Karlskirche
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The Karlskirche (German for St. Charles's Church) is a church situated on the south side of Karlsplatz, Vienna, which is located on the edge of the 1st district 200 metres outside the Ringstraße. It is one of the most outstanding baroque church structures north of the Alps and has the spectacular feature of a dome in the form of an elongated ellipsoid.
Ever since Karlsplatz was restored as an ensemble in the late 1980s, the Karlskirche has functioned not only through its dome and its two flanking columns of bas-reliefs but also as an architectural counterweight to the buildings of the Musikverein and of the Vienna University of Technology.
The church is cared for by a religious order and also has long been the parish church as well as the seat of the Catholic student ministry of the Vienna University of Technology.
[edit] Design and construction
In 1713, one year after the last great plague epidemic, Charles VI, Holy Roman Emperor, pledged to build a church for his namesake patron saint, Charles Borromeo, who was revered as a healer for plague sufferers. An architectural competition was announced in which Johann Bernhard Fischer von Erlach was able to prevail over, among others, Ferdinando Galli-Bibiena and Johann Lukas von Hildebrandt. Construction was begun in 1716. After J.B. Fischer's death in 1723, construction was completed by his son, Joseph Emanuel Fischer von Erlach, in 1737 with partly altered plans. The church originally possessed a direct line of sight to the Hofburg and was also, until 1918, the imperial patron parish church.
As a creator of historical architecture, J.B. Fischer united the most diverse of elements. The façade in the center which leads to the porch corresponds to a Greek temple portico. The neighboring two columns crafted by Lorenzo Mattielli found a model in Trajan's Column in Rome. Next to those, two tower pavilions extend out and show the influence of the Roman baroque (Bernini and Borromini). Above the entrance, a dome rises up above a high drum, which the younger J.E. Fischer shortened and partly altered.
[edit] Iconography
The iconographical program of the church originated from the imperial official Carl Gustav Heraeus and connects St. Charles Borromeo with his imperial benefactor. The relief on the pediment above the entrance with the cardinal virtues and the figure of the patron on its apex point to the motivation of the donation. This sculpture group continues onto the attic story as well. The attic is also one of the elements which the younger Fischer introduced. The columns display scenes from the life of Charles Borromeo in a spiral relief, however they also recall the Pillars of Hercules and act as symbols of imperial power. The entrance is flanked by angles from the Old and New Testaments.
This program continues in the interior as well, above all in the dome fresco by Johann Michael Rottmayr of Salzburg and Gaetano Fanti (pseudoarchitecture) which displays an intercession of Charles Borromeo, supported by the Virgin Mary. Surrounding this scene are the cardinal virtues. The frescos in a number of side chapels are attributed to Daniel Gran.
The high altar painting portraying the ascension of the saint was conceptualized by the older Fischer and executed by Ferdinand Maximilian Brokoff. The altar paintings in the side chapels are by various artists, including Daniel Gran, Sebastiano Ricci, Martino Altomonte, and Jakob van Schuppen.
As strong effect emanates from the directing of light and architectural grouping, in particular the arch openings of the main axis. The color scheme is characterized by marble with sparring and conscious use of gold leaf. The large round glass window high above the main altar with the Hebrew Jehova Tetragram symbolizes God's omnipotence and simultaneously, through its warm yellow tone, God's love.
Next to the structures at Schönbrunn Palace which maintain this form but are more fragmented, the Karlskirche is Fischer's greatest work. It is also an expression of the Austrian joie de vivre stemming from the victorious end of the Turkish Wars.
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