Johann Bernhard Fischer von Erlach, who was an Austrian architect in the age of late baroque, freely used an architectural manner which intrepidly put iconography with political intent into use. This paper deals with relations between architecture and iconography by him. And the purpose of this paper is to show the development of his architectural manner, clarifying a transition of the aforementioned relations between Kollegienkirche and Karlskirche in his early and latter days respectively.
His early architectural manner mutually connects architectural effects with iconographical ones. By contrast, His latter one mutually sets architectural effects against the iconographical ones. Such development of Fischer's architectural manner suggests a limit of the baroque architectural rhetoric which ties architectural effects to political intent.