The Olomouc Cathedral

Olomouc is a historic city in the eastern Czech Republic, located in the Moravian region. Its well-preserved old town centers around the Lower Square (Dolní náměstí) and the Upper Square (Horní náměstí). The city’s origins trace back to the 10th century as a fortified settlement and later became the capital of Moravia. By the 11th century, Olomouc had become the seat of the Bishopric, marked by the consecration of St. Wenceslas Church, which later became the Olouc Cathedral in 1777 when the diocese was elevated to an archbishopric.

Olomouc flourished during the 14th and 15th centuries, despite the challenges of the Hussite Wars. Its strategic location on trade routes fostered commerce, creating a thriving market that attracted merchants. This wealth, along with the influence of the ruling elite, led to the construction of significant architectural landmarks. In the late Middle Ages, Olomouc emerged as well as a cultural and educational center, with the Jesuit College, which later became the University of Olomouc. The Thirty Years’ War saw Olomouc occupied by the Swedish army from 1642 to 1650, significantly impacting the city. Later on, the Baroque era brought reconstruction and the creation of landmarks, such as the Holy Trinity Column, built between 1716 and 1754 in response to a plague. Many of Olomouc’s churches, including the Gothic Cathedral of Saint Wenceslas, underwent various architectural transformations and feature opulent Baroque designs.

The city’s development was significantly influenced by the financial contributions and political influence of the Liechtenstein and Dietrichstein families. The House of Liechtenstein, one of Europe’s oldest noble families, funded numerous architectural projects in Olomouc to demonstrate their power and piety. The Dietrichstein family, originating from Austria, also played a pivotal role in the city’s development. Cardinal Franz von Dietrichstein, the most notable family member, served as the Bishop of Olomouc from 1599 to 1636. His tenure was marked by vigorous Counter-Reformation efforts, including the establishment of Jesuit institutions in the city and the construction of Baroque religious edifices, such as the Church of St. Michael.

Today, Olomouc is known for its historical city, with the votive columns, baroque fountains, churches and a prominent astronomical clock decorating the Town Hall, highlighting its rich historical and architectural heritage.

The Cathedral of Olomouc is located in its historical center. It is dedicated to Saint Wenceslas, who is a patron saint of Bohemia and a symbol of Czech statehood.  Wenceslas was the Duke of Bohemia from 921 until his assassination in 935. Wenceslas was a devout Christian who promoted the building of churches and was widely regarded as a benevolent leader. He was assassinated by his brother, who unlike Wenceslas had seen the Christian religion rather as a way to extend his political powers. The Olomouc Cathedral, also known as St. Wenceslas Cathedral, traces its origins back to the early 12th century. Founded around 1107 by Prince Svatopluk of the Přemyslid dynasty, the church was established to create a new bishopric center in Olomouc, underscoring the city’s burgeoning significance within the Moravian territory. At the time, Moravia was under the influence of the Holy Roman Empire, which played a crucial role in the region’s religious and cultural development. The cathedral was consecrated in 1131 and initially constructed in the Romanesque style.

The Olomouc Cathedral suffered significant damage due to fires in 1204 and 1266. These disasters necessitated substantial reconstruction efforts, which were undertaken at the behest of Bishop Bruno of Schaumburg. The decision to rebuild the cathedral in the High Gothic style was indicative of the architectural evolution occurring across Europe. The current Gothic structure dates mainly from the 13th century. However, if you look closely at the current cathedral facade on its left-hand side, you will notice a small building connecting the cathedral with the adjacent buildings. This is the remainder of the old Romanesque cathedral.

The presbytery dates from 1617-1618. In 1803, after a lightning strike, all three original towers were destroyed and replaced by a single central tower in a Classicist style. From 1883 to 1892, the cathedral underwent a Neo-Gothic renovation, adding two 68-meter front towers, three Neo-Gothic portals with tympanums, the Chapel of Saints Cyril and Methodius on the north side, and a 100.65-meter main tower on the south side of the presbytery, reinforced by six pillars with Gothic windows. In modern times, the cathedral was carefully restored between 2004 and 2007.


The Olomouc Cathedral as you approach it, enter it, get closer and closer to the apse and the main altar (closed behind bars so you can only make close ups) and trun around to see the Cathedrals’ exit.

The Olomouc Cathedral houses significant relics of Saint John Sarkander, a prominent figure in the history of the Roman Catholic Church in Moravia. John Sarkander was a Catholic priest who became a martyr during the Thirty Years’ War. During the conflict between Protestant and Catholic forces, Sarkander was accused of conspiring with the enemy and was subsequently arrested. Despite enduring severe torture, he refused to divulge confessional secrets, ultimately leading to his death in 1620. The relics are kept in a chest displayed prominently in the main nave on the right-hand side, enclosed within a protective glass box. Atop the glass box stands a statue of Saint John Sarkander. The site where John Sarkander was tortured to death is commemorated by a chapel devoted to his name. 

The statue and the relics od Saint Johan Sarkander in the Olomouc Cathedral.

Below details of the Olomouc Cathedral interior.

The Olomouc Cathedral

St. John Sarkander Chapel in Olomouc

When I went on a brief business trip to the Czech city of Olomouc last year, I didn’t expect that I would take so many photos in the short breaks between meetings. The weather was favorable, albeit very hot. Olomouc captivates with its baroque architecture, evident in several churches and chapels around the old town, as well as in votive columns and fountains. I photographed one such chapel just before our return home, but I did not have time to read about it. It is a beautiful small baroque chapel located in a narrow street leading to the Upper Square. The chapel is dedicated to Saint John Sarkander and is built on the site where St. John Sarkander was imprisoned and tortured to death in 1620. The chapel is open to visitors, but its interior can only be viewed through a grate.

The John Sarkander chapel was erected in the early 18th century (between 1708 and 1710) to honor Sarkander’s martyrdom and is located near the former city walls, precisely at the spot of the former prison. Its architecture and interior decoration reflect the baroque style, characterized by elaborate ornamentation. Inside the chapel, there is an altar with a depiction of Sarkander’s torture, and the crypt houses a glass coffin containing a wax figure of the saint, surrounded by relics and artifacts associated with his life and death.

John Sarkander (1576–1620) was a Moravian priest who became a notable figure in the history of the Catholic Church, especially within the Czech Republic and Poland, for his steadfast adherence to the seal of confession and his subsequent martyrdom. Born in Skoczow, Poland, after his ordination in 1607, he served in several parishes. His life took a dramatic turn in 1618, following the outbreak of the Thirty Years’ War. In 1620, after the death of his wife, he moved to Moravia and served in the parish of Holesov. Sarkander was accused by some members of the Protestant community of conspiring with Catholic forces. The accusations were largely based on his interactions with a Catholic army that had passed through the area, but the primary charge against him was his refusal to break the seal of confession when pressured to reveal the confessions of those involved in anti-Habsburg activities. Sarkander was imprisoned in Olomouc, where he was subjected to severe torture. Despite this, he refused to divulge any information he had received during confession, upholding the confidentiality that is central to the Catholic understanding of the sacrament. He died from his injuries on March 17, 1620, without having been convicted of any crime. Sarkander was beatified in 1859 and canonized a saint by Pope John Paul II in 1995.

St. John Sarkander Chapel in Olomouc

Votive Columns of Olomouc. Baroque Landmarks in the Heart of Czechia

While travelling, you sometimes come across things that seem obvious because you’ve seen something similar somewhere before. However, it’s only when you’re back home and want to find additional information by looking at photos that you discover the item has its own symbolism and was a widely practiced tradition. This is especially true when your last history lesson was a very long time ago. This year in Olomouc (Czechia), I took a closer look at the tradition of erecting votive columns.

Votive columns, also known as votive pillars, are religious or symbolic structures that are erected as an expression of gratitude or devotion to a deity or higher power. These columns are typically set up to commemorate a vow or to give thanks for a favor granted, a prayer answered, or a miracle received. The tradition of erecting votive columns has ancient roots and can be found in various cultures and religions around the world. The votive columns themselves vary widely in design and construction. They can range from simple wooden or stone pillars to more elaborate structures adorned with carvings, inscriptions, or religious symbols. In some cases, votive columns may be placed in or near religious sites, such as temples, churches, or shrines. While the specific practices and customs associated with votive columns may vary across cultures and religions, the underlying theme remains a desire to express gratitude and devotion through the creation of a physical structure dedicated to the divine.

In Europe, Marian columns and Holy Trinity columns are distinct forms of religious monuments that flourished in Catholic countries, particularly during the 17th and 18th centuries. While both share the columnar structure and serve as expressions of faith, they have different emphases in terms of symbolism and purpose.

Marian columns, also known as plague columns, are religious monuments depicting the Virgin Mary at the top. They were often erected in response to the devastating impact of plagues as a gesture of thanksgiving for the end of the plague and as a means of seeking solace and divine protection. The Virgin Mary atop these columns symbolizes hope, intercession, and divine intervention during times of crisis.

Holy Trinity columns, while sharing the columnar structure with Marian columns, serve a broader purpose. They are erected to celebrate the Christian faith and the church, emphasizing the Holy Trinity – Father, Son, and Holy Spirit. Holy Trinity columns are manifestations of public faith, affirming the importance of religious devotion in the community.

Examples of both a Marian Column and a Holy Trinity Column may be found in the Czech city of Olomouc.

Located at the Lower Square (Dolní náměstí) in Olomouc, the Virgin Mary Column was built between 1716 and 1720. It was erected in gratitude for the protection of the city during the plague. In the 18th century, Olomouc, like many other European cities, faced several devastating plagues. One notable epidemic was the plague that struck in 1713. This outbreak was part of a larger pandemic known as the Great Northern War plague, which occurred during the conflict between the Northern European powers. The column features a statue of the Virgin Mary on a Corinthian column.

Following the construction of Virgin Mary Column, a much bigger and elaborate column was errected in the Upper Square (Horní náměstí). The Holy Trinity Column was built between 1716 and 1754 not only as an expression of gratitude for the end of the epidemic, but also as a broader expression of religious faith and gratitude within the context of the Counter-Reformation — a period marked by efforts to strengthen Catholicism in response to the Protestant Reformation.

The column is an elaborate Baroque structure designed by the architect Wenzel Render and the sculptor Ondřej Zahner. At its zenith, the column boasts gilded copper sculptures of the Holy Trinity, presided over by the Archangel Gabriel, with the poignant scene of the Assumption of the Virgin beneath.

The base of the column unfolds in three levels, each intricately decorated with statues and reliefs of saints deeply rooted in regional religious heritage. The uppermost level features figures connected to the earthly life of Jesus: Saint Anne, Saint Joachim, Saint Joseph, and Saint John the Baptist, accompanied by Saint Lawrence and Saint Jerome, patrons of the Olomouc town hall chapel. The second tier focuses on saints significant to Moravia and Bohemia, including Saints Cyril and Methodius, pioneers of Christianity in Great Moravia, as well as Saint Blaise, Saint Adalbert of Prague, and Saint John of Nepomuk, prominent figures in Czech Catholic tradition. The lowest level introduces Saint Maurice (patron of Austria), Saint Wenceslas (patron of Bohemia), Saint Florian (protector against disasters), and Saint John of Capistrano, a Franciscan preacher who once spoke in Olomouc. It concludes with Saint Anthony of Padua, linked to the city’s Franciscan monastery, and Saint Aloysius Gonzaga, the patron of students — a reflection of Olomouc’s academic legacy.

Seeing both columns in Olomouc — the more modest Virgin Mary Column and the grand Holy Trinity Column — helped me notice something I might have overlooked before. These monuments aren’t just decorative relics from the past; they reflect how people once turned to faith during times of crisis, and how entire communities expressed hope, gratitude, and identity in public space.

I’ve probably walked past similar columns in other cities without giving them much thought. But after taking the time to learn more here, I know I’ll look at them differently the next time I come across one — not just as historical objects, but as part of a larger, living tradition that still leaves a mark on the places we visit.

Votive Columns of Olomouc. Baroque Landmarks in the Heart of Czechia