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Stemming from the Iberian barroco - a term for a rough or imperfect pearl - the roots of the Baroque can be found in early 17th Century Italy. The style manifested itself in literature, music, painting and sculpture, and arguably most impressively in architecture - where it played a key part in the reinforcement of the Counter-Reformation. Moreover, the most theatrical of baroque architects did not rely solely upon the structural elements of sinuous lines and flourishes to create a sense of drama and grandeur; but employed classical architectural references and art, in all its forms, to cement and heighten it. Indeed, as time progressed, this synthesis of stone and stucco, painting and sculpture became increasingly pronounced, the style reaching its apogee by the middle of the 18th Century.
A typical example of High Baroque architecture: note the abundance of statuary, the Roman influenced arches, Corinthian columns and heavily decorated curved pediments
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Historical background of the Jesuitenkirche
An engraving of the old Jesuit College, Vienna
The church is also known as the Universitätskirche (University Church), as its building coincided with the merger of the Jesuits’ college with the philosophy and theology faculty of the University of Vienna. This is particularly interesting, as it is a concrete example of Emperor Ferdinand II’s well known commitment to the Counter-Reformation – the Jesuits being in many ways the vanguard of the movement. Indeed, he broke ground for the church, which was then dedicated to Saints Ignatius Loyola and Francis Xavier, the founders of the order.
Ferdinand II: devout Roman Catholic, ardent supporter of the Counter-Reformation, and arguably the key instigator of the Thirty Years' War
Saints Ignatius Loyola and Francis Xavier: founders of the Society of Jesus, and the persons to whom the Jesuitenkirche was originally dedicated
Moreover, the Jesuits directly contributed to the design and decoration of the church, most notably in the renovations ordered by Leopold I in 1703. The Emperor commissioned the architect, sculptor and painter, Brother Andrea Pozzo to carry out the work.
Leopold I: van Ieperen depicts the Emperor at the height of his power in 1667, surrounded by classical imagery and dressed in all the finery associated with a model Baroque monarch
A look at contemporary depictions of Leopold, display his quintessentially Baroque outlook - something he shared with monarchs across Europe, in particular with his great rival, Louis XIV of France – and hint at his architectural ambitions and decorative tastes, so magnificently displayed in the Jesuitenkirche.
Louis XIV of France, The Sun King: Baroque icon, first cousin and arch-enemy of Emperor Leopold
Maximilian II Emanuel: Elector of Bavaria and Leopold's son-in-law
Interestingly, Andrea Pozzo originated from Trent - arguably one of the key locations with regard to the Counter-Reformation. Born in 1642, he entered the Jesuit order in 1665, embarking upon a career as a religious artist and decorator. He was summoned to Rome in 1681 by the Superior General of the Jesuits, and over the next decade he created his great masterpiece, the frescoes of the Jesuit Church in Rome (Sant’Ignazio).
Andrea Pozzo: Jesuit brother, architect, sculptor and painter. The Jesuitenkirche stands today as a monument to his artistic vision
The ceiling of Sant'Ignazio, Rome: a magnificent example of Pozzo's mastery of the Quadratura, and arguably his finest work
By the turn of the century, Pozzo was considered a master of the Quadratura, that is to say illusionistic ceiling painting; and Trompe-l’œil. Impressed by his work in Rome, Anton Florian, Prince of Lichtenstein and Leopold I’s ambassador to the Papacy, recommended the artist to the Emperor, who promptly invited him to Vienna, where between 1703 and 1705, he remodeled the Jesuitenkirche.
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Architectural survey of the Jesuitenkirche
Exterior
From outside, the church follows what might be described as a classic Austrian Baroque configuration. Namely, a narrow principle front with the main entrance flanked by two towers and these in turn topped by elaborate copper spires.
The Ursulinenkirche, Linz and the Abbey Church, Melk: two prime examples of the Austrian Baroque configuration
A composite of classical orders: (left to right) Doric - the simplest - at the base, Ionic at the window level and florid Corinthian for the towers and pediment
However, whilst there is a certain richness to the façade of the Jesuitenkirche – owing to Pozzo’s additions of the towers themselves; as well as the scrolled pediment, presence of the Doric, Ionic and Corinthian orders and an abundance of statuary in niches – it is remarkably restrained as a unified composition (especially in comparison to the above Ursulinenkirche and the Melk Abbey Church). Indeed, Pozzo deliberately sought to maintain some of the crispness of the early Baroque that so defined the original church, with inscriptions on the cornicing relating to Ferdinand II and the Jesuit saints arguably a nod to the origins of the building.
Early Baroque embellishment: elements of the simple yet imposing scrolled pediment (top) are reflected in miniature by the niches and contrasted by the classically inspired biblical statues that fill them (bottom)
Inscribed cornicing: commemorating Loyola and Xavier (top) and Emperor Ferdinand II (bottom)
Interior
On the other hand the interior of the Jesuitenkirche is a prime example of High Baroque taste. As touched upon above, Pozzo made extensive use of Trompe-l’œil and Quadratura, key examples being the false coffered dome and the heavenly visions on the barrel vaults. Moreover, the grandeur of the space is amplified by the rich use of marbles and heavy gilding. The high altar is perhaps the single most unified expression of this theatricality, drawing together diverse decorative elements: classical orders, putti and fabric canopies in a celebration of the Baroque, the Jesuit Order, Habsburg Imperial Power and the triumph of the Counter-Reformation.
The Pulpit: a riot of gilt garlands and putti
Trompe-l’œil and Quadratura false dome and barrel vaults : demonstrating Pozzo's eye for realism and brilliant grasp of false perspective
The theatrical High Altar: an abundance of marbles, gilding, statuary and devotional art - the Counter-Reformation ideal
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References:
Official website of the Jesuitenkirche(English translation)
Web Gallery of Art: Andrea Pozzo
http://www.wga.hu/frames-e.html?/bio/p/pozzo/biograph.html
Brook, Stephen, Vienna; London: Dorling Kindersley, 2000
