| Karlskirche | |
|---|---|
 | |
| Religion | |
| Affiliation | Roman Catholic |
| Rite | Roman Rite |
| Leadership | P. DDr. Marek Pucalik O.Cr. |
| Year consecrated | 1737 |
| Status | Active |
| Location | |
| Location | Vienna, Austria |
  Shown within Vienna Show map of Vienna Karlskirche (Austria) Show map of Austria | |
| Geographic coordinates | 48°11′53.81″N16°22′18.84″E / 48.1982806°N 16.3719000°E /48.1982806; 16.3719000 |
| Architecture | |
| Architect(s) | Johann Bernhard Fischer von Erlach,Joseph Emanuel Fischer von Erlach |
| Type | Church |
| Style | Baroque,Rococo |
| Founder | Charles VI, Holy Roman Emperor |
| Groundbreaking | 1716 |
| Completed | 1737 |
| Specifications | |
| Direction of façade | NNW |
| Length | 55 m (180.4 ft) |
| Width | 40 m (131.2 ft) |
| Dome(s) | 1 |
| Dome height (outer) | 70 m (229.7 ft) |
| Website | |
| www | |
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TheKarlskirche (English: Charles Church) is aBaroque church in theKarlsplatz inVienna, Austria.[1] The church is dedicated toSaint Charles Borromeo, a leading figure of theCounter-Reformation.[2] The chruch is located on the border ofWieden and theInnere Stadt, the city centre.
In 1713, one year after the last majorplagueepidemic in Vienna,Charles VI, Holy Roman Emperor, pledged to build a church dedicated to his namesakepatron saint, Charles Borromeo, who was revered as a healer for plague sufferers. Anarchitectural competition was announced, in whichJohann Bernhard Fischer von Erlach won over competitors includingFerdinando Galli-Bibiena andJohann Lukas von Hildebrandt. Construction began in 1716 under the supervision ofAnton Erhard Martinelli. After J.B. Fischer's death in 1723, his son,Joseph Emanuel Fischer von Erlach, completed the construction in 1737 with modifications to the original plans. The church originally possessed a direct line of sight to theHofburg and was also, until 1918, the imperial patron parish church.
As a master of historic architecture, the elder Fischer von Erlach united the most diverse of elements. The façade in the centre, which leads to the porch, corresponds to aGreek templeportico. The two flankingcolumns, crafted byLorenzo Mattielli, were inspired byTrajan's Column inRome. Next to those, two tower pavilions extend out and show the influence of the Roman baroque (Bernini andBorromini). Above the entrance, adome rises up above a high drum, which the youngerJ.E. Fischer shortened and partly altered.
Adjacent to the church was theSpitaler Gottesacker cemetery. ComposerAntonio Vivaldi was buried there on July 28, 1741, but his grave has been lost over time. The church hosts regular Vivaldi concerts in his honour.[3]
Hedy Lamarr, then aged 19, marriedFriedrich Mandl, aged 32, a businessman and Austrofascist, in the chapel of the church on 10 August 1933. With over 200 prominent guests attending, Lamarr wore "a black-and-white print dress" and carried "a bouquet of white orchids."[4]
Since the restoration of Karlsplatz as an architectural ensemble in the late 1980s, the church has garnered fame because of its dome and its two flanking columns ofbas-reliefs, as well as its role as an architectural counterweight to the buildings of theMusikverein and of theVienna University of Technology. The church is cared for bythe Knights of the Cross with the Red Star, and has long been theparish church and seat of the Catholic student ministry of the Vienna University of Technology.
Theiconographical program of the church originated from the imperial official Carl Gustav Heraeus and connects Saint Charles Borromeo with his imperial benefactor. Therelief on thepediment above the entrance with thecardinal 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 aspiral relief and are intended to recall the two columns, Boaz and Jachim, that stood in front of the Temple at Jerusalem. They also recall thePillars of Hercules and act as symbols of imperial power. The entrance is flanked by angels from theOld andNew Testaments.
This program continues in the interior as well, above all in the domefresco byJohann Michael Rottmayr of Salzburg andGaetano Fanti, which displays an intercession of Charles Borromeo, supported by theVirgin Mary. Surrounding this scene are the cardinal virtues. The frescos in a number of side chapels are attributed toDaniel Gran.
The highaltarpiece portraying the ascension of the saint was conceptualized by the elder Fischer and executed byFerdinand Maxmilian Brokoff. The altar paintings in the side chapels are by various artists, including Daniel Gran,Sebastiano Ricci,Martino Altomonte and Jakob van Schuppen. A wooden statue of St. Anthony by Josef Josephu is also on display.
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 bymarble with sparring and conscious use of gold leaf. The large round glass window high above the main altar with the HebrewTetragrammaton/Yahweh symbolizes God'somnipotence and simultaneously, through its warm yellow tone, God's love. Below is a representation of Apotheosis of Saint Charles Borromeo.
Next to the structures atSchönbrunn Palace, which maintain this form but are more fragmented, the church is Fischer's greatest work. It is also an expression of the Austrianjoie de vivre stemming from the victorious end of theTurkish Wars.
Thepulpit of the church was probably designed by Fischer von Erlach the Younger, and its execution may have been carried out by the French furniture maker Claude Le Fort du Plessy in 1735, although no surviving documents confirm their authorship or the construction of the church furniture.[5] It is a wooden structure with rich floral, vegetal, rosette and rocaille ornaments, the finer carvings made of hard walnut, in a gold and brown colour scheme. Theabat-voix forms a theatrical canopy, featuring twoputti holding across and achalice with a host, with a flamingurn at the top. Around 1860, the abat-voix was enlarged. A wide rim was added, distorting the original proportions, obscuring the elegant swirling lines, and creating a top-heavy effect. Between 2006 and 2007, this rim was removed after extensive debate, and the pulpit was restored. The missing canopy carvings were reconstructed, restoring the structure's original appearance.[6]
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