18th-century Habsburg domed cathedral with a 32.5-meter platform for views of the ornate frescoes.

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St. Charles's Church

Karlskirche, or St. Charles's Church, stands as a testament to Vienna's resilience following the devastating plague of 1713. Emperor Charles VI vowed to build a church dedicated to his patron saint, Charles Borromeo, a figure revered for his work during the Milan plague. What distinguishes Karlskirche are its colossal twin columns, inspired by Trajan's Column in Rome, yet adorned with spiraling reliefs depicting scenes from the life of Saint Charles Borromeo. These columns, initially conceived as freestanding structures, were later integrated into the church's façade for structural stability.

The church's elliptical dome, a marvel of Baroque engineering, is not merely decorative; it houses frescoes by Johann Michael Rottmayr, offering a breathtaking illusion of heaven. Visitors can ascend inside the dome via a panoramic elevator, affording close-up views of Rottmayr's masterpiece and panoramic vistas of Vienna. A lesser-known fact is the church's crypt, which houses the remains of numerous notable figures, including the architect Johann Bernhard Fischer von Erlach himself, adding another layer of historical significance to this Viennese landmark.

Introduction

St. Charles's Church, or Karlskirche, in Vienna, stands as a profound example of an imperial votive church, a testament to Emperor Charles VI's vow during the Great Northern War Plague outbreak in 1713. The Emperor pledged to construct a church dedicated to his patron saint, Charles Borromeo, considered a plague saint, to end the epidemic. This imperial promise led to an architectural design competition after the plague subsided in 1714.

As a votive church, St. Charles's bears the inscription "Vota mea reddam in conspectu timentium deum" (I fulfilled the vows before the eyes of the God-fearing), prominently displayed under the front triangular gable, signifying the fulfillment of Charles VI's vow. A votive plaque above the portal further commemorates Charles VI's gratitude for surviving the plague.

The church's design, chosen by Charles VI, incorporates two towering columns inspired by ancient Roman monuments, initially intended to depict the deeds of his ancestors, Charlemagne and Saint Charles, symbolizing steadfastness and fortitude. These columns eventually featured scenes from the life of San Carlo Borromeo. Built between 1715 and 1737, the Karlskirche served as the Patron Parish Church of the Emperor from 1783 to 1918, solidifying its role as an imperial monument. Its location outside the old city ramparts, in the burgeoning Wieden suburb, further emphasized its significance as a symbol of imperial power and piety during Vienna's expansion.

Imperial Votive Church

Vienna's Karlskirche, or St. Charles's Church, exemplifies Baroque architecture through its blend of diverse elements and imperial symbolism. Emperor Charles VI commissioned Johann Bernhard Fischer von Erlach to design the church as a votive offering, resulting in a structure completed in 1737 that embodies the Kaiserstil, Vienna's imperial Baroque style. The façade integrates a Greek temple portico, while the flanking columns, crafted by Lorenzo Mattielli, draw inspiration from Trajan's Column in Rome, symbolizing imperial power akin to the Pillars of Hercules. Tower pavilions exhibit the influence of Roman Baroque architects Bernini and Borromini.

The dome, though altered by Fischer's son, Joseph Emanuel, remains a significant feature, complemented by Johann Michael Rottmayr's dome fresco depicting the intercession of St. Charles Borromeo. The church's design connects St. Charles Borromeo with Emperor Charles VI, evident in the pediment relief and the columns' spiral reliefs illustrating the saint's life. Light and architectural groupings enhance the interior, particularly the arch openings along the main axis. The high altar, conceptualized by the elder Fischer, portrays the ascension of the saint, while side chapel paintings by artists like Daniel Gran and Martino Altomonte contribute to the church's artistic richness. The Karlskirche stands as a testament to Baroque ingenuity, blending historical references and artistic grandeur.

Baroque Architecture

The iconographical program of St. Charles's Church, conceived by imperial official Carl Gustav Heraeus, intricately links Saint Charles Borromeo with his imperial benefactor. The pediment relief above the entrance, adorned with cardinal virtues and the patron saint's figure, signifies the donation's motivation, extending onto the attic story, an element introduced by the younger Fischer. Columns depict Borromeo's life in spiral relief, echoing the Temple of Jerusalem's pillars and the Pillars of Hercules, symbolizing imperial power. Angels from the Old and New Testaments flank the entrance, further enriching the narrative.

Inside, Johann Michael Rottmayr and Gaetano Fanti's dome fresco portrays Borromeo's intercession, supported by the Virgin Mary and surrounded by cardinal virtues. Daniel Gran is credited with frescoes in several side chapels. The high altarpiece, envisioned by the elder Fischer and executed by Ferdinand Maxmilian Brokoff, depicts the saint's ascension. Side chapel altar paintings are the work of various artists, including Daniel Gran, Sebastiano Ricci, Martino Altomonte, and Jakob van Schuppen. A wooden statue of St. Anthony by Josef Josephu is also featured.

The church's design strategically uses light and architectural groupings, particularly the main axis's arch openings. Marble dominates the color scheme, with sparing yet deliberate use of gold leaf. Above the main altar, a large round glass window displays the Hebrew Tetragrammaton/Yahweh, symbolizing God's omnipotence and love. Below, a representation of the Apotheosis of Saint Charles Borromeo completes the iconographic scheme. The relief on the gable above the entrance illustrates the plague-ravaged city's salvation through Borromeo's intercession. Allegorical figures of Religion, Mercy, Penitence, and Zeal for prayer embellish the attic.

Iconographical Program

The dome frescoes of St. Charles's Church, created by Johann Michael Rottmayr and Gaetano Fanti, depict an intercession of St. Charles Borromeo, supported by the Virgin Mary, set against a backdrop of the cardinal virtues. These world-famous frescoes, located approximately 70 meters above the church floor, were the subject of significant renovation efforts. Visitors can ascend via a temporary glass lift erected alongside scaffolding to gain a close-up view, an experience described as not for the faint of heart, taking visitors the equivalent of about seven stories high.

The central image portrays God answering St. Charles's prayer to end the plague, while another image features the church surrounded by symbols of Holy Mass. At the very top of the church, above the dome, is a painting of a dove radiating light, surrounded by clouds and cherubs, representing heaven. The dome fresco is an integral part of the church's iconographic program, which connects St. Charles Borromeo with Emperor Charles VI. The warm yellow tone of the light symbolizes God's love.

Dome Frescoes

Johann Bernhard Fischer von Erlach's Karlskirche in Vienna stands as his greatest architectural achievement and a testament to the Kaiserstil, the imperial Viennese Baroque style. In 1713, Emperor Charles VI pledged its construction following a plague epidemic, dedicating it to his namesake, St. Charles Borromeo. Fischer von Erlach won the design competition and began construction in 1716, blending diverse elements into a cohesive whole. The church's facade incorporates a Greek temple portico, while the columns, crafted by Lorenzo Mattielli, draw inspiration from Trajan’s Column in Rome. Tower pavilions reflect the influence of Roman Baroque, showcasing Fischer's synthesis of historical styles.

Fischer von Erlach's design reflects his concept of the architect as an interpreter of cosmic harmony. The iconographical program connects St. Charles Borromeo with Emperor Charles VI, evident in the pediment relief and the columns depicting scenes from the saint's life, also symbolizing imperial power. Fischer von Erlach died in 1723, leaving his son, Josef Emanuel Fischer von Erlach, to complete the project in 1737. The younger Fischer altered the original plans, including shortening the dome. Despite this modification, the Karlskirche embodies Fischer von Erlach's architectural philosophy, combining grandeur and grace. He also engaged significant artists of the Austrian Baroque, including Martino Altomonte, Daniel Gran, and Johann Michael Rottmayr.

St. Charles's Church

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