Mausoleum of Emperor Ferdinand II

The mausoleum of Emperor Ferdinand II, located next to Graz Cathedral, is a remarkable sacred and representative structure from the 17th century. It was constructed by connecting two distinct buildings.The complex, which was initiated in 1614 and finally finished in 1714 after numerous construction interruptions, comprises St. Catherine’s Church and the adjacent burial chapel for Emperor Ferdinand II and his family.Together, these structures constitute one of Austria’s most significant architectural monuments from the Mannerism era, which marks the transitional period between the Renaissance and the Baroque styles.

The complex, situated in the heart of Graz, was the primary representative building of the imperial court in Graz and played a significant role in promoting Counter-Reformation policies.The castle, neighboring cathedral, and Old University (Jesuit University) together form the ensemble known as the Graz city crown.

Among the three mausoleums from the Counter-Reformation era in Styria, the mausoleum in Graz holds the highest significance. It is the most recent construction and stands out as a building of European importance, holding a prominent position beyond the local region. The other two mausoleums, namely the mausoleum for Archduke Charles II in the Basilica of Seckau and the mausoleum for Ruprecht von Eggenberg in Ehrenhausen, while notable, do not possess the same level of prominence as the Graz mausoleum.

This building is considered to be one of the most significant examples of Mannerist architecture in Austria during the first half of the 17th century.The mausoleum built by the Habsburgs is the largest of its kind.The building, along with the Graz Cathedral, contributes to the cityscape with its domes and towers that are visible from a distance.

History

In 1614, Ferdinand II assigned the task of designing and creating a monumental tomb to his court artist, Giovanni Pietro de Pomis (1569–1633). Giovanni hailed from Lodi, a town near Milan in Lombardy. The tomb was successfully completed in 1636.

Ferdinand II made the decision to construct a dignified burial ground adjacent to the Graz Cathedral, replacing the previous cemetery located there.The chosen site for the construction of a Romanesque cemetery chapel with an ossuary dates back to 1265 and was dedicated to St. Catherine.Pomis assumed the responsibilities of planning and managing the construction process, utilizing their skills as a painter, architect, and builder.

The complex consists of two sacred buildings, each with its own unique floor plan and spatial concept. One of these buildings is a church dedicated to St. Catherine of Alexandria, while the other is an oval central building located to the south, serving as a burial chapel for Emperor Ferdinand II and his family.An enclosing formwork was constructed around the sacristy and the sacristan’s apartment, which is crowned by a slender tower, located to the east around the apse.

The concept of the complex reflects the builder Ferdinand II’s intentions to represent both ecclesiastical and dynastic aspects.

The cross-shaped floor plan of St. Catherine’s Church represents the Christian faith, while the oval shape of the burial chapel symbolizes the resurrection.

The crowning of the domes of St. Catherine’s Church and the burial chapel symbolizes the Habsburg dynasty’s claim to power in the empire. The domes are designed in the shape of a scepter and imperial eagle, with the addition of an imperial sword and orb.

The St. Catherine’s Church is associated with the patron saint, St. Catherine of Alexandria. This connection not only refers to a medieval predecessor building, but also has ties to the University of Graz. The university was founded by Archduke Charles II, who was the father of Ferdinand II, in 1585. It is currently managed by the Jesuit Order, which is also dedicated to St. Catherine of Alexandria as the patroness of science.

The west facade of the church features sandstone figures that depict Saint Catherine, accompanied by two angels and two individuals whom she converted to Christianity. Additionally, there are painted copper panels in the niches that portray scenes from the lives of various saints. These artistic elements not only represent the church’s namesake saint and its connection to the University program, but also highlight the counter-reformation theme through the depictions of Porphyrius and Faustina, both of whom underwent conversions to the Christian faith.

The structure, which was built under the direction of Giovanni Pietro de Pomis, showcases prominent Italian influences in its design.The burial chapel’s oval floor plan and oval dome make it the first of its kind outside of Italy.

After 1619/20, several modifications were made to the complex. These included alterations to the west facade, where segment and triangular gables were inserted. This design motif was inspired by the Jesuit church Il Gesu in Rome. Additionally, the two side wings of the complex saw an increase in floor space, and roofing work was carried out starting from 1622.After the death of Giovanni Pietro de Pomis in 1633, before the completion of the work, Pietro Valnegro assumed the role of construction manager.The tower, designed as a graceful campanile, was completed in 1636 through a collaboration between Antonio Pozzo. The roof was then added in 1637.

The construction of the entire complex was not completed until after the death of Ferdinand II in 1637. This was because, after his election as emperor and subsequent move to Vienna, the construction work had come to a standstill. After the consecration of the crypt altar in 1640, construction work was temporarily suspended. The shell of the building had remained unfinished for a period of forty years until the completion of the construction became mandatory in 1686. In 1687, Emperor Leopold I, the grandson of Ferdinand, commissioned the young baroque architect Johann Bernhard Fischer to complete the interior decoration and stucco work of the mausoleum.The church and its six altars were consecrated in 1714.

Following the conclusion of the Second World War, extensive restoration efforts were undertaken to repair both the interior and exterior of the structure. Additionally, measures were implemented to address any damages sustained by the dome roofing.From 1960 to 2010, the complex was used as the burial site for the bishops of the Graz-Seckau diocese. Eventually, the burial place was relocated to Graz Cathedral.

Architecture

The St. Catherine’s Church building is a three-storey structure with a cruciform floor plan. It features a tambour dome situated over the crossing, adorned with a crowning cross and angelic putti heads. Additionally, there are cartouches located under the cornice.The apse are room parts included in the building complex, e.g. B. the sacristy, presented in a semicircle. The east apex features a circular tower with seven storeys, divided by Ionic pilasters and cornices.The lantern’s design is credited to Pietro Valnegro. It features a domed roof adorned with a gilded sceptre.

The building features a two-story main level with three-quarter Ionic columns in front of pilasters. Above the attic floor, there is a segmental gable with an inscribed triangular gable, located on the central axis.The niches on the side axes contain iconographic representations depicting scenes from the life of St. Catherine.Adorning the gable is a magnificent sandstone figure of the saint, depicted larger than life. This impressive sculpture is accompanied by two angels on either side, each holding martyr’s crowns.The sculptures, which date back to 1635/36, are attributed to Sebastian Erlacher.The rectangular stone portal, featuring a triangular gable, is adorned with sheet metal door panels and wrought iron fittings. This architectural masterpiece dates back to approximately 1714.There is an inscription of the builder located above it.The east tower features a beautifully crafted stone gate with a rounded arch design.

St. Catherine’s Church features a well-structured design with bundled Ionic pilasters. These pilasters symbolize the Holy Mass. Additionally, the entablature of the main cornice showcases the presence of St. Catherine, while angelic putti heads are located beneath the cornice. Furthermore, relief cartouches, which were likely once adorned with coats of arms, can be observed on the pilasters of the attic floor.

The single-nave consists of two bays and barrel vaults.The transverse arms are also vaulted in a barrel shape.The transept features a tambour dome that is supported by a series of clustered Corinthian pilasters.The chancel features an apse that is adorned with a semi-dome.The entablature is prominently extended and angled over the crossing pilasters.Both the nave and transept feature arched windows.

The impressive stucco work in St. Catherine’s Church was completed between 1688 and 1689 by Josef Serenio, Girolamo Rossi, and Antonio Quadrio.The stucco decorations of the vaults, except for those in the transept vaults, are credited to Johann Bernhard Fischer von Erlach, an imperial court artist born in Graz. He also designed the Katharinenaltar, which serves as the high altar of the Katharinenkirche, in 1687.The sculptures of the Catherine altar were carved by Marx Schokotnigg between 1697 and 1699. The angel figures of the Marian altar, created between 1697 and 1701, as well as the personifications of the Christian virtues in the burial chapel for Emperor Ferdinand II, were also crafted by the same artist.

The frescoes in the nave, depicting the apotheosis of the House of Habsburg, were likely painted by Franz Steinpichler, who also created the stucco decorations during the same period.The decoration of the nave primarily highlights the magnificent accomplishments of Emperor Leopold I.The frescoes in the center depict the liberation of Vienna from the Turks in 1683.The nave vault is divided into sections by leaf frames. The crossing vault is adorned with angel putti, who are holding cartouches, crowns, and imperial busts of rulers from the House of Habsburg.

In the western gallery, angel putti hold festoons and a cartouche with a frescoed coat of arms of the noble Dietrichstein family on the parapet . On the west wall, there are angel putti with an inscription cartouche. The cartouche is dated 1689 and refers to the builders, Emperor Ferdinand II and Emperor Leopold I.On the western wall of the shield arch, there are angelic putti spanning a drapery that bears the motto of Emperor Leopold I: “consilio et industria” (which translates to “through advice and diligence [to the goal]”).

The Holy Sepulcher (1768-1769) by Veit Königer is a noteworthy addition to the church furnishings. It stands out as one of the most significant “holy graves” in Austria due to its intricate ensemble of multiple figures.However, it has only been located in the right transept since 1967.The Holy Sepulcher is regarded as one of the prominent works by this late Baroque sculptor. It features a scaffolding adorned with figures of Moses, David, Isaiah, Jonah, Jeremiah, and Daniel on its sides.Within this scaffolding, one can observe the body of Christ.

In 2005, the Grassmayr foundry in Innsbruck cast five bells specifically for St. Catherine’s Church. These bells were carefully tuned to produce tones that harmonize with the ringing of the nearby cathedral.