Hello, dear travellers and history lovers! Today we are going to take you on a journey straight to the heart of Wrocław, to the magical Ostrów Tumski, where the city’s most precious jewel – the Cathedral of St. John the Baptist – shines like a crown. It is much more than just a temple, it is a living book in which more than a thousand years of Silesian history have been written. The current cathedral in Wrocław, a majestic Gothic building, is of course the place where masses and services are regularly held, and the numerous positive opinions of visitors confirm its extraordinary atmosphere. It is also a real treasure trove of fascinating curiosities, works of art and touching stories.

The Wrocław Cathedral invites you to discover its secrets, from its cellars to the very top of the observation tower, which offers a panorama you will not see anywhere else. Prepare yourself for a tale of power, destruction and rebirth that will perhaps change your view of this unique place forever. Take a tour and learn more about the history behind the Cathedral of St John the Baptist in Wrocław.

The turbulent history of the mother church of Silesia

The history of Wrocław Cathedral is as complicated and fascinating as the history of Wrocław itself. Called the mother of Silesian churches, it has witnessed the birth of the Piasts’ power, wars, fires and political turmoil. Each of these eras left its own imprint on its walls, creating an architectural and historical palimpsest that we can admire today.

From the Brave to Walter of Malonne, or the Romanesque beginnings

The first cathedral church in Wrocław, with John the Baptist as its patron saint, was built on this site as early as around 1000 on the initiative of Bolesław Chrobry himself, as a symbol of the newly established Bishopric of Wrocław, which had acquired the rank of archbishopric. This pre-Romanesque basilica unfortunately did not stand the test of time, being destroyed during the invasion of the Czech prince Bretislav. The work of reconstruction was undertaken by Casimir the Restorer, on whose initiative a new stone cathedral was erected in the 11th century. However, this was not the end of the changes. In 1158, Bishop Walter of Malonne, a native of what is now Belgium, began the construction of an even more impressive Romanesque church. Its construction was essentially a reworking of its predecessor – the walls were thickened and new towers were erected on the west side. Interestingly, its architecture bore a strong resemblance to that of Plock Cathedral, which had been built by the bishop’s brother, Alexander of Malonne. The solemn consecration of this Romanesque building, known as Walter’s Cathedral, was carried out in 1180 by Bishop Gyroslav II. To this day, the few surviving fragments of this building from that period can be admired in the Archdiocesan Museum.

A Gothic pearl, or a time of great construction

The real architectural revolution came with the Gothic period. Between 1244 and 1272, Bishop Thomas I began an ambitious expansion of the cathedral from the east, building a new, soaring chancel with an ambulatory. This was in fact the beginning of the construction of the church we know today. Around 1315, Bishop Henry of Wierzbno initiated the construction of a new Gothic nave. The work was continued by his successors, first Bishop Nanker and then Przecław of Pogorzela, who brought the construction of the nave to a successful conclusion around 1349. And it was Bishop Przecław who also founded one of the most beautiful works of Silesian Gothic – St. Mary’s Chapel, a masterpiece by the master craftsman Pieszka, built in 1354-1368.

Renaissance detail and Baroque splendour

The following centuries brought further changes to the appearance of the cathedral. The Renaissance made its presence felt in a subtle but extremely important way. In 1517, Bishop John Turzo funded a new portal leading to the sacristy. This work, in pure Renaissance style and resplendent in its harmony and precision, is regarded as one of the first architectural features of its kind in the whole of Silesia. The turmoil of the war with the Swedes was followed by the Baroque period, which brought an air of splendour and theatricality to the austere Gothic walls. It was then, mainly in the 17th and 18th centuries, that a wreath of splendid, richly decorated chapels was added to the body of the church, which we will describe in a moment.

Testing times: fires, wars and the catastrophe of 1945

The history of St John the Baptist Cathedral in Wrocław is not only a time of construction, but also of dramatic destruction. In 1540, a great fire consumed the roof, the bells and the Renaissance tower helmet. Another blow was dealt by the battles of the imperial army against the Swedes and the Saxon-Brandenburg army in 1633, when the south tower and part of the roof burned down. But the biggest disaster came at the end of the Second World War, in 1945, during the siege of Festung Breslau by the Red Army. In the spring, as a result of bombing and fires, the church was 70 per cent destroyed. The roof and the helmets of the towers were ruined, the vaults of the nave collapsed, the priceless historic organ burned down, and most of the paintings and the valuable Baroque stalls were destroyed. It really could have seemed like the end of the thousand-year history of the mother of Silesian churches.

A phoenix from the ashes – post-war reconstruction and today’s appearance

And yet, like a phoenix, the Wrocław cathedral has risen from the ashes. The titanic effort of reconstruction was carried out under the direction of architect Marcin Bukowski, and the whole work lasted until 1951. It was then that the Primate of Poland, Cardinal Stefan Wyszyński, rededicated the Archcathedral. The ruined interior was filled with treasures salvaged from other Silesian churches. A magnificent late Gothic altar in the form of a pentaptych was brought from Lubin and became the main altar for many years. The magnificent Baroque stalls were brought from the demolished St Vincent’s Church. The surviving parts of the gigantic Sauer organ came here from the Centennial Hall. From Międzylesie came the miraculous image of the Virgin Mary, now known as Madonna Sobieska, crowned by Pope John Paul II during his pilgrimage in 1997. The final chord of the reconstruction was the setting of new, slender helmets on the towers. The design, whose style referred to the Gothic form, was proposed by Prof. Edmund Małachowicz. It was approved by Cardinal Henryk Gulbinowicz, and the work was undertaken by the then provost of Wrocław Cathedral, Father Adam Drwięga. The new helmets on the towers were installed in the 1990s, restoring the cathedral to its historic, soaring silhouette, although some say they are too ‘sharp’, I personally like them very much.

An architectural journey through the centuries

Entering Wrocław Cathedral is like a journey through time. Each step reveals successive layers of history, and architectural styles intertwine to create a harmonious, albeit diverse, whole. From the outside, the Cathedral of St John the Baptist in Wrocław presents itself as a classical, three-nave oriented Gothic basilica, with a chancel plan facing east. Its length is an impressive 98 metres, width 44.5 metres, and the overall height of Wrocław Cathedral, counting to the top of the helmets, makes it the tallest church in the city. The mighty body is crowned by two western towers 97 metres high. Look closely at the roofs – the side aisles and choir are covered with mono-pitched roofs, and the eastern turrets with steep hipped roofs, all covered with copper sheeting. In the roof slopes of the nave you will notice three dormers each, i.e. small windows providing light to the attic, reconstructed in the 1970s.

The interior, on the other hand, intimidates with its soaring and play of light. The nave is clearly separated from the chancel by a massive rainbow arch, a reminder of the earlier Romanesque transept. The inner facade of the nave is divided into two storeys and the wide cornice adds to its horizontal character. It is hard to believe that until the 16th century the nave was separated from the chancel by a brick lectorium, which was later demolished, opening up the perspective to the altar. After the war, a new organ gallery was built in the west side of the nave. The whole gives an impression of unusual lightness and verticality, typical of mature cathedral Gothic. The devil is in the details, and there is no shortage of these in the cathedral. Look up! The choir is vaulted with three beautiful hexagonal vaults, and the surrounding ambulatory (ambit) with cross-ribbed vaults. Be sure to find the aforementioned Renaissance portal leading from the southern part of the ambit to the sacristy – a true gem of stonework. It is also worth remembering that the vaults of Wrocław Cathedral hide the oldest fragments of its Romanesque predecessors and the burial crypts of bishops. Also note the consoles supporting the servants. These, with their simple, geometrised form, date from the renovation carried out in the 1930s by Günther Grundmann, who removed the neo-Gothic polychromes and cornices from the interior, aiming to “purify” the Gothic form.

Wreath of chapels – pantheon of bishops and Silesian families

The Cathedral of St John the Baptist in Wrocław is surrounded by a wreath of thirteen chapels, which adorn its body like precious jewels. They were built over the centuries, from the Gothic to the Baroque, serving as private places of prayer and, above all, as mausoleums of the powerful Wrocław bishops and Silesian families. It is a true pantheon where history meets art. In the words of a guide friend of mine from Wrocław, “each of these chapels is a separate chapter in the history of Silesia”.

The Gothic St. Mary’s Chapel and the Baroque splendour of the Chapel of St. Elizabeth and the Elector’s Chapel

Situated on the axis of the cathedral, behind the presbytery, St Mary’s Chapel is the most valuable of the Gothic chapels. Founded by Bishop Przecław of Pogorzela and designed by the mason Pieszka, it is an exemplary example of Silesian Gothic architecture. It features a monumental tombstone of the founder and the tombstone of Bishop Jan IV Roth – an outstanding work by the Nuremberg master Peter Vischer the Elder from 1503. The central place in the altarpiece is occupied by a copy of the image of Our Lady of Czestochowa. The two largest chapels, on the other hand, are true pearls of the Baroque, whose form and opulence were to rival the royal chapels at Wawel.

• The Chapel of St Elisabeth (1682-1700), adjacent to the south-east tower, was founded by Cardinal Frederick of Hesse, a descendant of St Elisabeth. Its designer was the Italian architect Giacomo Scianzi. The interior is decorated with frescoes by Andrzej Kowalski, depicting scenes from the life of the patroness, and above the entrance is a marble bust of the founder, from the famous workshop of Gianlorenzo Bernini.
• The Electoral (Corpus Christi) Chapel (1716-1724), by the north-east tower, is the mausoleum of Bishop Franz Ludwig von Pfalz-Neuburg, who was also Elector of the Reich. It was designed by one of the most eminent architects of the period, the Viennese Johann Bernhard Fischer von Erlach. The painting decorations were done by Carlo Carlone and the sculptures by Ferdinand Maximilian Brokoff. Maria Kazimiera Sobieska, granddaughter of King John III Sobieski, is also buried in the chapel.

The facades of both of these magnificent chapels were restored in 1997, just before the International Eucharistic Congress in Wrocław. Each of the other chapels also conceals its own history. The chapel of St John the Baptist, dating from 1408, was converted into the Renaissance mausoleum of Bishop John Turzon. The Gothic Chapel of St. Casimir contains epitaphs of post-war church hierarchs, including Cardinal Bolesław Kominek, Bishop Wincenty Urban and Fr. infulat Karol Milik. The Baroque Chapel of the Saviour, today used as the Chapel of the Blessed Sacrament, was commissioned by Canon Johann Jacob Brunetti. In turn, the Chapel of the Dead (or Resurrection), dating from 1749, was founded by the dean of the chapter, Christopher Runnerch. There are also numerous plaques on the walls of the cathedral and chapels, commemorating, among others, the soldiers of the Home Army from the Lviv and Vilnius districts, the victims of the murder of Lviv professors in the Black Forest in 1941, as well as Frederic Chopin and the Solidarity Trade Union.

Treasures of the interior of the Wrocław Parish Church

The interior of the cathedral is a true gallery of sacred art. Although many priceless works of art were destroyed by the war, thanks to post-war reconstruction and the importation of relics from other churches in Lower Silesia, today we can again admire exceptional treasures here. It is worth a visit to see these extraordinary works.

The main altar and unique stalls

The history of the main altar is highly symbolic. Before the war, the presbytery of Wrocław Cathedral was decorated with a Mannerist silver figurative altar, founded in 1591 by Bishop Andreas Jerin and made by the Wrocław master Paul Nitsch. Unfortunately, this masterpiece was partially destroyed in 1945. After the war, its place was taken by the monumental late Gothic altarpiece “Dormition of the Virgin Mary” from 1522. This magnificent pentaptych came from the church in Lubin. For decades it was the main altar of the rebuilt cathedral, but eventually, in historical justice, it returned and can now be admired in the Collegiate Church of the Holy Cross and St Bartholomew on Ostrów Tumski. And what about the stalls? One of the most valuable elements of the chancel furnishings are the magnificent Baroque stalls. These intricately carved benches for the canons were created between 1662 and 1665 by Franz Mots and Franz Zeller. They were originally located in St Vincent’s Church, which now serves as the Greek Catholic Cathedral. Moved to the Archcathedral after the war, they are one of the finest examples of Baroque woodcarving in Silesia.

Post-war stained glass and other valuable memorabilia

All the original stained-glass windows were destroyed during the siege of Wrocław. The ones we can admire today were created after the war and are the work of prominent Polish artists. They were designed by Zygmunt Acedański, Irena Nowakowska-Acedańska, Stanisław Pękalski and Antoni Michalak, among others. Their works, although modern in form, blend perfectly with the Gothic architecture. Among the cathedral’s many treasures, the painting of the Virgin Mary, known as the Madonna of Sobieska or Międzyleska, deserves special attention. It is a work by an unknown artist from the Prague circle, which came to Wrocław from Międzylesie after the war. The painting is famous for the fact that Our Lady seems to follow the viewer with her eyes. Another unique monument is the Baroque Sun Monstrance from 1672, made by the Wroclaw goldsmith Jakub Hedelhofer, a masterpiece of goldsmith art from silver, decorated with gold and precious stones.

A royal instrument – the history of the cathedral organ

The organ at Wrocław Cathedral is a legendary instrument. Its powerful sound fills the entire sanctuary, and its history is as turbulent as the history of the church itself. When I recently had the opportunity to listen to them at a concert, I had the impression that the entire cathedral walls were trembling – something truly amazing. As a result, today the organ at the Cathedral of St John the Baptist in Wrocław is the largest instrument of its kind in Poland, a true king of instruments.

The extraordinary fate of the Sauer instrument

The history of this organ begins in 1913 in the Centennial Hall. It was for it that the famous Wilhelm Sauer company from Frankfurt (Oder) built a monumental instrument with 200 voices (later extended to 222). The disposition was designed by Prof. Karl Straube of Leipzig. After the war, the instrument, devastated by Soviet soldiers, was saved thanks to the efforts of the organist Władysław Oćwieja and the archdiocesan administrator, Fr Kazimierz Lagosz. Parts of the organ were first moved to St Dorothy’s Church, and then it was decided to install it in the cathedral which was being rebuilt.

A symphony of voices, or the disposition of the largest organ in Poland

The construction of the organ in the cathedral was entrusted to the Biernacki company from Kraków. The organ prospectus, i.e. the visible, decorative case, was designed by the conservator Aleksander Krzywobłocki. The first stage of work was completed in 1951, and the instrument was finally consecrated on 28 September 1952. In the following years, the organ was expanded, among other things with language voices imported from Paris. Today, the entire instrument has 151 real voices, comprising 13,207 pipes. The main instrument in the west gallery has 124 voices, and the 27-voice choir organ is located in the chancel loft. The disposition of this giant is a veritable symphony of sound possibilities, comprising sections:

• Manual I (Hauptwerk): including Principal 16′, Octave 4′, Mixtur 4-5f., Trompete 8′
• Manual II (Positiv): among others, Quintaton 16′ Traversflöte 8′, Dolce 4′, Englisch Horn 8′
• Pedal III (Schwellwerk): i.a. Nachthorn 16′, Vox coelestis 8′, Nasat 2 2/3′, Vox Humana 8′
• Manuał IV (Oberwerk): among others Principal 8′, Gross Mixtur 4-5f., Trompet 16′, Oboe 8′
• Manual V (Fernwerk – choir organ): inter alia Bourdon 16′, Viola d’amore 8′, Acuta 4f., Principal 8′
• Pedal: inter alia Principal 32′, Contrabaß 16′, Oktavbaß 8′, Posaune 16′, Bombarde 16′

Such a complex instrument requires constant care. After the renovation in 1989 by the Broszek brothers’ company, another general overhaul became necessary after years of use. On 1 March 2024, the cathedral’s provost, Rev. Paweł Cembrowicz, signed a contract for the comprehensive renovation of the organ with a consortium led by the renowned Zych Organ Works company. As a result, the royal instrument will regain its full splendour.

Mysteries and legends enchanted in stone

Wrocław Cathedral is not only history and art, but also a place full of mysteries and legends. Hidden within its walls and towers are stories that have stirred the imagination for centuries. Is there a grain of truth in all of them? It is hard to say, but they certainly add colour to the place.

A stone head and the oldest matzeva in Poland

Take a close look at the south wall of the north-west tower. Among the stone cuts, you will notice a man’s stone face frozen in horror. Legend has it that it belonged to the apprentice Henry, who worked in the workshop of the rich goldsmith Francis. The young man fell in love with the master’s beautiful daughter Barbara, but his advances were rejected. In an act of revenge, he set fire to his beloved’s house and watched the fire from the window of the cathedral tower. Then a miracle happened – the walls tightened around the arsonist, imprisoning his head for eternity as a warning. Another tale mentions a mysterious white flower from Breslau Cathedral that was said to bloom on the grave of an innocently condemned person as proof of his purity. A much more unusual trace of Wrocław’s multicultural history is a fragment of a matzeva, or Jewish tombstone, built into the wall. It belonged to David, son of Sar Shalom, who died in August 1203, probably the cantor of the Wrocław Jewish community. Built into the wall, probably as ordinary building material, it is today the oldest surviving Jewish tombstone in the Polish lands.

The voice of the bells and the memory of the founders

In the south tower of the cathedral hang four huge cast-steel bells. Interestingly, they do not come from Wrocław – they were cast in 1921 and originally hung from the tower of the Holy Trinity Church in Luban. Each bears the inscription LAUBAN 1921 and a quotation from Scripture. The largest bell cries out with the words of Psalm 130: ‘Out of the depths I cry to Thee, O Lord’. Others bear verses from Psalms 103 and 90 and from the Gospel according to St Matthew. Their powerful voice, together with that of the other bells, resounds over the Cathedral Island. Many bishops and the mighty funded chapels and altars to ensure their salvation and eternal memory. Archbishop Andreas Jerin, the founder of the magnificent silver altar, was the one who took special care of this. His image can be found in the cathedral in several places: as one of the figures in the altar paintings, on the medallion, and there is also a bust of him in the chancel. This is evidence of how important it was for the founders not only to glorify God, but also to leave a lasting mark on the earth.

Planning a visit to the cathedral? Some practical tips

A visit to the Archcathedral is a must when visiting Wrocław. To make your planning easier, we have put together some practical tips.

How to get to Ostrów Tumski by car and parking

Access by car to the immediate vicinity of the cathedral is possible from Wyszyńskiego and Świętokrzyska streets. However, Ostrów Tumski is a limited traffic zone, so it is most convenient to leave your car in one of the nearby car parks, although it must be admitted that finding a free space in high season can be a challenge. Parking spaces can be found, among others, at pl:

• at Bema Square and Mieszka I Street,
• at Katedralny Square (paid car park),
• near Hala Targowa and pl. Nankier, where you will pass another important church on your way – the Gothic Cathedral of St. Mary Magdalene,
• by the Academy of Fine Arts building on Purkyniego Street,
• under pl. Nowy Targ (large underground car park).

The nearest public transport stops are “Katedra” (trams 6, 8, 9, 11, 17, 23) on Katedralna Street and “Hala Targowa” (buses A, 128). Tickets of MPK Wrocław can be purchased from vending machines at the stops or in the vehicles, paying by card.

Tours of the cathedral, observation tower and masses

Tours of the cathedral itself are free of charge and possible outside of mass and service times. Opening times for tourists may change, so it is worth checking them just before your visit by looking at the parish website, where up-to-date parish announcements are published. However, there is a fee to take the lift to the viewing terrace on the north tower, which is a fantastic vantage point. The current price list and ticket prices are available at the tower entrance. Reduced tickets are available for children, young people under 25 and seniors over 60. Children under 6 years of age enter for free. Remember that in the event of a thunderstorm or strong wind, the observation deck on the tower of Wrocław’s John the Baptist Cathedral is closed. And if you want to fully experience the atmosphere of the place, it’s worth attending mass. Wrocław Cathedral is first and foremost a living church. Several Masses are held here every day, and there are many more on Sundays and holidays; the exact Mass schedule for Sundays and weekdays is always included in the cathedral announcements. For those who cannot attend the liturgy in person, the parish often provides live streaming of the most important services. It is also worth knowing that confessions are heard almost throughout the day at Wrocław Cathedral. Any detailed information, including Mass intentions or formalities, can be obtained from the parish office.

St John the Baptist Cathedral is much more than just a monument. It is a symbol of Wrocław – a city that, like its cathedral, has risen repeatedly from its ruins to shine even brighter. It is a place where a thousand years of history is intertwined with daily prayer, and its majestic architecture is the backdrop to the most important events in the life of the city and the region. It is a monument to the faith of the generations who built and rebuilt it, and a testament to the extraordinary multicultural heritage of Lower Silesia. Whether you are looking for historical traces, architectural pearls, artistic experiences or spiritual tranquillity, Wrocław Cathedral, the Church of St John the Baptist, will certainly not disappoint you and will remain in your memory for a long time.