, along with collections of a variety of ancient and antique instruments in this Neue Burg museum. Also here is Anton Karas's zither, on which he played the theme to The Third Man.

Archduchess Magdelena, sister of Ferdinand II, founded the Damenstift Abbey, home of the silent order of Carmelite nuns, in 1567. While the abbey was abolished in 1783, the order survived, and today the remaining (mostly elderly) nuns can be found praying in the Collegiate Church (Herz-Jesu-Basilika) at the top of Eugenstrasse. A tiny plaque on the dramatic church facade—an example of the transition from the Renaissance to the Baroque style—confirms its links to the historic Damenstift. Sit quietly at the back of the church and witness the silent and extensive devotions of the nuns amidst the glorious interior of wood, marble, and gold.

If you want to start your Danube sightseeing cruise in Vienna, DDSG is the company to go with. Boats depart from the company's piers at Handelskai 265 (by the Reichsbrücke bridge) for a choice of short Danube tours (from €28), as well as thematic and brunch cruises. Wannabe captains can also steer the ship for 15 minutes, while the real captain observes. Want to go further into the Wachau? DDSG also offer trips from Krems to Melk (€33 one way, €39 return).

Gurk's claim to fame is its massive Romanesque Dom topped by two onion cupolas and considered the most famous religious landmark in Carinthia. It was founded in the 11th century by Hemma, Countess of Zeltschach, who after losing her two sons and husband decided to turn to religious works. She tied two oxen to a cart and let them walk until they stopped on their own. At that spot, she founded a cloister and gave all her belongings to the church to build a cathedral. Construction on the cathedral began in 1140 and ended in 1200, though Hemma wasn't canonized until 1938. Her tomb is in the crypt, whose ceiling, and hence the cathedral itself, is supported by 100 marble pillars. The Hemma-Stein, a small, green-slate chair from which she personally supervised construction, is also here, and alleged to bring fertility to barren women. In the church itself, the high altar is one of the most important examples of the early Baroque in Austria. Note the Pietà by George Rafael Donner, who is sometimes called the Austrian Michelangelo. Be sure to visit the bishop's chapel, which features rare late-Romanesque and Gothic frescoes. The treasury includes more than 300 objects of Carinthian religious art in the Gothic and Baroque rooms. Tours may be restricted by church services, but run daily at 11 and 2:30. Advanced reservations are required.

The Dominican Monastery of St. Nikolaus von Myra is named after St. Nikolaus, the man who eventually became pop culture's Saint Nick and Santa Claus. The monastery is near the town's moat, and was rebuilt in 1673, though the church nearby dates from 1217. Take a moment to notice the stone statue of the Virgin Mary inside the monastery, and the massive crucifix.

The Postgasse, to the east of Schönlaterngasse, introduces this unexpected visitor from Rome, built in the 1630s, some 50 years before the Viennese Baroque building boom. Its facade is modeled after the Roman churches of the 16th century. The interior illustrates why the Baroque style came to be considered the height of bad taste during the 19th century (and it still has many detractors today). "Sculpt 'til you drop" seems to have been the motto here, and the viewer's eye is given no respite. This sort of Roman architectural orgy never really gained a foothold in Vienna, and when the great Viennese architects did pull out all the decorative stops at the Belvedere Palace, they did it in a very different style and with far greater success.

South of Neuer Platz (take Karfreitstrasse) is the Domkirche, completed as a Protestant church in 1581, given over to the Jesuits and reconsecrated in 1604, and finally declared a cathedral in 1787. The 18th-century side-altar painting of St. Ignatius by Paul Troger, the great Viennese Rococo painter and teacher, is a fine example of the qualities of transparency and light he introduced to painting.

On the cathedral's south exterior wall is a badly damaged 15th-century fresco called the Gottesplagenbild, which graphically depicts contemporary local torments: the plague, locusts, and the Turks. Step inside to see the outstanding high altar made of colored marble, the choir stalls, and Konrad Laib's Crucifixion from 1457 (considered one of the top late-Gothic panel paintings of German-speaking Europe). The 15th-century reliquaries on either side of the triumphal arch leading to the choir were originally the bridal chests of Paola Gonzaga, daughter of Ludovico II of Mantua. The Baroque Mausoleum of Emperor Ferdinand II, who died in 1637, adjoins the cathedral. Its sumptuous interior is partly a design by native son Fischer von Erlach, and his only work to be seen in Graz. Call ahead to make an appointment to visit the Friedrichskapelle and Konrad Laib.

Innsbruck's cathedral was built between 1717 and 1724 on the site of a 12th-century Romanesque church. Regarded as possibly the most important Baroque building in Tyrol, its main attraction is the painting of the Madonna by Lucas Cranach the Elder, dating from about 1530 and displayed above the high altar. The tomb of Archduke Maximilian III, Master of the Teutonic Knights, dating from 1620, can be seen in the north aisle.

The Makartplatz—named after Hans Makart, the most famous Austrian painter of the mid-19th century—is dominated at the top (east) end by Fischer von Erlach's first architectural work in Salzburg, built between 1694 and 1702. It was modeled on a church by Borromini in Rome and prefigures von Erlach's Karlskirche in Vienna. Dominated by a lofty, oval-shape dome—which showcases a painting by Johann Michael Rottmayr—this church was the result of the archbishop's concern that Salzburg's Neustadt was developing in an overly haphazard manner. The church interior is small but perfectly proportioned, surmounted by its dome, whose trompe-l'oeil fresco seems to open up the church to the sky above.

One of the symbols of Linz is the 65-foot Baroque column in the center of the Hauptplatz. Made in 1723 from white Salzburg marble, the memorial offers thanks from an earthly trinity—the provincial estates, city council, and local citizenry—for deliverance from the threats of war (1704), fire (1712), and plague (1713). On Saturdays, from March through October, there's a popular flea market centered around the column, while on Tuesdays and Fridays there is a farmers' market.

Close to the Naschmarkt, this shrine for film-noir aficionados offers an extensive private collection of memorabilia dedicated to the classic film The Third Man, directed by Carol Reed and shot entirely on location in Vienna. Authentic exhibits include cinema programs, autographed cards, movie and sound recordings, and first editions of Graham Greene's novel, which was the basis of the screenplay. Also here is the original zither used by Anton Karas to record the film's music, which started a zither boom in the '50s. In the reading corner, you can browse through historic newspaper articles about the film. The entrance is on Mühlgasse.

The "World of the Ice Giants" houses the largest known complex of ice caves, domes, galleries, and halls in Europe. It extends for some 42 km (26 miles) and contains a fantastic collection of frozen waterfalls and natural formations. Drive to the rest house, about halfway up the hill, and be prepared for some seriously scenic vistas. Then walk 15 minutes to the cable car, which takes you to a point about 15 minutes on foot from the cave, where you can take a 1¼-hour guided tour. The entire adventure takes about half a day. And remember, no matter how warm it is outside, it's below freezing inside, so bundle up, and wear appropriate shoes. You must be in reasonable shape, as there are 700 steps, but there's a restaurant with a terrace and a view where you can recover after the tour. You can also take a bus to the cable car from the Werfen train station. Buses run at 8:18 am, 10:18 am, 12:18 pm, and 2:18 pm. There are also transfers about every 25 minutes from the bus departure point at Gries, which is about a five-minute walk from the rail station.

The tiny Ephesos Museum contains a small but exceptional collection of Roman antiquities unearthed by Austrian archaeologists in Turkey at the turn of the 20th century.

Situated in the heart of Nonntal, one of Salzburg's oldest residential areas, this wonderfully colorful Italian Baroque church was built on the sight of a former hospital chapel in 1689. Fans of The Sound of Music may recognize the entrance staircase from the carriage-ride rendition of "Do-Re-Mi".

This museum is a must-see for those who like a bit of cunning cloak and dagger—an utterly unique collection that includes a myriad of magnificent forgeries in both arts and letters, and offers captivating backstories on how the faked pieces came to be. On display are fakes of Chagall and Rembrandt, as well as the infamous "Hitler Diaries" that were front-page news in the 1980s.

Located just 2½ km (1½ miles) west of Rust's town center (and accessible in minutes by direct bus), this family-friendly amusement park entertains everyone from toddlers to teens with a mix of roller coasters, free-falls, splash rides, carousels, and land trains. There's a good choice of dining options, too, from fast-food snacks to healthy meals. Save €5 on a day ticket by ordering in advance online.

This state museum with a striking Florentine Renaissance Revival–style facade houses Austria's largest collection of Gothic art and 19th- and 20th-century paintings, including works by Rembrandt, Brueghel, and Klimt. There are also musical instruments and medieval armor, along with special exhibitions. Here you'll find the original coats of arms from the Goldenes Dachl balcony. Chamber music concerts are offered throughout the year.

The architectural jewel of Himmelpfortgasse, this imposing abode—designed by Fischer von Erlach in 1697 and later expanded by Hildebrandt—was originally the town palace of Prince Eugene of Savoy. The Baroque details here are among the most inventive and beautifully executed in the city. The delightful motifs are softly carved, as if freshly squeezed from a pastry tube. Such Baroque elegance may seem inappropriate for a finance ministry, but the contrast between place and purpose could hardly be more Viennese.

The restored Gothic Fischerkirche is off the west end of the Rathausplatz, in the shadow of the larger but younger Evangelical Church. Built between the 12th and 16th centuries, it is surrounded by a defensive wall and is noted for its original 15th-century frescoes and its beautiful organ from 1705. The church sometimes hosts classical concerts. Tours are available but must be arranged in advance.

The graceful, tall spire of the Franciscan Church stands out from all other towers in Salzburg; the church itself encompasses the greatest diversity of architectural styles. There was a church on this spot as early as the 8th century, but it was destroyed by fire. The Romanesque nave of its replacement is still visible, as are other Romanesque features, such as a stone lion set into the steps leading to the pulpit. In the 15th century the choir was built in Gothic style, then crowned in the 18th century by an ornate red-marble-and-gilt altar designed by Austria's most famous Baroque architect, Johann Bernhard Fischer von Erlach. Mass—frequently featuring one of Mozart's compositions—is celebrated here on Sunday at 9 am.

This square, whose name means "freeing"—so called, according to lore, because for many centuries monks at the adjacent Schottenkirche had the privilege of offering sanctuary for three days to anyone on the lam. In the center of the square stands the allegorical Austria Fountain (1845), notable because its Bavarian designer, Ludwig Schwanthaler, had the statues cast in Munich and then supposedly filled them with cigars to be smuggled into Vienna for black-market sale. Around the sides of the square are some of Vienna's greatest patrician residences, including the Ferstel, Harrach, and Kinsky palaces.

The Schottenhof, the shaded courtyard at Freyung 6, typifies the change that came over Viennese architecture during the Biedermeier era (1815–1848). The Viennese, according to the traditional view, were so relieved to be rid of the upheavals of the Napoleonic Wars that they accepted without protest the iron-handed repression of Prince Metternich, chancellor of Austria. Restraint also ruled in architecture; Baroque license was rejected in favor of a new and historically "correct" style that was far more controlled and reserved. Kornhäusel led the way in establishing this trend in Vienna; his Schottenhof facade is all sober organization and frank repetition. But in its marriage of strong and delicate forces it still pulls off the great Viennese-waltz trick of successfully merging seemingly antithetical characteristics.

This final resting place for many members of the Mozart family, in the shadows of St. Sebastian's Church, offers a peaceful respite from the store-lined Linzergasse. Prince-Archbishop Wolf-Dietrich commissioned the cemetery in 1600 to replace the old cathedral graveyard, which he planned to demolish. It was built in the style of an Italian campo santo (sacred field), with arcades on four sides, and in the center of the square he had the Gabriel Chapel, an unusual, brightly tiled Mannerist mausoleum, built for himself; he was interred here in 1617. Several famous people are buried in this cemetery, including the medical doctor and philosopher Theophrastus Paracelsus, who settled in Salzburg in the early 16th century (his grave is by the church door). Around the chapel is the grave of Mozart's widow, Constanze, alongside her second husband, Georg Nikolaus Nissen, and possibly her aunt Genoveva Weber (by the central path leading to the mausoleum). According to the latest research, Mozart's father, Leopold, came to rest in the unmarked community grave here, too. If the gate is closed, enter through the back entrance around the corner in the courtyard.

Across the street from the Café Central, the beautifully renovated Palais Mollard has a rare collection of more than 240 terrestrial and celestial globes on display in its second-floor museum—the only one of its kind in the world open to the public. The oldest is a globe of the Earth dating from 1536, produced by Gemma Frisius, a Belgian doctor and cosmographer. On the ground floor is a small but fascinating Esperanto museum, which explores the history of Esperanto and other planned languages. Both museums are run by the Austrian National Library.

This famous carillon bell tower is perched on top of the Neue Residenz (New Residence), Prince-Archbishop Wolf-Dietrich's government palace. The carillon is a later addition, brought from today's Belgium in 1695 and finally put in working order in 1704. The 35 bells play classical tunes (usually by Mozart or Haydn) with charm and ingenuity at 7 am, 11 am, and 6 pm (well, usually a few minutes after the hour, once the city's other church bells have finished ringing). On Sunday at 11:45 am, musicians perform in the "Trumpeter Tower" at Hohensalzburg Fortress, and their Baroque fanfares can be heard across the Old City. Details about the music selections are listed on a notice board across the square on the corner of the Residenz building.

Every day at 11 am and 3 and 6 pm two mullioned windows open in the mechanical clock high above the square, revealing a life-size wooden couple: a man adorned in lederhosen, a tankard of beer in his upraised fist, accompanied by a dirndl-clad Austrian maiden. An old folk tune plays and they dance on the window ledges before returning to their hidden perch. The musical box was erected in 1905 by the owner of the house. Look into the courtyard at No. 5, which has an impressive 17th-century open staircase. The house at No. 7 has an arcaded Renaissance courtyard. Have a typical Austrian meal right next door at Glöckl Bräu, where they brew their own beer. Every time a new barrel is opened, the bells above ring.

At the crest of the hill, topping off the Schönbrunn Gardens, sits a Baroque masterstroke: Johann Ferdinand von Hohenberg's Gloriette, now restored to its original splendor. Perfectly scaled, the Gloriette—a palatial pavilion that once offered royal guests a place to rest and relax on their tours of the palace grounds and that now houses a welcome café—holds the vast garden composition together and at the same time crowns the ensemble with a brilliant architectural tiara. This was a favorite spot of Maria Theresa's, though in later years she grew so obese—not surprising, given that she bore 16 children in 20 years—it took six men to carry her in her palanquin to the summit.

From the rooftop viewing platform you can enjoy an impressive panoramic view of Vienna and the Vienna Woods.