Holy Trinity Church Salzburg

The Holy Trinity Church, also known as Dreifaltigkeitskirche in German, is a Roman Catholic church located in Salzburg, Austria. The design was created by Johann Bernhard Fischer von Erlach.

The church, which was constructed between 1694 and 1702, features a central design. The founder of the church and the seminary was Prince Archbishop Johann Ernst von Thun, who held the authority over them. The contract for the construction of the church was executed in 1694, and the consecration of the partially unfinished church occurred in 1699. The church, along with St. John’s Church (also known as the hospital church), was constructed simultaneously. This marked the first architectural project in Salzburg that was designed by Johann Bernhard Fischer von Erlach. He used various religious buildings in Rome as models, particularly Francesco Borromini’s Church Sant’Agnese in Agone located in Piazza Navona. The church exudes a palatial impression despite its discreet use of decorative elements. The dome murals were created by Fischer von Erlach and Bernhard Michael Mandl. Additionally, the following sculptors and stonemasons made contributions: Wolf Weißkirchner, Mathias Wilhelm Weißkirchner, Sebastian Stumpfegger, Andreas Götzinger, and Lorenz Dräxl.

Originally, the Holy Trinity Church was not built on Hannibal Square (now known as Makart Square), but rather on a narrow side street located between the outer mountain road (now known as Rainerstraße) and the Linzergasse. In 1907, the pawnshop that was located directly across from the church was demolished. As a result, the church forecourt, which was elevated, now faces Dreifaltigkeitsgasse. This forms the upper end of the Makart Square.

The original steeples were shorter than the steeples we see today. They were later raised to improve the visibility of the church behind the pawnshop. The belfries were constructed in 1757, and the main cupola towers were later added following the Neustadt fire in 1818. Expanding the towers enhanced the overall image of the church. The church serves as the focal point of a vast complex, featuring two grand wings of the seminary that create a harmonious facade. The central church stands as a commanding structure, with its dome resembling a powerful central drum.

The outer church portal is supported by twin columns on the parapet in front of the dome. These columns bear four figures, with three of them representing the theological virtues of Faith, Hope, and Love. The fourth figure symbolizes Divine Wisdom. Bernhard Michael Mandl has designed all four characters. The double coat of arms of Prince Archbishop Johann Ernst von Thun is situated between the figures, and it is connected to the coat of arms of the Salzburger country.

The interior of the church is designed as a longitudinal oval room, featuring four short barrel vaults with crossed arms. These vaults are then topped by a large drum dome. The interior of the building has a monumental effect, primarily due to its simplicity and the towering height of the dominant drum dome. The design of the building is reminiscent of the inner shape of the Karlskirche in Vienna. The Karlskirche was the second sacred masterpiece created by Fischer von Erlach.

The church houses a magnificent dome fresco called “Coronation of the Virgin,” which was skillfully created by Johann Michael Rottmayr from 1697 to 1700.Rottmayr’s first sacral dome fresco depicts the Coronation of the Virgin by the Holy Trinity, with the assistance of the Archangel Michael. The artwork also includes various saints, angels, prophets, the ten holy popes, and the Church patriarch. The fresco effectively combines the themes of Christian salvation and church history in an impressive manner. The figures are arranged in cloud banks that are concentrically grouped. A Holy Spirit dove is present at the top lantern. The large dome fresco enhances the overall impression of the Baroque ecclesia triumphans, which represents the triumphant Church according to the Baroque understanding of church architecture.

The stucco work in the main room, done by Andrea Sallari and Johann Baptist Redi, is limited to the capitals. In the cross arms, there are stucco boxes. The high altar, which was designed by Fischer von Erlach, was created in 1700. The revision took place in 1841, but it was restored to its original state in 1947. The altar features a sculptural group depicting the Trinity, accompanied by two angels in adoration. The reliquary of St. Ernestus was designed by Otto Prossinger in 1959. The two side altars house stunning life-size angels, created by Fischer von Erlach and Michael Bernhard Mandl between 1700 and 1702. The miraculous image of Marie on the right side altar dates back to the sixteenth century. Sebastian Stumpfegger executed the Baroque frame.