Postgasse 4
Tel. 512 9174
Subway: Stephansplatz,
Schwedenplatz
Open: 7am- 7pm Mon- Sat, 7am- 9pm Sun
The Dominikanerkirche, officially known as St. Maria Rotunda, is a remarkable early Baroque parish church and minor basilica located at Postgasse 4, 1010 Vienna, Austria, in the heart of the 1st district (Innere Stadt). Managed by the Dominican Order, it is one of Vienna’s most significant religious and architectural landmarks, notable for being the city’s first Baroque church, constructed between 1631 and 1634. Its history spans nearly eight centuries, with the current structure being the third church built on the site since the Dominicans’ arrival in 1226. The church is celebrated for its ornate interior, Italian-inspired architecture, and cultural contributions, including sacred music and its role as a hub for Dominican spirituality.
Foundation and Early History (1226–1529)
The Dominikanerkirche’s
origins trace to 1226, when Duke Leopold VI invited the Dominican Order
to Vienna, granting them land near the Stubentor (a city gate) for a
monastery and chapel. The first Romanesque chapel, consecrated in 1237,
was destroyed by fires in 1258 and 1262. By 1283, after these setbacks,
the Dominicans resolved to build a larger Gothic church, with its choir
consecrated in 1302 by Dominican Cardinal Nikolaus Boccasini (later Pope
Benedict XI). The Gothic church was expanded between 1458 and 1474,
becoming Vienna’s second-largest church after St. Stephen’s Cathedral.
During the First Turkish Siege of Vienna in 1529, the Gothic church
was heavily damaged, with much of its structure demolished to provide
materials for reinforcing the city’s walls. The choir was destroyed, and
the nave partially dismantled, leaving the building in a dilapidated
state.
Baroque Reconstruction (1631–1674)
The
Counter-Reformation’s emphasis on Catholic renewal prompted the
Dominicans to rebuild. On May 6, 1631, Emperor Ferdinand II laid the
foundation stone for a new Baroque church, designed by Jacopo Tencala,
architect to Prince Maximilian of Liechtenstein. Italian master
builders, including Cypriano Biasino, Antonio Canevale, and Jacopo
Spacio, introduced the early Baroque style to Vienna, inspired by Roman
and Florentine models. The structural work was completed in 1634, with
consecration on October 1, 1634. The dome and facade were added later,
between 1666 and 1674, completing the church’s current form.
Later Developments
1783: Emperor Joseph II established the parish of
Maria Rotunda, making the church both a monastic and parish church.
1927: Pope Pius XI elevated the church to the status of Basilica Minor,
naming it the “Rosary Basilica ad S. Mariam Rotundam” in honor of its
dedication to Our Lady of the Rosary.
1944–1959: The church sustained
World War II damage from nearby bombings, with repairs to the masonry
and dome completed between 1953 and 1959.
2020–2022: A €6 million
renovation, supported by the Federal Monuments Office, restored the
church’s frescoes, paintings, and structural integrity, addressing
war-related damage and enhancing its Baroque splendor.
Key Historical
Events
1634: Consecration of the new Baroque church, marking it as
Vienna’s first in this style.
1676: Burial of Empress Claudia
Felicitas, second wife of Leopold I, in the Dominikus-Kapelle.
1836–1840: Replacement of the original Baroque high altar with a
Spanish-style altar by Carl Rösner.
Exterior
The Dominikanerkirche’s facade is a striking example of
early Baroque architecture, modeled after Roman churches and the
Dominican church of Santa Maria Novella in Florence. Constructed between
1666 and 1674, it features dominant columns supporting a cornice, with a
pediment and two towers topped with helm roofs. Above the main portal, a
statue of the Virgin Mary with the Rosary, to whom the church is
dedicated, is flanked by kneeling figures of St. Catherine of Siena and
St. Agnes of Montepulciano. Eight additional stone statues of Dominican
saints, including St. Thomas Aquinas and St. Albertus Magnus, adorn the
facade’s niches.
The church’s exterior, while less ornate than
its interior, was enhanced in the 19th century when the city
fortifications were dismantled, exposing the east facade. A freestanding
staircase was added after lowering the church square, improving access
and visibility.
Interior
The interior is a three-bay hall
church with a barrel-vaulted ceiling featuring lunettes and transverse
arches, flanked by three side chapels on each side. A non-projecting
transept and a single-bay choir with a flat closure complete the layout.
The flat crossing dome, supported by pendentives, was originally planned
as an octagonal dome with a high drum but was modified in 1820. The
interior’s early Baroque stucco decoration, executed by Italian
artisans, creates a vivid plastic effect, complemented by frescoes and
paintings.
Key architectural features include:
Dome and
Frescoes: The dome fresco, painted by Carl Geyling in 1836, enhances the
church’s verticality. Ceiling frescoes by Carpoforo Tencalla, Matthias
Rauchmiller, and Nikolaus van Hoye adorn the nave in small, plastically
framed fields.
High Altar: Replaced in 1840 by a Spanish-style altar
designed by Carl Rösner, it features an altarpiece by Leopold
Kupelwieser (1839) depicting “Maria as Queen of the Rosary,”
commemorating the Rosary Feast instituted by Pope Gregory XIII.
Side
Chapels: Six chapels, with small galleries above, house valuable
artworks, including paintings by Franz Roettiers, Tobias Pock, and
Johann von Spillenberger.
Pulpit: An ornate Baroque pulpit,
highlighted in recent renovations, is a focal point for Dominican
preaching.
The interior’s white walls and colorful ceiling artworks
create a luminous, airy atmosphere, characteristic of early Baroque’s
“lightness” and focus on divine glory.
High Altar and Altarpiece
The current high altar, installed
between 1839 and 1840, replaced the original Baroque altar to allow more
sunlight through the southeast-facing main window. Designed by Carl
Rösner, it features a gable-free structure and an altarpiece by Leopold
Kupelwieser, portraying the Virgin Mary as the Queen of the Rosary.
Statues of the Church Fathers (Sts. Jerome, Augustine, Ambrose, and
Gregory the Great) stand at the transition to the altar space.
Frescoes and Paintings
The church boasts an extensive collection of
artworks:
Ceiling Frescoes: Crafted by Carpoforo Tencalla and
Matthias Rauchmiller, these depict Dominican themes and sacred
narratives.
Kuppelfresko: Carl Geyling’s 1836 dome fresco adds a
celestial dimension.
Paintings: Works by Franz Roettiers, Tobias
Pock, Johann von Spillenberger, Georg Bachmann, and Karl Mayer adorn the
chapels and nave.
Rood Loft Painting: An anonymous 1642 painting
under the organ loft glorifies the Rosary and St. Dominic’s mediation.
Organs
The church houses two organs:
Main Organ: Built around
1750 by an unknown Viennese master, its ornate case was preserved when
the organ was replaced in 1895 by Rieger of Jägerndorf. With 36
registers across three manuals, it was restored in 1991 by Schuke
(Berlin), reconstructing the lost Baroque prospect and reverting to the
original disposition.
Brüstungspositiv: The case of a smaller organ
remains, adding to the Baroque aesthetic.
The organs support the
church’s musical tradition, used in Masses and concerts.
Bells
The church’s bell ensemble includes three historic bells in its two
towers:
Rosa: The largest bell, housed in the left tower, is
hand-rung on rare occasions due to its complex mechanism and “cogwheel
bearings.”
Two smaller bells in the right tower complete the set. The
middle bell and a small pulling bell were lost during World War II.
Dominikus-Kapelle
This chapel houses the 1676 tombstone of Empress
Claudia Felicitas, crafted by Balthasar Herold, marking a significant
Habsburg connection.
Dominican Order
The Dominican Order, known for preaching and
scholarship, has shaped the church’s identity since 1226. The church
remains a center for Dominican liturgy, with daily Masses, Laudes,
Vespers, and Rosary prayers (October–June). The order’s commitment to
intellectual and spiritual life is reflected in events like the monthly
Seniorennachmittag, featuring Mass and social gatherings.
Sacred
Music
The Dominikanerkirche’s organs and acoustic design make it a
venue for sacred music. The Sunday Masses (10 a.m., 12 p.m. Latin, 8
p.m.) often feature choral and organ performances, continuing Vienna’s
musical heritage alongside institutions like the Augustinian Church and
Musikverein.
Baroque Influence
As Vienna’s first Baroque
church, the Dominikanerkirche introduced Italian architectural and
artistic innovations, influencing later structures like the Karlskirche.
Its facade and interior set a precedent for the city’s
Counter-Reformation architecture.
Rosary Devotion
Dedicated to
Our Lady of the Rosary, the church is a focal point for Rosary devotion,
reflected in its iconography and the title “Rosary Basilica.” The Rosary
prayer is held daily from October to June at 5:25 p.m. before the 6 p.m.
Mass.
Location and Access
Address: Postgasse 4, 1010 Vienna, Austria.
Public Transport:
Subway: U3 to Stubentor; U1/U4 to Schwedenplatz.
Hours: Open daily, 7 a.m.–7 p.m. (Sundays until 9 p.m.).
Admission:
Free; donations support church maintenance (IBAN: AT30 2011 1822 2407
7700).
Visiting Tips
Masses: Attend the 10 a.m. or 8 p.m.
Sunday Mass for music, or the 12 p.m. Latin Mass for a traditional
experience. Weekday Masses are at 6 p.m.
Rosary Prayer: Join the 5:25
p.m. Rosary (October–June) for a spiritual experience.
Photography:
Permitted, but avoid flash and respect worshippers during services.
Guided Tours: Contact the parish office (+43 1 512 9174 or
dominikaner@dominikaner.at) to arrange tours, which may include the
monastery garden.
Accessibility: The Thomassaal (used for senior
events) is barrier-free, but the main church has steps at the entrance.
Jesuitenkirche: A nearby Baroque church with vibrant frescoes.
St.
Stephen’s Cathedral: Vienna’s iconic Gothic cathedral, a short walk
away.
Academy of Sciences: A historic building on Bäckerstraße.
Hofburg Palace: The Habsburg residence, reachable via Graben.
Cultural and Historical Context
The Dominikanerkirche encapsulates
Vienna’s transition from medieval to Baroque grandeur. Its destruction
during the 1529 Turkish Siege and subsequent Baroque reconstruction
reflect the city’s resilience and the Counter-Reformation’s cultural
agenda. The involvement of Italian artists underscores Vienna’s role as
a crossroads of European artistic traditions. The church’s status as a
Basilica Minor and its continued use by the Dominican Order highlight
its enduring spiritual relevance.
The 2020–2022 renovation,
completed on March 27, 2022, restored the church’s “lightness” and
“spiritual dimension,” as noted by Pater Günter Reitzi. The updated
church guide emphasizes both its artistic and devotional aspects, making
it a compelling destination for tourists, art enthusiasts, and
worshippers.