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  St. Vitus Cathedral in Prague Castle, Czech Republic  
 
Prague Castle at Dusk
St. Vitus Cathedral Spires
Prague Castle Cathedral
St. Vitus Cathedral Towers
St. Vitus Cathedral Rear
St. Vitus Cathedral Atrium
St. Wenceslas Chapel
St. Vitus Cathedral Chapel
Prague Castle Church
St. Vitus Cathedral Obelisk

The Metropolitan Cathedral of Saints Vitus, Wenceslaus and Adalbert (Czech: metropolitní katedrála svatého Víta, Václava a Vojtěcha) is a Roman Catholic metropolitan cathedral in Prague, the seat of the Archbishop of Prague. Until 1997, the cathedral was dedicated only to Saint Vitus, and is still commonly named only as St. Vitus Cathedral.

A small door with 7 locks, in the southwest corner of the chapel, leads to the Crown Chamber containing the Czech Crown Jewels, which are displayed to the public only once every 8 years.

This cathedral is an excellent example of Gothic architecture and is the largest and most important church in the country. Located within Prague Castle and containing the tombs of many Bohemian kings and Holy Roman Emperors, the cathedral is under the ownership of the Czech government as part of the Prague Castle complex. Cathedral dimensions are 124 by 60 meters (407 ft × 197 ft), the main tower is 96.5 meters (317 ft) high, front towers 82 meters (269 ft), arch height 33.2 meters (109 ft).

Regular religious services in the Cathedral are:

  • Sunday 08:30 Mass, 10:00 Mass (celebrated in Latin every last Sunday of the month) and 17:00 Vespers (not during July to September)
  • Monday 07:00 Mass
  • Tuesday 07:00 Mass
  • Wednesday 07:00 Mass
  • Thursday 07:00 Mass
  • Friday 07:00 Mass, 18:00 Mass
  • Saturday 07:00 Mass

Confessions: (Czech and English)

  • Sunday 09:30 – 10:00
  • Friday 17:30 – 17:50

 

Cathedral Origins

The current cathedral is the third of a series of religious buildings at the site, all dedicated to St. Vitus. The first church was an early Romanesque rotunda founded by Wenceslaus I, Duke of Bohemia in 930. This patron saint was chosen because Wenceslaus had acquired a holy relic – the arm of St. Vitus – from Emperor Henry I. It is also possible that Wenceslaus, wanting to convert his subjects to Christianity more easily, chose a saint whose name (Svatý Vít in Czech) sounds very much like the name of Slavic solar deity Svantevit. Two religious populations, the increasing Christian and decreasing pagan community, lived simultaneously in Prague castle at least until the 11th century.

In the year 1060, as the bishopric of Prague was founded, prince Spytihněv II embarked on building a more spacious church, as it became clear the existing rotunda was too small to accommodate the faithful. A much larger and more representative romanesque basilica was built in its spot. Though still not completely reconstructed, most experts agree it was a triple-aisled basilica with two choirs and a pair of towers connected to the western transept. The design of the cathedral nods to Romanesque architecture of the Holy Roman Empire, most notably to the abbey church in Hildesheim and the Speyer Cathedral. The southern apse of the rotunda was incorporated into the eastern transept of the new church because it housed the tomb of St. Wenceslaus, who had by now become the patron saint of the Czech princes. A bishop's mansion was also built south of the new church, and was considerably enlarged and extended in the mid 12th-century.

 

The Gothic Cathedral

Construction of the present-day Gothic Cathedral began on 21 November 1344, when the see of Prague was elevated to an archbishopric. King John of Bohemia laid the foundation stone for the new building. The patrons were the chapter of cathedral (led by a Dean), the Archbishop Arnost of Pardubice, and, above all, Charles IV, King of Bohemia and a soon-to-be Holy Roman Emperor, who intended the new cathedral to be a coronation church, family crypt, treasury for the most precious relics of the kingdom, and the last resting place cum pilgrimage site of patron saint Wenceslaus. The first master builder was a Frenchman Matthias of Arras, summoned from the Papal Palace in Avignon. Matthias designed the overall layout of the building as, basically, an import of French Gothic: a triple-naved basilica with flying buttresses, short transept, five-bayed choir and decagon apse with ambulatory and radiating chapels. However, he lived to build only the easternmost parts of the choir: the arcades and the ambulatory. The slender verticality of Late French Gothic and clear, almost rigid respect of proportions distinguish his work today.

After Matthias' death in 1352, 23-year-old Peter Parler assumed control of the cathedral workshop as master builder. He was son of the architect of the Heilig-Kreuz-Münster in Schwäbisch Gmünd. Initially, Parler only worked on plans left by his predecessor, building the sacristy on the north side of the choir and the chapel on the south. Once he finished all that Matthias left unfinished, he continued according to his own ideas. Parler's bold and innovative design brought in a unique new synthesis of Gothic elements in architecture. This is best exemplified in the vaults he designed for the choir. The so-called Parler's vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern the length of the cathedral.

While Matthias of Arras was schooled as a geometer, thus putting an emphasis on rigid systems of proportions and clear, mathematical compositions in his design, Parler was trained as a sculptor and woodcarver. He treated architecture as a sculpture, almost as if playing with structural forms in stone. Aside from his bold vaults, the peculiarities of his work can also be seen in the design of pillars (with classic, bell-shaped columns which were almost forgotten by High Gothic), the ingenious dome vault of new St. Wenceslaus chapel, the undulating clerestory walls, the original window tracery (no two of his windows are the same, the ornamentation is always different) and the blind tracery panels of the buttresses. Architectural sculpture was given a considerable role while Parler was in charge of construction, as can be seen in the corbels, the passageway lintels, and, particularly, in the busts on the triforium, which depict faces of the royal family, saints, Prague bishops, and the two master builders, including Parler himself.

Work on the cathedral, however, proceeded slowly, because the Emperor commissioned Parler with many other projects, such as the construction of the new Charles Bridge in Prague and many churches throughout the Czech realm. By 1397, when Peter Parler died, only the choir and parts of the transept were finished.

After Peter Parler's death in 1399 his sons, Wenzel Parler and particularly Johannes Parler, continued his work; they in turn were succeeded by a certain Master Petrilk, who by all accounts was also a member of Parler's workshop. Under these three masters, the transept and the great tower on its south side were finished. So was the gable which connects the tower with the south transept. Nicknamed 'Golden Gate' (likely because of the golden mosaic of Last Judgment depicted on it), it is through this portal that the kings entered the cathedral for coronation ceremonies.

The entire building process came to a halt with the beginning of Hussite War in the first half of 15th century. The war brought an end to the workshop that operated steadily over for almost a century, and the furnishings of cathedral, dozens of pictures and sculptures, suffered heavily from the ravages of Hussite iconoclasm. As if this was not enough, a great fire in 1541 heavily damaged the cathedral.

 

St. Wenceslas Chapel

Perhaps the most outstanding place in the cathedral is the Chapel of St. Wenceslas, which houses relics of the saint. Peter Parler constructed the room between 1344 and 1364 with a ribbed vault. The lower portions of the walls are decorated with over 1300 semi-precious stones and paintings depicting the Passion of Jesus dating from the original decoration of the chapel in 1372–1373. The upper area of the walls have paintings depicting the life of St. Wenceslas, by the Master of the Litoměřice Altarpiece between 1506 and 1509. Above the altar, is a Gothic statue of St. Wenceslas created by Jindrich Parler (Peter's nephew) in 1373. The Chapel is not open to the public, but it can be viewed from the doorways.

 

Renaissance & Baroque

Through most of the following centuries, the cathedral stood only half-finished. It was built to the great tower and a transept, which was closed by a provisional wall. In the place of a three-aisled nave-to-be-built, a timber-roofed construction stood, and services were held separately there from the interior of the choir. Several attempts to continue the work on cathedral were mostly unsuccessful. In the latter half of 15th century, king Vladislav Jagiellon commissioned the great Renaissance-Gothic architect Benedict Ried to continue the work on the cathedral, but almost as soon as the work began, it was cut short because of lack of funds. Later attempts to finish the cathedral only brought some Renaissance and Baroque elements into the Gothic building, most notably the obviously different Baroque spire of the south tower and the great organ in the northern wing of transept.

 

Completion in 19th - 20th Century

In 1844, Václav Pešina, an energetic St. Vitus canon, together with Neo-Gothic architect Josef Kranner presented a program for renovation and completion of the great cathedral at the gathering of German architects in Prague. The same year a society under the full name "Union for Completion of the Cathedral of St. Vitus in Prague" was formed, whose aim was to repair, complete and rid the structure of everything mutilated and stylistically inimical. Josef Kranner headed the work from 1861 to 1866 which consisted mostly of repairs, removing Baroque decorations deemed unnecessary and restoring the interior. In 1870 workers finally laid the foundations of the new nave, and in 1873, after Kramer's death, architect Josef Mocker assumed control of the reconstruction. He designed the west façade in a typical classic Gothic manner with two towers, and the same design was adopted, after his death, by the third and final architect of restoration, Kamil Hilbert.

In the 1920s the sculptor Vojtěch Sucharda worked on the façade, and the famous Czech Art Nouveau painter Alfons Mucha decorated the new windows in the north part of nave. Frantisek Kysela designed the Rose Window 1925-7 which depicts scenes from the Biblical story of creation. By the time of St. Wenceslas jubilee in 1929, the St. Vitus cathedral was finally finished, nearly 600 years after it was begun. Despite the fact that entire western half of Cathedral is a Neo-Gothic addition, much of the design and elements developed by Peter Parler were used in the restoration, giving the Cathedral as a whole a harmonious, unified look.

 

Influence of the Cathedral

The Cathedral of St. Vitus had a tremendous influence on the development of Late Gothic style characteristic for Central Europe. Members of Parler workshop, and indeed, the Parler family (both of which were established at the building site of St. Vitus) designed numerous churches and buildings across Central Europe. More notable examples include Stephansdom cathedral in Vienna, Strasbourg Cathedral, Church of St. Marko in Zagreb and the Church of St. Barbara in Kutna Hora, also in Czech Republic. Regional Gothic styles of Slovenia, northern Croatia, Austria, Czech Republic, and southern Germany were all heavily influenced by Parler design.

Of particular interest are Parler's net vaults. The Late Gothic of Central Europe is characterized by ornate and extraordinary vaulting, a practice which was started by Parler's development of his own vaulting system for the choir of St. Vitus cathedral. Another regional Gothic style also displays amazing ingenuity and ornamentation in the design of vaults, the Perpendicular Style of English Gothic. A question remains of what was influenced by what. Some British art and architecture historians suspected that Peter Parler might have travelled to England at some point in his life, studying the great English Gothic cathedrals, which then inspired his work on St. Vitus. However, taking into account that the Perpendicular style and the use of truly extravagant vaults in English Gothic began at the very end of 14th century, it is also quite possible that it was St. Vitus Cathedral of Prague that influenced the development of English Gothic.

 

Recent History

In 1997, on 1000th anniversary of the death of Saint Voitechus, the patrocinium (dedication) of the church was re-dedicated to Saint Wenceslaus and Saint Adalbert. The previous Romanesque basilica had this triple patrocinium to the main Bohemian patrons since 1038 when relics of Saint Adalbert were placed here.

In 1954, a government decree entrusted the whole Prague Castle into ownership of "all Czechoslovak people" and into administration of the President's Office. Beginning in 1992, after the Velvet Revolution the church filed several petitions requesting a determination on the true owner of the structure. After 14 years, in June 2006, the City Court in Prague decided that the 1954 decree did not change the ownership of the cathedral and the owner is the Metropolitan Chapter at Saint Vitus. In September 2006, the President's Office ceded the administration to the Metropolitan Chapter. However, in February 2007, the Supreme Court of the Czech Republic reversed the decision of the City Court and returned the case to the common court. In September 2007, the District Court of Praha 7 decided that the cathedral is owned by the Czech Republic, this decision was confirmed by the City Court in Prague and the Constitutional Court rejected the appeal of the Metropolitan Chapter, however noted that the chapter unquestionably owns the interior furnishings of the cathedral.

The Metropolitan Chapter considered continuing the case in the European Court for Human Rights however in May 2010, the new Prague Archbishop Dominik Duka and the state president Václav Klaus together declared that they did not wish to continue with court conflicts. They constituted that the seven persons who are traditionally holders of the keys of the Saint Wenceslaus Chamber with the Bohemian Crown Jewels become also a board to coordinate and organize administration and use of the cathedral. However, controversy about ownership of some related canonry houses continues.

In July 2012, the Chamber of Deputies passed a bill to compensate the churches for property seized by the Communist government. The Senate approved the bill in November 2012 and the government implemented it the following June after clearing legal challenges.

 

Treasury of St. Vitus Cathedral

The Treasury of St. Vitus Cathedral (Czech: Svatovítský poklad) is a collection of ecclesiastical treasures of the Prague Cathedral and is in the property of Prague Cathedral Chapter. It is the largest church treasury in the Czech Republic and one of the most extensive in Europe. The Treasure contains more than 400 items, 139 from them have been displayed since 2012 in a new exhibition in the Chapel of the Holy Rood in Prague Castle.

The Treasury includes many holy relics and reliquaries. Famous are the Sword of Saint Wenceslas or Coronation Cross of Bohemia. One of the oldest items in the Treasury is a relic of the arm of Saint Vitus, acquired by Czech Duke Wenceslas (Saint) in 929 from German king Henry the Fowler. Duke Wenceslas built a new church to preserve this relic in honor of Saint Vitus – today St. Vitus Cathedral. The Cathedral and its treasury was richly donated by many rulers, e. g. by Emperor Charles IV or King Vladislaus II.

 

Obelisk

The obelisk at Prague Castle is granite monolith and World War I memorial by Jože Plečnik, installed at Prague Castle in Prague, Czech Republic.

 

Prague Castle

Prague Castle (Czech: Pražský hrad) is a castle complex in Prague, Czech Republic, dating from the 9th century. It is the official residence of the President of the Czech Republic. The castle was a seat of power for kings of Bohemia, Holy Roman emperors, and presidents of Czechoslovakia. The Bohemian Crown Jewels are kept within a hidden room inside it.

According to the Guinness Book of Records, Prague Castle is the largest ancient castle in the world, occupying an area of almost 70,000 square meters (750,000 square feet), at about 570 meters (1,870 feet) in length and an average of about 130 meters (430 feet) wide. The castle is among the most visited tourist attractions in Prague attracting over 1.8 million visitors annually.

The castle buildings represent virtually every architectural style of the last millennium. Prague Castle includes Gothic St. Vitus Cathedral, Romanesque Basilica of St. George, a monastery and several palaces, gardens and defense towers. Most of the castle areas are open to tourists. The castle houses several museums, including the National Gallery collection of Bohemian baroque and mannerism art, exhibition dedicated to Czech history, Toy Museum and the picture gallery of Prague Castle, based on the collection of Rudolph II. The Summer Shakespeare Festival regularly takes place in the courtyard of Burgrave Palace.

The neighborhood around Prague Castle is called Hradčany.

 

Hradčany

Hradčany (common Czech pronunciation: [ˈɦrat͡ʃanɪ] ( listen); German: Hradschin), the Castle District, is the district of the city of Prague, Czech Republic surrounding Prague Castle.

The castle is said to be the biggest castle in the world at about 570 meters (1,870 feet) in length and an average of about 130 meters (430 feet) wide. Its history stretches back to the 9th century. St. Vitus Cathedral is located in the castle area.

Most of the district consists of noble historical palaces. There are many other attractions for visitors: romantic nooks, peaceful places and beautiful lookouts.

Hradčany was an independent borough until 1784, when the 4 independent boroughs that had formerly constituted Prague were proclaimed a single city. The other 3 districts were Malá Strana (Lesser Quarter), Staré Město (Old Town), and Nové Město (New Town).

The history of the castle began in 870 when its first walled building, the Church of the Virgin Mary, was built. The Basilica of Saint George and the Basilica of St. Vitus were founded under the reign of Vratislaus I, Duke of Bohemia and his son St. Wenceslas in the first half of the 10th century.

The first convent in Bohemia was founded in the castle, next to the church of St. George. A Romanesque palace was erected here during the 12th century.

King Ottokar II of Bohemia improved fortifications and rebuilt the royal palace for the purposes of representation and housing. In the 14th century, under the reign of Charles IV the royal palace was rebuilt in Gothic style and the castle fortifications were strengthened. In place of rotunda and basilica of St. Vitus began building of a vast Gothic church, that were completed almost six centuries later.

During the Hussite Wars and the following decades, the castle was not inhabited. In 1485, King Ladislaus II Jagello began to rebuild the castle. The massive Vladislav Hall (built by Benedikt Rejt) was added to the Royal Palace. New defense towers were also built on the north side of the castle.

A large fire in 1541 destroyed large parts of the castle. Under the Habsburgs, some new buildings in Renaissance style were added. Ferdinand I built the Belvedere as a summer palace for his wife Anne. Rudolph II used Prague Castle as his main residence. He founded the northern wing of the palace, with the Spanish Hall, where his precious art collections were exhibited.

The Second Prague defenestration in 1618 began the Bohemian Revolt. During the subsequent wars, the Castle was damaged and dilapidated. Many works from the collection of Rudolph II were looted by Swedes in 1648, in the Battle of Prague (1648) which was the final act of the Thirty Years' War.

The last major rebuilding of the castle was carried out by Empress Maria Theresa in the second half of the 18th century. Following his abdication in 1848, and the succession of his nephew, Franz Joseph, to the throne, the former emperor, Ferdinand I, made Prague Castle his home.

In 1918, the castle became the seat of the president of the new Czechoslovak Republic, T.G. Masaryk. The New Royal Palace and the gardens were renovated by Slovenian architect Jože Plečnik. In this period the St. Vitus Cathedral was finished (on September 28, 1929). Renovations continued in 1936 under Plečnik's successor Pavel Janák.

On March 15, 1939, shortly after the Nazi Germany forced Czech President Emil Hacha (who suffered a heart attack during the negotiations) to hand his nation over to the Germans, Adolf Hitler spent a night in the Prague Castle, "proudly surveying his new possession." During the Nazi occupation of Czechoslovakia in World War II, Prague Castle became the headquarters of Reinhard Heydrich, the Reich Protector of Bohemia and Moravia. He was said to have placed the Bohemian crown on his head; old legends say an usurper who places the crown on his head is doomed to die within a year. Less than a year after assuming power, on May 27, 1942, Heydrich was attacked during Operation Anthropoid, by British-trained Slovak and Czech soldiers while on his way to the Castle, and died of his wounds (which became infected) a week later.

After the liberation of Czechoslovakia and the coup in 1948, the Castle housed the offices of the communist Czechoslovak government. After Czechoslovakia split into the Czech Republic and Slovakia, the castle became the seat of the Head of State of the new Czech Republic. Similar to what Masaryk did with Plečnik, president Václav Havel commissioned Bořek Šípek to be the architect of post-communism Prague Castle's necessary improvements, in particular of the facelift of the castle's gallery of paintings.

 

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