The Church of the Assumption of Our Lady and Saint John the Baptist is a Gothic and Baroque Gothic church in Kutná Hora. It is listed in the UNESCO World Heritage List together with the Chapel of All Saints and its ossuary and other monuments in Kutná Hora. It is one of the most important Czech Gothic buildings built in the time of the very last Přemyslids and also a very important and one of the oldest examples of the Baroque Gothic style.

The church was built first in the Gothic style around 1300 as one of the first High Gothic building in the Kingdom of Bohemia and as the first church in the kingdom resembling French Gothic cathedrals. It was built on the place of an older church and was a part of the Cistercians Sedlec Abbey, which was the oldest Cistercian abbey in the Czech lands founded in 1142. The abbey was burnt down by the Hussites in 1421 and the church became a ruin for the next two centuries.

In 1700 the abbot of the Sedlec Abbey Jindřich Snopek decided to rebuild the old church. The reconstruction was conducted by the architect Pavel Ignác Bayer. After three years the new architect became Jan Blažej Santini-Aichel who had worked for the Cistercians already in Zbraslav. He completed the reconstruction of the church in his original style called Baroque Gothic. His most impressive works in the church are the amazing vaults and front wall of the church with its antechamber decorated with the statues by Matěj Václav Jäckel. The church was consecrated in 1708.

Although the church was rebuilt in the early 18th century his eastern part with side chapels, choir and transept should have preserved its original appearance from outside.

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Details

Founded: c. 1300
Category: Religious sites in Czech Republic

Rating

4.6/5 (based on Google user reviews)

User Reviews

Kevin Bradshaw (15 months ago)
Absolutely fascinating and I’m so gleam I finally made it here. It only took ten years, but I can honestly it was worth it. The train journey was about an hour in which you get to witness the glorious Czech countryside and we did so in the snow. What a sight! The church itself is beautiful, but it’s the information supplied that really brings it all to life. To bare witness to something many of hundred years old is really quite special. All in all, you MUST see this place. The town also is nice with many friendly people. 5/5.
Ranjith Kizhakoodan Rajan (2 years ago)
Close to sedlec ossuary.though people visit ossuary and tend to go back without noticing this church ....but I would say this church is worth visiting though you feel from outside its just an another Czech church .this church also have long old story to tell you right from its construction .its got huge altar and some here special is you can visit roof of the church ...you may find my photos for that ..it's something you not see usual
Gr Ace (2 years ago)
A very beautiful Cathedral. You must go upstairs as it gives you a better view. The spiral staircase is so nice and it gives you a chance to go through the attick. From there, you will see the beautiful pillars of the church.
Martin Beránek (2 years ago)
I remember the time this was run down old church, now it is renovated old church with huge historical value. City did a great job to promote the place and make it a tourist destination. Good job!
Ben Park (2 years ago)
Very nice historic church. Very bright church. The first church I've been to where you can see the roof and above the vaulted ceilings.
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Château de Vaux-le-Vicomte

The Château de Vaux-le-Vicomte is a baroque French château built between 1658-1661 for Nicolas Fouquet. It was made for Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV, the château was an influential work of architecture in mid-17th century Europe. At Vaux-le-Vicomte, the architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on a large-scale project for the first time. Their collaboration marked the beginning of the 'Louis XIV style' combining architecture, interior design and landscape design. The garden's pronounced visual axis is an example of this style.

To secure the necessary grounds for the elaborate plans for Vaux-le-Vicomte’s garden and castle, Fouquet purchased and demolished three villages. The displaced villagers were then employed in the upkeep and maintenance of the gardens. It was said to have employed eighteen thousand workers and cost as much as 16 million livres. The château and its patron became for a short time a focus for fine feasts, literature and arts. The poet La Fontaine and the playwright Molière were among the artists close to Fouquet. At the inauguration of Vaux-le-Vicomte, a Molière play was performed, along with a dinner event organized by François Vatel, and an impressive firework show.

After Fouquet was arrested and imprisoned for life, and his wife exiled, Vaux-le-Vicomte was placed under sequestration. The king seized, confiscated or purchased 120 tapestries, the statues, and all the orange trees from Vaux-le-Vicomte. He then sent the team of artists (Le Vau, Le Nôtre and Le Brun) to design what would be a much larger project than Vaux-le-Vicomte, the palace and gardens of Versailles.

The Marshal Villars became the new owner without first seeing the chateau. In 1764, the Marshal's son sold the estate to the Duke of Praslin, whose descendants would maintain the property for over a century. It is sometimes mistakenly reported that the château was the scene of a murder in 1847, when duke Charles de Choiseul-Praslin, killed his wife in her bedroom, but this did not happen at Vaux-le-Vicomte but at the Paris residence of the Duke.

In 1875, after thirty years of neglect, the estate was sold to Alfred Sommier in a public auction. The château was empty, some of the outbuildings had fallen into ruin, and the famous gardens were totally overgrown. The huge task of restoration and refurbishment began under the direction of the architect Gabriel-Hippolyte Destailleur, assisted by the landscape architect Elie Lainé. When Sommier died in 1908, the château and the gardens had recovered their original appearance. His son, Edme Sommier, and his daughter-in-law completed the task. Today, his descendants continue to preserve the château, which remains privately owned by Patrice and Cristina de Vogüé, the Count and Countess de Vogüé. It is now administered by their three sons Alexandre, Jean-Charles and Ascanio de Vogüé. Recognized by the state as a monument historique, it is open to the public regularly.

Architecture

The chateau is situated near the northern end of a 1.5-km long north-south axis with the entrance front facing north. Its elevations are perfectly symmetrical to either side of this axis. Somewhat surprisingly the interior plan is also nearly completely symmetrical with few differences between the eastern and western halves. The two rooms in the center, the entrance vestibule to the north and the oval salon to the south, were originally an open-air loggia, dividing the chateau into two distinct sections. The interior decoration of these two rooms was therefore more typical of an outdoor setting. Three sets of three arches, those on the entrance front, three more between the vestibule and the salon, and the three leading from the salon to the garden are all aligned and permitted the arriving visitor to see through to the central axis of the garden even before entering the chateau. The exterior arches could be closed with iron gates, and only later were they filled in with glass doors and the interior arches with mirrored doors. Since the loggia divided the building into two halves, there are two symmetrical staircases on either side of it, rather than a single staircase. The rooms in the eastern half of the house were intended for the use of the king, those in the western were for Fouquet. The provision of a suite of rooms for the king was normal practice in aristocratic houses of the time, since the king travelled frequently.

Another surprising feature of the plan is the thickness of the main body of the building (corps de logis), which consists of two rows of rooms running east and west. Traditionally the middle of the corps de logis of French chateaux consisted of a single row of rooms. Double-thick corps de logis had already been used in hôtels particuliers in Paris, including Le Vau's Hôtel Tambonneau, but Vaux was the first chateau to incorporate this change. Even more unusual, the main rooms are all on the ground floor rather than the first floor (the traditional piano nobile). This accounts for the lack of a grand staircase or a gallery, standard elements of most contemporary chateaux. Also noteworthy are corridors in the basement and on the first floor which run the length of house providing privacy to the rooms they access. Up to the middle of the 17th century, corridors were essentially unknown. Another feature of the plan, the four pavilions, one at each corner of the building, is more conventional.

Vaux-le-Vicomte was originally planned to be constructed in brick and stone, but after the mid-century, as the middle classes began to imitate this style, aristocratic circles began using stone exclusively. Rather late in the design process, Fouquet and Le Vau switched to stone, a decision that may have been influenced by the use of stone at François Mansart's Château de Maisons. The service buildings flanking the large avant-cour to the north of the house remained in brick and stone, and other structures preceding them were in rubble-stone and plaster, a social ranking of building materials that would be common in France for a considerable length of time thereafter.

The main chateau is constructed entirely on a moated platform, reached via two bridges, both aligned with the central axis and placed on the north and south sides. The moat is a picturesque holdover from medieval fortified residences, and is again a feature that Le Vau may have borrowed from Maisons. The moat at Vaux may also have been inspired by the previous chateau on the site, which Le Vau's work replaced.

Gardens

The château rises on an elevated platform in the middle of the woods and marks the border between unequal spaces, each treated in a different way. This effect is more distinctive today, as the woodlands are mature, than it was in the seventeenth century when the site had been farmland, and the plantations were new.

Le Nôtre's garden was the dominant structure of the great complex, stretching nearly a mile and a half (3 km), with a balanced composition of water basins and canals contained in stone curbs, fountains, gravel walks, and patterned parterres that remains more coherent than the vast display Le Nôtre was to create at Versailles.

Le Nôtre created a magnificent scene to be viewed from the house, using the laws of perspective. Le Notre used the natural terrain to his advantage. He placed the canal at the lowest part of the complex, thus hiding it from the main perspectival point of view. Past the canal, the garden ascends a large open lawn and ends with the Hercules column added in the 19th century. Shrubberies provided a picture frame to the garden that also served as a stage for royal fêtes.

From the top of the grand staircase, this gives the impression that the entire garden is revealed in one single glance. Initially, the view consists of symmetrical rows of shrubbery, avenues, fountains, statues, flowers and other pieces developed to imitate nature – these elements exemplify the Baroque desire to mold nature to fit its wishes, thus using nature to imitate nature. The centerpiece is a large reflecting pool flanked by grottos holding statues in their many niches. The grand sloping lawn is not visible until one begins to explore the garden, when the viewer is made aware of the optical elements involved and discovers that the garden is much larger than it looks.