Alter Dom – Ignatiuskirche

Alter Dom, or the Old Cathedral, which was once the bishop’s seat of the Diocese of Linz, is now a Jesuit church dedicated to St. Ignatius of Loyola, the founder of the Society of Jesus.

The History of the Alter Dom

The Alter Dom was built between 1669 and 1678 by the Jesuit order, which had a strong presence in Linz since 1614. The Jesuits were influential in the Counter-Reformation, the Catholic Church’s response to the Protestant Reformation, and they established schools, colleges, and missions throughout Europe and beyond. The Jesuit church in Linz was intended to serve as a center of education and evangelization, as well as a place of worship.

The architect of the church is unknown, but the blueprints are attributed to Pietro Francesco Carlone, a famous Italian architect who worked in Austria and Germany. He was assisted by his nephew, Carlo Antonio Carlone, who also designed the nearby Landhaus, the seat of the provincial government. The church was modeled after the Jesuit church in Vienna, which was itself inspired by the Gesù, the mother church of the Jesuits in Rome.

The foundation stone of the church was laid in 1669 by David Fuhrman, the provincial superior of the Jesuits in Austria. The construction took nine years, and the church was consecrated in 1678 by Bishop Leopold Wilhelm von Kollonitsch, the archbishop of Vienna. The church was dedicated to St. Ignatius of Loyola, who had died in 1556 and was canonized in 1622.

The church remained under the care of the Jesuits until 1773, when the order was suppressed by Pope Clement XIV under the pressure of several European monarchs who feared the Jesuits’ political influence. The church was then left vacant, until a major change occurred in 1784. Emperor Joseph II, who was an enlightened absolutist and a reformer of the Catholic Church, decided to create a new diocese in Linz, separating it from the diocese of Passau, which had jurisdiction over Upper Austria for centuries. The new diocese of Linz was officially established in 1785 by Pope Pius VI, who appointed Ernest Johann Nepomuk Graf Herberstein, the former auxiliary bishop of Passau, as the first bishop of Linz.

Bishop Herberstein chose the old Jesuit church as his cathedral, rather than the parish church of St. Martin, which had been planned for that purpose. He also brought the relics of St. Florian, the patron saint of Upper Austria, from the monastery of St. Florian to the cathedral. The cathedral was then renamed as the Ignatiuskirche, or the Church of St. Ignatius, and it served as the bishop’s church of the diocese of Linz for more than a century.

However, by the end of the 19th century, Linz had grown so much that the cathedral was no longer spacious enough for the increasing number of faithful. Bishop Franz Joseph Rudigier, who was a visionary and a builder, decided to construct a new, larger cathedral, which is now known as the New Cathedral, or the Cathedral of the Immaculate Conception. The new cathedral was completed in 1909, and it became the new seat of the bishop of Linz. The old cathedral was then returned to the Jesuits, who had been restored in 1814 by Pope Pius VII. Since then, the old cathedral has been known as the Alter Dom, or the Old Cathedral, and it has been a Jesuit church again.

The Architecture of the Alter Dom

The Alter Dom is a magnificent example of Baroque architecture, which was the dominant style in Europe in the 17th and 18th centuries. Baroque architecture is characterized by grandeur, dynamism, and ornateness, and it often incorporates elements of classical, Renaissance, and Gothic styles. The Alter Dom is a single-nave church, which means that it has only one main aisle, but it is very spacious and bright. The church is 68 meters long, 24 meters wide, and 22 meters high, and it can accommodate up to 1,500 people.

The facade of the church is divided into three sections by four pilasters, which are rectangular columns that project from the wall. The lower section has three portals, which are decorated with the coats of arms of the noble families of Starhemberg, Weissenwolf, and Kuefstein, who were the main donors of the church. The middle section has three windows, which are framed by volutes, or spiral ornaments. The upper section has a triangular pediment, which is a triangular element that crowns the facade. The pediment is adorned with statues of St. Ignatius, St. Francis Xavier, and St. Aloysius Gonzaga, who were prominent Jesuit saints.

The interior of the church is also divided into three sections by two rows of pilasters, which support the vaulted ceiling. The ceiling is decorated with frescoes, which are paintings on wet plaster, by Johann Carl von Reslfeld, a renowned Austrian painter. The frescoes depict scenes from the life of St. Ignatius, such as his conversion, his founding of the Jesuit order, his miracles, and his death. The frescoes also include allegorical figures of virtues, such as faith, hope, charity, justice, and wisdom.

The church has six side chapels, which are recessed spaces along the nave that contain altars and paintings. The chapels are dedicated to various saints and devotions, such as St. Joseph, St. Anne, St. Michael, St. Anthony of Padua, the Holy Cross, and the Sacred Heart of Jesus. The paintings in the chapels are mostly by Johann Martin Schmidt, also known as Kremser Schmidt, a famous Austrian painter of the late Baroque period. The paintings depict scenes from the lives and legends of the saints, such as the death of St. Joseph, the presentation of Mary in the temple, the apparition of St. Michael, and the miracle of St. Anthony.

The main attraction of the church, however, is the high altar, which is the main altar at the end of the nave. The high altar was designed by Giovanni Battista Colombo and Giovanni Battista Barberini, two Italian sculptors who worked in Austria. The high altar is a masterpiece of Baroque art, as it combines architecture, sculpture, and painting in a harmonious and dramatic composition. The high altar consists of four columns, which support a curved pediment, which is topped by a cross. The columns and the pediment are made of black marble, which contrasts with the white marble of the statues and the reliefs. The statues represent St. Peter and St. Paul, the two apostles who founded the Church of Rome, and St. Francis Borgia and St. Stanislaus Kostka, two Jesuit saints who were related to royalty. The reliefs depict scenes from the Old Testament, such as the sacrifice of Isaac, the burning bush, and the crossing of the Red Sea.

The centerpiece of the high altar is the altarpiece, which is a large painting above the altar. The altarpiece shows the assumption of Mary, or her bodily ascent into heaven. The painting is by Bartolomeo Altomonte, a distinguished Austrian painter of the 18th century. The painting is remarkable for its use of perspective, light, and color, as it creates a sense of depth and movement. The painting shows Mary surrounded by angels and saints, as she is welcomed by Jesus and God the Father. The painting also includes portraits of Bishop Herberstein and Emperor Joseph II, who are kneeling in prayer.

The high altar originally had a different altarpiece, which depicted St. Ignatius in glory. The painting was by Andrea Pozzo, a celebrated Italian painter and architect, who was also a Jesuit. The painting was a copy of the one that Pozzo had made for the Gesù in Rome, which was considered one of the masterpieces of Baroque art. However, when the church became the cathedral, the painting was replaced by the one of Mary, as it was more fitting for a bishop’s church. The painting of St. Ignatius was then moved to the Jesuit church in Innsbruck, where it is still preserved.

The Art of the Alter Dom

The Alter Dom is not only a splendid example of Baroque architecture, but also a treasure trove of Baroque art. The church contains many works of art that enhance its beauty and express its spirituality. Some of the most notable works of art are:

The choir stalls are made of wood and are intricately carved with floral and geometric motifs. The choir stalls are from the former Benedictine abbey of Garsten, which was dissolved by Emperor Joseph II in 1786. Bishop Rudigier acquired the choir stalls for the cathedral, as he found the previous ones too simple for his taste. The choir stalls were transported by boat to Mauthausen and then by horse to Linz. The choir stalls are considered one of the finest examples of Baroque woodwork in Austria.
The organ is located above the main entrance of the church, and it is one of the largest and oldest organs in Austria. The organ was built in 1717 by Johann Ignaz Egedacher, a famous organ builder from Salzburg. The organ has four manuals, or keyboards, and 50 stops, or sound combinations. The organ has a rich and powerful sound, and it is often used for concerts and recitals. The organ case, which is the wooden structure that encloses the pipes, is also a work of art, as it is decorated with gilded carvings and statues of angels and saints. The organ case was designed by Johann Michael Prunner, a renowned sculptor from Linz.
The pulpit is located on the left side of the nave, and it is a remarkable example of Baroque sculpture. The pulpit was created by Johann Michael Prunner, the same sculptor who designed the organ case. The pulpit is made of wood and is covered with gilded carvings and statues. The pulpit has a hexagonal shape, and each side has a relief depicting a scene from the life of Christ, such as the nativity, the baptism, the transfiguration, the crucifixion, the resurrection, and the ascension. The pulpit also has four corner figures, which represent the four evangelists: Matthew, Mark, Luke, and John. The pulpit is crowned by a magnificent sound cover, which is a canopy that amplifies the voice of the preacher. The sound cover has four angelic putti, or cherubs, who hold the symbols of the evangelists. The sound cover also has a central figure of Jesus, who holds a globe as a sign of his universal kingship. The sound cover is topped by a statue of John the Baptist, who points to Jesus as the Lamb of God. The pulpit is a masterpiece of Baroque art, as it combines architecture, sculpture, and painting in a harmonious and dramatic composition.
The baptismal font is located on the right side of the nave, near the entrance. The baptismal font is made of bronze and is decorated with reliefs and inscriptions. The baptismal font was donated by Bishop Herberstein in 1786, as a sign of his gratitude for the establishment of the diocese of Linz. The baptismal font has a circular shape, and it is supported by four legs, which have the symbols of the four rivers of paradise: the Pishon, the Gihon, the Tigris, and the Euphrates. The baptismal font also has a cover, which has a statue of John the Baptist baptizing Jesus in the Jordan river. The baptismal font is a symbol of the sacrament of baptism, which is the initiation into the Christian faith and the Church.
The stained glass windows are located on the upper part of the nave, and they depict scenes from the life of Mary, the mother of Jesus. The stained glass windows were made in 1898 by the Tiroler Glasmalerei, a famous glass painting company from Tyrol. The stained glass windows are remarkable for their vivid colors, their realistic details, and their expressive faces. The stained glass windows show events such as the annunciation, the visitation, the nativity, the presentation, the flight into Egypt, the finding in the temple, the wedding at Cana, the crucifixion, the resurrection, and the assumption. The stained glass windows are a symbol of the devotion to Mary, who is the patroness of the diocese of Linz and the queen of heaven.
The paintings are mostly by Johann Carl von Reslfeld, the same painter who made the frescoes on the ceiling. The paintings are located on the lower part of the nave, and they depict scenes from the history of the Jesuit order and the diocese of Linz. The paintings show events such as the arrival of the Jesuits in Linz, the foundation of the Jesuit college, the suppression of the Jesuit order, the creation of the diocese of Linz, and the transfer of the relics of St. Florian. The paintings are remarkable for their historical accuracy, their artistic quality, and their narrative style. The paintings are a symbol of the heritage and the identity of the church and the city.
The statues are mostly by Johann Michael Prunner, the same sculptor who made the pulpit and the organ case. The statues are located on the pillars, the walls, and the ceiling of the church, and they represent various saints and angels. The statues are made of wood and are painted and gilded. The statues are remarkable for their lifelike expressions, their graceful poses, and their elegant drapery. The statues are a symbol of the veneration and the intercession of the saints and the angels.
The relics are located in the crypt, which is the underground chamber below the high altar. The crypt is accessible by a staircase on the left side of the choir area. The crypt contains the tombs of the bishops of Linz, as well as the relics of St. Florian, St. Severin, and St. Maximilian. The relics are preserved in silver and gold reliquaries, which are containers that display the relics. The relics are a symbol of the holiness and the martyrdom of the saints, and they are objects of reverence and prayer.

Linz, Austria