Didn’t Charles IV want Prague to rival Rome? The Church of the Assumption of the Virgin Mary and St. Charles the Great stands as proof. It reflects his grand vision. Let’s delve into its history. It is full of imperial ambition and architectural innovation.
This church, Kostel Nanebevzetí Panny Marie a sv. Václava, wasn’t just another religious building. Charles IV founded it as part of the New Town’s development. He wanted Prague to match its new role as the Holy Roman Empire’s capital. This church was central to that ambition.
Look at its shape. The octagonal floor plan is unusual for Gothic architecture. It mirrors the Aachen Cathedral. That cathedral was the heart of Charles the Great’s imperial palace. This design choice was no accident. It linked Prague directly to the Roman Empire’s legacy.
The Church of the Assumption of the Virgin Mary and St. Charles the Great’s dedication is significant too. It honors St. Mary and Charles the Great. Charles IV even gave the church three teeth of Charles the Great. These relics underscored the church’s importance.
Construction began in 1351. Matthias of Arras and his workshop were involved. You can see similar stylistic features to St. Vitus Cathedral. Archbishop Jan Očko of Vlašim consecrated the church in 1377. Charles IV and his son Wenceslaus IV attended. But construction wasn’t finished. The convent took much longer to build.
During the Hussite Wars, the church and convent suffered damage. They were abandoned. In 1498, after reconstruction, the church was reconsecrated. Hans Spiess designed the vaulting. Two stained-glass windows date from 1502–1505. These are remarkable.
In 1575, the church was revaulted. A dome with pseudo-Gothic ribs was added. Bonifác Wolmut designed this vault. Lightning and fire damaged the convent buildings in 1603. The church was renovated and recovered with a new roof.
In 1676, the Mariazell Chapel was erected. Bernard Ignác Jan z Martinic sponsored it. Giovanni Domenico Orsi designed it. The chapel no longer exists. Orsi also created the Baroque decoration of the church’s interior rooms.
The convent became a pilgrimage destination in the early 18th century. The Holy Steps were built after 1704. They were modeled on the Archbasilica of St. John Lateran in Rome. Jan Santini Aichel may have designed them. Beneath the Holy Steps, Bethlehem Cave of the Nativity Chapel was constructed. It featured trompe-l’œil stucco work.
The interior changed between 1735 and 1740. A new gallery was installed. Bedřich Semerád installed a new organ. František Maxmilián Kaňka built the choir and side galleries. The Mariazell Chapel was destroyed. New pulpit, oratories and altars were added.
A fire damaged the convent on April 22, 1755. The roofs were renovated in 1756. In 1785, Josef II turned the convent into a hospital. A substantial Gothic revival was intended in 1871–1873. It was only partially executed.
The Church of the Assumption of the Virgin Mary and St. Charles the Great’s octagonal nave has late Gothic brick vaulting. Stone ribs create a star figure. The polygonal presbytery has a Gothic rib-supported vault. It is 22.8 meters wide. A bell tower stands next to the nave. External Gothic piers reinforce the church. A cornice girds the building. The nave, presbytery and tower have Baroque cupola-shaped roofs.
The hall and Holy Steps building are Baroque. The windows resemble Late Gothic curtain-shaped windows. Structural Gothic elements prove Jan Santini Aichel’s authorship. Expressive cornices and concave arches create rhythm.
Inside the Church of the Assumption of the Virgin Mary and St. Charles the Great, Baroque stucco and furniture decorate the space. Jan Jiří Heinsch painted several altar paintings. The main altar is Neogothic from 1872. The window traceries are also Neogothic.
Five New Town churches form a regular cross. The Church of the Assumption of the Virgin Mary and St. Charles the Great is on the east-west axis. It connects with the Church of the Virgin Mary on Slovany.
The Church of the Assumption of the Virgin Mary and St. Charles the Great is more than a building. It embodies Charles IV’s vision. It shows Prague’s ambition to rival the great cities of Europe. Take a moment to appreciate the history. Admire the architecture. Remember the emperor who dreamed big.