The exact date of the start of its construction is not known, but the oldest extant allusion comes from the year 1307, when the townsman Wolfram Zwinillinger bequeathed the malt and drying factory to St. Bartholomew with the condition of serving a church mass on behalf of his soul.

The author was Hans Spiess (died 1503), working for the king Vladislaus II on a close castle Křivoklá at the time.

In 1870, as a result of a windstorm, the eastern gable fell down onto the presbytery and the Sternberg Chapel - it threw off the dome together with the keystone.

In 1914–1920 a vast restoration of the church and the Sternberg Chapel took place under supervision of the architect Kamil Hilbert (1869–1933), who was also responsible for finishing the St. Vitus Cathedral in Prague.

The project for static securing of the church and the tower and also the repair of the roof cloak was made by the architect Šantavý.

The lining materials of the cathedral are hewn sandstone blocks, originating from the stone quarries to the north from the historical core.

The linings of the portal were used for placing the statues of Virgin Mary and John the Evangelist, who together with Christ on the cross created the group "Crucifixion".

The ante-room in the southern part of the church has a pentagonal floor-plan with a pinnacle on the corner, decorated with an effigy on the bottom (probably the self-portrait of the builder Hans Spiess).

Their traceries are quite similar, the main motif is a spherical triangle, for example in case of the middle window decorated with double or triple leaves.

In case of the southern window, this happened due to the adjustment of the connection of the presbytery with the nave, which was extended beyond the original plan.

Into the sacristy and chapel lead two neo-gothic portals with linings shaped into pointed arch with crockets on the outer part and finial on the top.

The planned double-tower frontage is represented in the interior by massive pillars with cross profiles, turned into the main nave with pointed half-pillars.

The inner space of the naves is encircled with a window-sill cornice around the perimeter, which continue into cylindrical supports with cantilevers on top.

On the western side of the aisles in the space between the towers id located a church-gallery, in the height of approximately 8 m. By the end of the 16th century it was enlarged with the help of the vault bars supported with cross pillars.

The most valuable decoration of the church is the argillite sculpture of the Plzeň Madonna (from around 1390) in the middle of the main pseudo-gothic altar designed by the architect Josef Mocker.

There is an entrance from the main nave to the late gothic Sternberg Chapel in the right part of the church, where also the Czech Altar is located – an Art Nouveau work of the carver Jan Kastner.

However, one possible author is considered to be Hans Spiess, who at that time worked for the King Vladislaus II in the near castle Křivoklát.

Due to its architectural details, it is possible to deduce the work of the builder of the Saint Vitus Cathedral, the architect Kamil Hilbert, who supervised the restoration of the church in the years 1914–1920.

He also set the era after the year 1510 as the most probable time of the origin of this monument, which also agrees with former messages about the lives of the Sternberg family in Zelená Hora and broader Plzeň country.

The tall construction of the cathedral dictated the additional building to be slender and reginal[clarification needed] – the technical possibilities of the late Gothic were so extensive that it passed this condition very easily.

Massive stone walls were skillfully hidden by the builder by the beginning of the 16th century, so that they receded completely to the background.

An unusual decoration of the bottom part is worth noticing – it is “paneled” around its entire width, which means that it is covered with carved Gothic tracery.

They also protrude above the main cornice of the chapel and their weight is helping to increase the resistance of the pillars, into which converge arch ribs of the stone vault.

On the southeast wall above the window is located in the left corner stone sign of the Sternberg family in a decorative canopy, also terminating in a pinnacle.

A wide segmented arched niche to the right was originally closed with a grating and served as a depository of worship utensils.

On the eastern side of the chapel stood the main altar on a stone Gothic-profiled table, still preserved today.

Since the beginning of the 17th century, i.e. since the reconstruction of the chapel by Ladislav of Sternberg, there were two other altars next to the main one, which however did not lie on stone tables; they were made fully of wood.

At that time, on the epistle side hung Holy Family in black framework and underneath another painting of Our Lady of Sorrows.

On the gospel side (left) was located a large painting of Saint Joseph on his deathbed, next to which stood Jesus and Mary with angels.

Next to the main altar were located large sculptures of the Virgin Mary with Jesus and Saint Sebastian the martyr.