There is a drawing at the National Museum of Denmark of a church erected with Frederick III of Denmark's monogram, which places it in the correct time period and which fits on Ruse's floor plan, but since the church was never built, it is more of academic interest.

North of the Artillery Stick, Ruse had erected a command house (marked in blue on the drawing) of recycled materials from the old customs warehouse.

After the completion of the plant around the turn of the year 1666-67, the building remained unused until the church moved in somewhere between 1672 and 1676.

In 1696, the chief of fortification, Hans Erasmus von der Pfordten, drew up a proposal to redevelop the house into something very similar to the present church, just less.

It was previously believed that von der Pfordten himself had worked as an architect on the proposal, but information obtained in connection with [Garrison's Church] indicates that it was the same man, the engineering officer Georg Philip Müller, who designed both churches.

The rebuilding was not carried out, it was sufficient to repair the need, in anticipation of a new and larger church being built.

In 1697, von der Pfordten proposes that a new church be built west of the Alarm Square along the Royal Bastion, where it is today (marked with green on Ruse's drawing).

Construction began in 1703 under the direction of "contractor", Domenico Pelli, and was completed in 1704, when the church was inaugurated on November 26.

Above the door on the east side, the year 1704 is gilded, and in the frontispiece of the roof is Frederick IV of Denmark's monogram with a crown over, both gilt.

In the porch inside the door in the north end, there is a staircase to the pulpit on the left and a closed chair to the right.

The prison, which in 1725 was being built up to the west side of the church, blocks the four west-facing windows, but nothing more than that still some light falls on the western pulpit.

From the time between 1750 and 1850, there is almost no information available on the church, partly because the archdiocese's archives were lost during the English occupation of the Citadel in 1807.

In this rebuild, the pulpits were removed along the long sides, replaced the chairs with new (oak-coloured) and laid a plank floor.

The windows on the west side and the sound channels were completely rebuilt and a new pulpit was erected.

The southern end wall was drawn out so that a rounded niche could be formed around the altarpiece (see drawing).

Thereby two small rooms were formed, one on each side of the altar, which served as a priest and writing chair.

[3] The Citadel Church today appears as a simple Baroque building without the great decoration.

The "tower" – it's more like a [roof rider] – is lined with copper, and the wing bar details are gilded.

The walls and ceiling are white, the woodwork is pearl grey with gilded details, and the floor is covered with greyish tiles.

Except for the altarpiece, only colours other than grey, white, and gold, are found on the organ facade, the cushions of the chairs and the kneeling.

The altarpiece consists of three oil paintings inserted over one another in a carved gilded wooden frame.

The large painting in the middle – The Shepherd's Worship – is very likely identical to the altarpiece of the first Citadel Church.

It is a painting of Lucie Ingemann depicting Christ as the King of Heaven, receiving the souls of the deceased.

It used to have a back wall with window-shaped squares around a center field with a cross, but it has been removed, presumably by the renovation in 1985-87.

Originally, baptism was held in the northwest corner of the church in a font closure.

At the same time, the carpenter Jochum Jacobsen delivered a carving work in lime wood, which is believed to be the ornament that still sits on the organ pulpit.

Hartmann and Niels W. Gade, but in 1922 it was replaced by one with 35 votes and three manuals, conducted by W. Sauer, Frankfurt an der Oder.