Introduction
The Church of St. Barbara is a Roman Catholic filial church located in Kutná Hora. Architecturally, it is a five-aisled Gothic cathedral. The origins of the Church of Corpus Christi and the Holy Virgin Barbara are quite unique.
Originally, a chapel dedicated to St. Barbara, the patron saint of miners, stood on a promontory above the Vrchlice River. Following the initiative of the Brotherhood of Corpus Christi, the townspeople decided to build a church at their own expense, one that would boldly rival the grandeur of Prague Cathedral.
The Church of the Holy Virgin Barbara reflects the townspeople’s devotion to the Body of Christ, their pride as a royal city, and the political tension between Prague and Kutná Hora at the time. It also symbolizes the town’s independence from the Sedlec Monastery. The church was built outside the city walls, beyond the Sedlec spiritual jurisdiction, on land belonging to the Prague chapter. Since 1995, it has been recognized as a UNESCO World Heritage Site.
The construction of the Church of St. Barbara began in 1388. According to some sources, the original design called for a nave twice as long as the current structure. The church was built in several stages, largely dependent on the prosperity of the Kutná Hora silver mines. However, work was halted in 1558, with the church’s west end only completed by a temporary wall. Following this, only maintenance work was carried out.
During the Hussite Wars, the church was looted by the Chalice Rebels. Confessionals were destroyed, paintings ripped, and the church treasure was stolen. In the 1620s, during the post-White Mountain re-Catholicization, the church was stripped of its Utraquist symbols. As recorded by Mikuláš Dačický from Heslov in 1623 and 1624, various symbols of the Evangelical faith were removed, including a painted image of Master Jan Hus from an altar in the Mint Chapel and a carved chalice in the Chapel of the Savior. In 1626, the church was handed over to the Jesuits, who built a college nearby and carried out Baroque renovations after a fire damaged the church. This included the construction of a Baroque-style roof.
Between 1884 and 1905, a purist reconstruction was initiated by the local archaeological association, Vocel. During this process, the church was not only restored but also extended by one vaulted field to the west, where a new neo-Gothic façade was added. The Baroque roof was replaced by a trio of Gothic tent roofs, which closely resembled the original Gothic design.
Architects and Construction Progress of the Church of St. Barbara
The construction of the Church of St. Barbara began with the first phase overseen by the foundry of Petr Parléř, the builder of St. Vitus Cathedral, likely led by his son, Jan Parléř. Jan Parléř constructed the oldest part of the church, including a wreath of peripheral chapels modeled after French cathedrals. Originally designed as a three-nave structure, it was soon expanded with a wide outer aisle. However, the construction was interrupted by the Hussite Wars for sixty years. By the time work resumed, the central three-nave had not yet been vaulted, and the church was left exposed to the elements. Before vaulting was completed in 1547, the church remained uncovered.
In 1482, work on the church resumed, with local builders continuing Jan Parléř’s original plans. The church was primarily built from sandstone obtained from nearby mines. From 1489 to 1506, Matěj Rejsek worked on the church, completing the choir with a triforium, basilica windows, and a ribbed vault (finished in 1499). His work also included the external support system, and his style was characterized by intricate late Gothic decoration. After Rejsek’s death, work continued based on his design until 1509.
A significant change in the church’s design occurred when architect Benedikt Rejt joined in 1512. He built two equally high side naves, opening into the main nave above the inter-nave arcades, forming galleries that were set 1.15 meters lower than the triforium. This transformation created the appearance of a “church above a church,” with altars placed on the second floor of the church. Rejt’s late Gothic design included a ribbed vault and large windows, making the church appear much more illuminated.
Work continued after Rejt’s death in 1534, but financial resources dwindled due to the decline in silver mining, halting construction in 1558 before the last part of the nave was completed. The church as it appears today was finalized during the late 19th and early 20th centuries with re-Gothicization and restoration efforts, which were completed in 1905.
In the early 20th century, stained glass windows were added, featuring Christian motifs as well as scenes from contemporary life, such as the visit of Emperor Franz Joseph I. This tradition continued in 2014 with the addition of a stained glass window depicting Saint Agnes of Přemyslid, placed in the south nave.
Organ
The current organ in the Church of St. Barbara was built in 1905 by the Rieger-Kloss company and installed in the existing Baroque cabinet. The organ features three manuals (keyboards), a pedal, and 65 registers. It is pneumatically operated and is located in the choir at the western end of the church. The organ is frequently used during church services and for concerts held at the church.
Architectural Heritage Preservation Program
Between 1995 and 2014, CZK 6,500,000 was allocated for repairs and conservation as part of the Architectural Heritage Preservation Program.
Architecture of St. Barbara's Cathedral in Kutna Hora, Czechia
Architects: Johann Parler, Frantisek Maxmilian Kanka
Architectural Styles: Gothic architecture, Gothic Revival Architecture
Exterior
The Church of St. Barbara is designed as a five-aisled cathedral, originally conceived with a three-aisled basilican nave. From the outset of construction, two outer naves were added, creating the structure we see today. The building is supported by a pillar skeleton, with the pillars of the outer naves protruding from the exterior shell. In contrast to the initial plans, the side naves were raised to the height of the central nave, resulting in an atrium-like three-aisled nave above the arcades, which was eventually roofed, likely with a trio of tent roofs featuring a curved slope. With this addition, the church transitioned from a basilica to a hall-style structure, with the central nave only slightly surpassing the height of the side naves.
At the eastern end, the church concludes with an elongated choir, which features a polygonal gallery closure and is surrounded by peripheral chapels in the lower half. These chapels, with hipped roofs, form a cohesive block. Above both the outer nave of the five-aisled church and the choir chapel, an extensive system of supporting pillars is arranged symmetrically, with multiple pillars of the same height. These pillars are adorned with relatively large violet designs, ending in floral motifs. Drainage is managed through decorative gargoyles shaped like figures.
In the final vaulted field of the choir, a transept crosses the space, matching the height of the gallery chapels and aligning with the width of the outer side aisles. Externally, it is emphasized by a pair of large, massive pillars with gargoyles. The entrance façade is divided into five sections in a pseudo-Gothic style, with the upper portion featuring three tall windows, each topped with pointed arches and flame tracery. The symmetry of the façade is disrupted by the irregular placement of windows in the lower section.
Interior
The interior of the Church of St. Barbara features a nave, transept, and choir on the first floor, all encircled by an arcade of curved, profiled arches resting on smooth, polygonal pillars with stilts. These ribs seamlessly merge into the walls without the need for buttresses. Above the arcade, there is a cornice followed by a narrow strip of free wall, which leads to a gallery railing at the top of the nave. This gallery wall is adorned with large windows featuring flame tracery. Two spindle staircases provide access to the corner where the transept and choir connect.
The choir is vaulted with a reticulated vault, while the nave boasts a late Gothic ribbed vault comprising seven bays (six original and one completed), likely designed by Benedikt Rejt. The inner side naves are also vaulted, but with a different ribbed pattern. Although the rib pattern visually resembles the vault in Vladislav Hall, the structural design of the vaults differs. The Church of St. Barbara’s vault is supported by delicate pillars, with the side aisles’ vaults relying on an external support system. In contrast, the Vladislav Hall features massive walls that allow the vault to be supported by buttresses. The Kutná Hora vault is more intricate and enriched with motifs, evolving from the basic pattern found in Prague’s vaults. It is significant in Baroque architecture that this circular vault was likely seen by Jan Santini before he began the Baroque renovations at the nearby Cistercian monastery church in Sedlec.
Decoration
In the chancel, there is a late Gothic pastoforium crafted around 1510 by the workshop of Matyas Rejsek. The choir pews are beautifully adorned with carvings by the master carver Jakub Nymburský, dating from 1480 to 1490.
Notable and rare in medieval art are the preserved late Gothic frescoes featuring mining themes found in some chapels, such as the Hasplirska Chapel. For instance, in the Hašplířská Chapel, frescoes depict workers using a haspl or winch. The Mint Chapel displays scenes of medieval coinage techniques painted on the walls. However, the most exceptional decoration can be found in the Smiskova Chapel (1485–1492), where paintings depict scenes such as The Queen of Sheba Visits King Solomon, The Trial of Trajan, The Vision of the Sibyl of Tibur, and The Crucifixion. In the lower part of the chapel, these scenes are complemented by a remarkable depiction of litterati, who are preparing liturgical utensils for service. The artist behind these paintings was not only a highly skilled painter but also well-versed in contemporary Italian art.
The most architecturally decorative aspect of the exterior is the intricate stonework and sculpture found at the highest parts of the building, particularly in the supporting system. In addition to the aforementioned flower vases, there are numerous representations of fauna, flora, satirical figures, demons, and mythical creatures.
Feast Day
Feast Day : 4th December
The feast day of St. Barbara, the patron saint of St. Barbara’s Cathedral in Kutna Hora, is celebrated on December 4th. St. Barbara is traditionally revered as the protector of miners, architects, and artillerymen, and her feast day is observed by many in the mining community, especially in areas like Kutná Hora, which has a rich history in silver mining.
Church Mass Timing
Tuesday : 6:00 PM
Church Opening Time:
Monday : 10 am–4 pm
Tuesday : 10 am–4 pm
Wednesday : 10 am–4 pm
Thursday : 10 am–4 pm
Friday : 10 am–4 pm
Saturday : 10 am–4 pm
Sunday : 10 am–4 pm
Contact Info
Address:
Barborska, 284 01 Kutna Hora 1, Czechia.
Phone : +420327515796.
Accommodations
Connectivities
Airway
Prague Airport (PRG) to St. Barbara Cathedral, Kutna hora, Czechia distance between 1 hr 17 min (91.6 km) via D0 and Route 2.
Railway
Prague Main Railway Station to St. Barbara Cathedral, Kutna hora, Czechia distance between 1 hr (85.2 km) via D11.
