Alpine Tourism & Contemporary Regional Identity

The post-war European integration project binding contemporary member regions across borders.

1 chapter

1918 - 1955

The collapse of the Habsburg monarchy in 1918 severed South Tyrol from the rest of Tyrol — the 1919 Treaty of Saint-Germain ceded it to Italy, creating an identity wound that still shapes North Tyrolean self-understanding. Vorarlberg's response was revealing: on 11 May 1919, 80% of Vorarlberg voters chose to join Switzerland in a referendum, blocked by the Allied powers and the Austrian government — a stark demonstration that Vorarlberg's Alemannic identity was oriented westward, not toward Innsbruck. Do not treat Vorarlberg as simply a western extension of Tyrol; the 1919 vote shows it was not. The interwar period saw the consolidation of Catholic-conservative political dominance, the Anschluss in 1938, and the devastation of the Hohenems Jewish community during the Holocaust. From the rubble of 1945, the Bregenzer Festspiele (founded 1946) emerged as a cultural institution that would help redefine Vorarlberg's postwar identity.

1815 - 1918

The post-Napoleonic restoration formalized Tyrol and Vorarlberg as Habsburg crown lands, while industrialization began reshaping the economic landscape. The Arlberg Railway Tunnel (completed 1884) finally connected Tyrol and Vorarlberg by rail, transforming the Arlberg from a barrier into a corridor. Vorarlberg's textile industry expanded dramatically in the 18th–19th centuries, creating an industrial working class and economic profile distinct from Tyrol's mining and agriculture. The enforced Catholic confessional homogeneity was maintained: the 1837 expulsion of 427 Zillertal Inklinanten (crypto-Protestants) was the final chapter of a 300-year suppression campaign, and the first Protestant parish in Innsbruck was not permitted until 1876 — in 1861 the Tyrolean Landtag voted overwhelmingly against religious freedom, claiming 'there are no adherents of other faiths in Tyrol anyway.' The University of Innsbruck, re-established under Habsburg patronage, trained the administrative elite. The current Catholic festival landscape appears 'naturally' homogeneous; it was achieved through coercion and maintained by denying that alternatives existed.

1780 - 1815

The Napoleonic Wars shattered the Habsburg Alpine order. The Herz-Jesu-Fest (Sacred Heart of Jesus) was instituted in 1796 by the Tyrolean Estates as a Catholic anti-secular vow — not a 'freedom celebration' but a specifically counter-revolutionary, anti-Protestant confessional statement, renewed at moments of political crisis. The 1809 Tyrolean Volksaufstand under Andreas Hofer was triggered by Bavarian secularizing reforms (conscription, church property seizure, administrative restructuring) that offended Catholic and communal traditions; Hofer's own motto was 'Für Gott, den Kaiser und das Vaterland' — with God and Emperor explicitly prioritized over Fatherland. The four battles at Bergisel (Innsbruck) are the military anchor of this era, but the cult that later formed around Hofer truncated his motto to privilege 'Fatherland' and reframed a counter-revolutionary Catholic uprising as proto-nationalist liberation. The Herz-Jesu-Fest bonfires lit on mountainsides — still visible today, especially in the Tannheimer Tal — conflate the Catholic-vow dimension with the nationalist-freedom dimension; a traveler should keep them analytically separate.

1648 - 1780

The post-Westphalian Baroque Catholic revival reshaped the built environment and ritual calendar of both Tyrol and Vorarlberg. The Auer Zunft (Guild of Au, founded 1651) — Vorarlberg's Baroque builder families — exported their distinctive church architecture across the region and beyond, embedding a Catholic-Baroque aesthetic into the landscape that still dominates village skylines today. Stams Abbey, rebuilt as a Baroque Cistercian showpiece, and the Martinsturm in Bregenz (rebuilt with a Baroque onion dome in 1601) mark the transformation of medieval structures into Baroque statements. The Hohenems synagogue (built 1771–72 by Bregenzerwald Baroque builder Peter Bein) demonstrates that the Baroque aesthetic crossed confessional lines, even as the Catholic festival calendar was being consolidated as the dominant temporal framework. This era's material legacy — onion domes, stucco facades, pilgrimage churches — is the most visible architectural layer in the region today, and it physically encodes the Counter-Reformation's success in making Catholicism the territory's unchallenged public religion.