Baroque: the Catholic Counter Reformation
Peterskirc
he is church located just down the street from the very gothic Stephansdom Kirche, but instead of being blown away by the gothic filigree and intricate designs of the stonework and gargoyles of Vienna’s centerpiece church, we behold the glory of the lavish Baroque Church. The Baroque did not only over-take the interior decorating trend in Peterskirche during the 18thlace.”[1] The Habsburgs proved their power over the Turks who were defeated in 1683. century but it “spread far and wide over the Austrian lands and the potent symbol of Habsburg power, and the culture penetrated deep into the popu The Holy Roman Empire was in its hey-day, if they wore t-shirts they would have been embroidered in a golden thread with the letters AEIOU, but instead they etched it in their paintings and quite obviously in their buildings. The magnates commissioned the construction and remodels of grand buildings and churches because their kingdom triumphed over Satan’s pestilences: plague, Turks and Protestants. Peterskirche in am exquisite example of this ultra zealous Catholic pride known as Baroque.
Before we go inside, it’s important to know a bit of this church’s background. Rumor has it that Peterskirche was built on the site of Vienna’s first and therefore oldest church (4th Century), so old in fact that Charlmagne took part in the “re-founding” of the church in 792.[2] Needless to say a church that old that stands around for that long could use redecoration at least every couple centuries. The foundation of the church we see today only dates back to the 1700s when the church was re-built to commemorate the end of the plague but also as a celebration of the success of the Catholic Church. The Baroque, as Kathy Stuart likes to say is an “in your face” display of what separates Catholicism from Protestantism. This connection to Charlemagne also puts the Holy Roman Empire in the same playing field as the first absolute monarchy: ruling over or “protecting” the church and state.[3]
The Baroque can be described as gaudy, grand, excessive and always includes various sunbursts of gold. I think of it as loudly screaming Catholic as reverently as possible seeing as it is inside a church in the presence of God and all His saintly saints. Saints and icons signify this strident and in-your-face-catholic trend known as Baroque. Once inside this church we are welcomed by what I would like to call the saint’s lullaby: organ music that makes feel like I am not alone but accompanied by saints.
However these aren’t just any saints, these are two fully clothed and jewel-encrusted remains of random bodies that must have been saints—at some point when there was more behind their ribs than a vacant thoracic
cavity and dust. Then there are candles, which can help us keep track of how much
time we’ve spent supplicating supplications to the saints. And on each wall there are enormous, bigger 
than life-sized paintings depicting saints, angels and the stories and passion of Christ. As I venture towards the main spectacle of the main altar I am dwarfed by its sheer magnitude and I almost feel as if I’m basking in the warmth of the sun as I behold all the gold and heavenly angels (not to mention Constantine, Charlemagne and Jesus). Then as I look up I am reminded of the heavens that await me if all my penance, hail Marys and good works are sufficient to release me from limbo and/or purgatory.
The overwhelming feeling I get from Peterskirche is yes, this church is grand and the kingdom that built it must be even grander. It must be true when they said
“Alles Erdreich Ist Österreich
Unterthan.”
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