Vienna Karlskirche

The Vienna Karlskirche is a Roman Catholic church in Wieden, Vienna’s fourth district.The Rectorate Church is dedicated to St. Charles Borromeo and is part of the Archdiocese of Vienna’s Vicariate of Vienna City’s City Dean’s Office 4/5.The church, which was built in the early 18th century, is a listed monument.It is a landmark in Vienna, located on the south side of Karlsplatz in the city, and is one of the most conspicuous baroque church constructions north of the Alps.

Design, build, finance

Johann Bernhard Fischer von Erlach won the architectural competition against Ferdinando Galli-Bibiena and Johann Lukas von Hildebrandt, among others.He planned the cathedral to serve as a connection between Rome and Byzantium.As a result, it is based on the look of Hagia Sophia and imitates Trajan’s Column.The construction location was chosen on November 11, 1715, and the first stonemason orders were handed that year to master artisans Johann Georg Haresleben and Elias Hügel in Kaisersteinbruch and Andreas Steinböck in Eggenburg.The foundation stone was set on a hill on the right bank of the unruly Wien River on February 4, 1716.Because Haresleben died the following year, Hügel took over the stonemasonry and became an employee of Fischer von Erlach.Hügel collaborated alongside co-masters Johann Baptist Kral, Simon Sasslaber, and Johann Sebastian Hillebrand.

Spiral staircases of particularly extensive dimensions are positioned on both sides of the choir of the Karlskirche and as a staircase to the oratorios.They are examples of spiral stairways with stringer columns, a form of stairway that originated in Rome.The first of these staircases was designed by Donato Bramante for the Vatican Belvedere (1507-1514).Following that, several architects attempted to create substantially identical spiral stairs. It was natural to tie up with Roman staircase design, given the influence of Italian-trained architects in Vienna. The Karlskirche’s vast winding staircases offer stunning proof.

The main doorway, all of the steps (Kaiseroratorium), base plates, cornices, and the monumental pedestals of the two columns were all made of hard Kaiserstein.The canteen for the high altar was planned by Elias Hügel, the tabernacle by Philipp Köchl from Lasa marble, and the altar steps by Linzer Johann Georg Röhrig from black Nassau marble.The Wiener Bauhütte was first represented by Johann Carl Trumler, and then by Matthias Winkler following his death, both of whom were court stonemasons and master builders of St. Stephen’s Cathedral.The massive, hollow columns are built of Zogelsdorf stone, which was created by masters Andreas Steinböck and Franz Strickner.The spiral reliefs were created by sculptors Johann Baptist Mader, Johann Baptist Straub, and Jakob Christoph Schletterer, while the crowning eagle was created by Lorenzo Mattielli.The dome’s drum columns were created by Master Georg Deprunner of Loretto, Hungary.Ignaz Gunst created the 16 vases on the dome.

After Fischer’s death in 1723, the building was finished by his son Joseph Emanuel by 1739, who altered the plans somewhat.The church was initially directed directly at the Hofburg, and it was also an imperial patronage parish church until 1918.

Fischer incorporated a wide range of materials as the author of a work on historical architecture.In its design language, the church reflects the founder’s imperial self-image and is based on the relationship Rome-Byzantium-Vienna.The central facade, leading to the porch, is reminiscent of a Roman temple portico.The two columns adjacent to it are based after Trajan’s Column in Rome, and have reliefs representing Charles Barromeo’s life.They also represent the two pillars of Solomon’s temple, Jachin and Boaz, as well as Hercules’ pillars, and so correspond to the reign in Spain that Charles VI. lost in the War of Spanish Succession.The two tower pavilions next to it are influenced by Roman Baroque ( Bernini and Borromini ).Above the church hall is a 25-meter-diameter dome with a lofty tambour that the younger fisherman reduced and partially changed.The ground layout of the dome is not round, but rather elliptical.As a result, when viewed from the front entrance, the dome seems smaller than when viewed from the side.Contemporaries established a link to the dome of Hagia Sophia in Constantinople.

The official building expenses were 304,045 guilders and 2214 kreuzers, and were funded by all hereditary domains, as well as Spain, the Duchy of Milan, and the Netherlands.Furthermore, fines were imposed, which the city of Hamburg had to compensate since the crowd there had wrecked the Austrian Legation chapel.Marcus and Mayr Hirschl traveled to the Caroli Boromaei church and Bibliotec building in Vienna in 1727 to renew their Jewish resident credentials[ Vienna Court Library ] 150,000 fl. [guilders] expected.There is speculation that the Hirschl brothers were meant to pay an additional 100,000 guilders in installments at particular periods.

Iconography

The huge church’s iconographic scheme was created by royal official Carl Gustav Heraeus and unites Saint Charles Borromeo with his imperial benefactor.The sculpture on the gable above the entry recalls to the cause for the foundation: it depicts how the plague-ravaged city was eventually spared by the prayers of St. Charles Borromeo.Religion, Mercy, Penance, and Prayer are allegorical figures on the attic beneath the pediment.The attic is another addition added by the younger fishermen.The columns depict elements from Karl Borromeo’s life in spiral relief, but they are also supposed to be suggestive of and operate as emblems of imperial authority.Two angels stand guard at the entryway.One depicts the rearing of the bronze serpent as an Old Testament sign, while the other depicts the cross of Christ as a New Testament figure.Both were created by court sculptor Franz Caspar.

The portal’s program continues inside, particularly in the dome fresco by Johann Michael Rottmayr of Salzburg and Gaetano Fanti ( Scheinarchitekturen ), which depicts Charles Borromeo’s intercession backed by Maria.The three holy qualities of trust, hope, and love border this landscape.Daniel Gran is credited with the paintings in the side chapels.

The painting on the high altar showing St. Charles Borromeo’s ascension into heaven was planned by the older Fischer and completed by Ferdinand Maximilian Brokoff.The altarpieces in the six side chapels were created by various painters such as Daniel Gran, Sebastiano Ricci, Martino Altomonte, Giovanni Antonio Pellegrini, and Jacob van Schuppen. Allegorical figures by Antonio Corradini, a Venetian sculptor, appear on the lateral volutes of two side altars.

The lighting and architectural structure, particularly the high arcade openings along the main axis, have a tremendous impact.The marble determines the hue, and gold fittings are used sparingly.Through its bright yellow tone, the big circular glass window high above the main altar with the Hebrew YHWH tetragram represents God’s power as well as God’s love.

Along with the structures at Schönbrunn that have only been survived in parts, the Karlskirche is regarded as Fischer’s primary accomplishment.

History

Charles VI, Holy Roman Emperor, committed to erect a church for his eponymous patron saint, Charles Borromeo, who was venerated as a plague healer, in 1713, one year after the last big plague epidemic. Johann Bernhard Fischer von Erlach won an architectural competition against Ferdinando Galli-Bibiena and Johann Lukas von Hildebrandt, among others. Anton Erhard Martinelli oversaw the construction, which began in 1716. Following his father’s death in 1723, J.B. Fischer’s son, Joseph Emanuel Fischer von Erlach, finished the building in 1737 using somewhat changed blueprints. The church had a direct line of sight to the Hofburg and served as the imperial patron parish church until 1918.

As a designer of historic building, the older Fischer von Erlach brought together the most disparate components. The central façade, which leads to the porch, is modeled after a Greek temple portico. The nearby two columns, designed by Lorenzo Mattielli, were inspired by Trajan’s Column in Rome. Two tower pavilions branch out from those and reflect the influence of the Roman baroque (Bernini and Borromini). A dome rises over the entrance, above a high drum, which the younger J.E. Fischer reduced and partly changed.

The Spitaler Gottesacker was located next to the Church. Antonio Vivaldi died in Vienna and was buried there on July 28, 1741, but his tomb has since been lost. In his honor, the cathedral organizes monthly Vivaldi performances.

On 10 August 1933, Hedwig Kiesler (age 19), later Hedy Lamarr, married Friedrich Mandl (age 32), a merchant and Austrofascist, in the little chapel of this beautiful cathedral. With almost 200 distinguished guests in attendance, Kiesler donned “a black-and-white print dress” and carried “a bouquet of white orchids.”

Since Karlsplatz was rebuilt as an ensemble in the late 1980s, the church has gained notoriety for its dome and two flanking bas-relief columns, as well as its function as an architectural counterbalance to the Musikverein and the Vienna University of Technology. The church is maintained by a religious order, the Knights of the Cross with the Red Star, and has long served as the parish church as well as the home of the Vienna University of Technology’s Catholic student ministry.

Vienna, Austria