Church of St. Markéta stood on the north side of the entrance gate of the Žďár Monastery. Served to secular persons who did not have access to the convent church. In 1352 it was first mentioned as a parish church. It was, as the reports of 1678 show, probably a medieval church with a longitudinal ship, a rectangular chancel and sanctus.
In 1701, on the hill of Vaclav Vejmluva, a baroque central chapel was started on the site of a medieval church. Documents from 1708 on the acquisition of sculptural and painting decorations show the completion of the building. The author of the project was probably Kutnohorský builder Spinetti, but the participation of J. B. Santini, which has been documented in Žďár since 1708, has not been ruled out. It was a generous project from the Vedas period. The central chapel on the eighth-floor was finished with a dome-shaped dome, roofed with a bulbous roof with a lantern. The windows had segment segments. After 1802, in connection with the abolition of the Žďár Monastery, the Chapel of St. Markéta and her transformation into a dwelling. The chapel was divided into two floors, with many walls built on the ground floor. Window replacement, interrogation, and radical change of the roof structure have occurred.
It is a ground-floor non-bunked building. From the original church there is an elliptical middle-class ship with a part of a peripheral ship on the west side. To the northern side adjoins the ground-floor partially basement annex. In the middle ship, the former apartment building is additionally made. Access is from the street via a passage lying between the northern extension and part of the perimeter ship. Separate access from the street is the northern extension. The original chapel of St. Markéta is currently in a state of absolute despair. This condition is due to the long-standing dilapidation and inconsequential reconstruction in the 19th century when the building was used as a dwelling. By exposing the inner partitions and vaults (false ceilings), the building was rebuilt into a mere warehouse, and so it could not otherwise be used. By lining the original windows and laying in the present, the building is no longer a chapel. In today's attic space, the attics and their stucco decoration are preserved in small parts.
The roof of the chapel is unrelatedly connected to the shield on the north-east side. A front panel is built in from the front. At the top of the northeast shield, the stone vault is preserved above the windows. In accordance with the monument value of the object that has already grown into a collection of objects of the former monastery, today's chateau in Žďár nad Sázavou as a residential part, the strict reconstruction of the chapel does not consider the original spatial and artistic expression based on historical sources whose authenticity is always influenced by the drawing The contractor's license. In accordance with the principles of modern monument care, the proposal focuses on saving existing values that are unambiguously threatened in their case, their revaluation being an appropriate function in the spirit of the 1964 Venice Charter, Amsterdam 1975 and other international documents of modern land and historical monuments care, Florence as well as in Waschington and others. Therefore, the relaxed space, illuminated by the newly opened window openings, will be used as a showroom of fine arts and applied works as the main rehabilitated core of the event, newly exposed to the garden part by a revitalized façade based on preserved fragments. The entrance part, technically requiring the internal design connection of the parts of the preserved enclosure in the side utility rooms, is considered as a highly distinguished refinement of the café character with the client creating a close connection to the contents of the exhibition hall. It is created in this secluded area of the city, with its attractive castle complex, which carries a number of world-famous art interventions by Jan Santini Aichl in the spirit of the Baroque Gothic, a high quality center of cultural life with artistic and other activities. On the other floors above the ground floor is contemplated also the possibility of stays of artists focused on creative work and the theoretical interest in the center - Santini's work, whose center of gravity lies in the form of a number of objects and complexes complementing the chateau ensemble. The vertical interconnection of the spindle staircase system in the interior follows the preserved compositional design of the longitudinal axis of the original chapel space, which is still clearly visible in the ground plan and in the spatial structure.
The technical condition of the Middle Baroque ship is unsatisfactory, the shamrocks around the windows are heavily damaged, the cornice cornice is demolished and the masonry is badly damaged. At present, the windows are predominantly walled. The masonry of the ship is mixed (burnt bricks + limestone mortar). The supporting pillar between the columns is partly disturbed in the eastern part and supported by the beams (see photo documentation) but there is no obvious disruption of the foundation joints, which could cause the object to be dismantled. From the original part of the Baroque ship only the western part is preserved. Its construction technical condition is similar to that of a medium-sized ship. The parts of the brick vaults between the two ships were preserved, but their condition showed a static disruption. There are niches in the inner part of the outer ship, where two spindles of the stairway were apparently located. In this part, on the west side, the outside window appears to be originally above the main entrance to the church, now partially walled. The roof structure of the ship was made retrofit and not identical with the original Baroque extension. The construction of the roof is made of wooden trusses of the trellis system. This is considerably undersized and disturbed by rot. With greater load (snow, wind) there is a risk of collapse. Also, anchoring of the posters is highly unstable. The enclosure is made of galvanized sheet metal, nowadays already heavily corroded and damaged in some places so that it flows into both ships. In the Middle Baroque ship, a later additional build-up of residential premises (around 1820) was carried out. These are historically insignificant. This is brick masonry with vaulted belts and rolled brick vaults. The state of these structures is unsatisfactory, they show static cracks and their masonry is very damp. Static cracks are apparently due to the inappropriate construction and possible earlier inadequate loading of these structures from above. I do not think they would be caused by changes in the foundation joints. Floors in the ships are tiles, wooden floors on the original floors. For the outer ship on the west side under the wooden floor the apparently original floor-2100 see the documentation of the focus. This is apparently related to the main entrance, which was lower than the middle ship and the chancel. It was obvious that the lower terrain had an impact on that. The northern additional annex is in a state of emergency. This is a mixed masonry with an obviously disrupted base crack from underwater surface water. There are static cracks in the perimeter walls. The roof structure is partially removed and the wooden roof trusses are quite disturbed. There is a risk of collapsing the structure. Together with other walls, the outside monastery wall is also statically in poor condition.