Kostel svatého Jiljí (Bystřice pod Hostýnem) Church

Holy Church Jilji is a single-boat temple on the Masaryk Square in Bystřice under the Hostín. Protected as a cultural monument, it represents an important part of the region's religious and architectural heritage.

In the place of today's church, according to records, there was a temple with a cemetery since 1368. In 1545, the new cemetery was moved outside the city, but the old one continued to be used including a church with a crypt. Around 1584, the remnants of Prusinovsky of Víckov, the Knight of the Order of God's Grave, were placed in this crypt.

The Baroque church we know today had the last male offspring built by a significant Rottal family, Count František Antonín z Rottalu (1717-1767). The construction was commissioned by the Holeshov builder and sculptor Tomáš Štturm. The temple reaches remarkable dimensions: the length is 41.5 metres, the width is 16.8 metres, the total height with the tower and the cross is 56 metres. The inner vault space prepares the experience to a height of 24 meters. The church has eight glazed windows, the walls are over three feet thick. Originally, the chapel of the Holy Cross came to him from the outside; The roof was covered with shingles.

The inner furnishings of the church tell him about his importance and the care he was given. The marble baptismal at the priesthood dates back to 1758, and there is also a very old stone baptismal at the entrance - both are protected as monuments. The main altar carries in its present form the picture of Madonna, which is a copy of the last work of Dr František Ondrúšek. Behind him is a great painting of St. Gilji from the desire of painter Jan Hofer (1786-1864). Above it is the family coat of arms of John James Leonard della Rovery, Count of Monte l'Abbate, who married Mary Amalia, daughter of František Antonín of Rottal. At their initiative, the church was a church. Jilji gradually repaired and supplemented. The creation of five by-altars can be dated to the second half of the 18th century: the altar of St. Tekla (1751), St. Florian (1768), St. Barbara (1778), and then St. John Nepomuk with the altar of St. Joseph (both 1781).

The spiritual interior of the church was enriched by a painting designed by Jano Köhler (1873- 1941) in the 1920s and 1930s, a famous author of the mosaic paintings of the cross road with chapel at the Holy Guesthouse. From his fresco preserved the ceiling painting of Christ the King on the victorious central arch and other figures - St. Wenceslas at the baptism, St. John Sarkander, Cyril and Methodius, Klement Hoffbauer in the priesthood, and St. Francis of Assisi, St. Elizabeth Durynská and St. Anežka Czech. The original painting was carried out by Byster painter Jan Ježek (1879- 1960), from which the fresco of St. Ludmila originated on the right above the side entrance. All the carving works, including wooden benches, were created by the master workshop of the Byštík carver Josef Jahoda (1881- 1960).

The organ with Baroque decoration was installed on the bark in 1756. It is completely rebuilt in 1840 under the Loudons. The latest modifications were made by Rieger-Kloss of Krnov at the time of World War II and were finally completed in 1945.

The history of church bells speaks of his destiny in the 20th century. Originally there were four bells in Bystřice: St. Jilje (1094 kg), St. John Nepomucký (429 kg), the bell on the Mount of Olivet (692 kg) and the small St. Michal (31 kg), the cemetery bell in the chapel of St. Lawrence. In 1917, they were all seized for war purposes. In 1921, thanks to the public collection of the shell were two new bells: Arnešt (large, tuned to Gis, named after the benefactor Count Arnešt Loudon) and Václav (smaller, H, named after the benefactor Václav Zbořil). The third bell of Vladimir was made in 1936, but the Czechs had to hand it over to the Germans. In 1942, it broke and broke.