The parish is the oldest in the former archdiocese of Przemyśl. It was founded as early as 1404 on the initiative of Władysław Jagiełło. A wooden church had been built a little earlier, but burned down in 1489 as a result of a Tartar invasion. The new brick building was not completed until the end of the 16th century, when it was consecrated in 1604. Fifty-two years later, the church was looted and burnt down by Cossacks. In 1656, repairs were completed and the church was re-consecrated. The following centuries were rather quiet. Apart from a minor roof fire in 1885, the building suffered no major damage.

At the beginning of the 20th century, the church was thoroughly renovated. In addition, the building was enriched with painting decorations by Julian Kruczkowski. World War I brought some damage and the confiscation of two of the three bells by the Austrian authorities. In the late 1920s, a new vicarage was built to the west of the church.

The Second World War brought no major damage and until the death of Father Edward Saletnik in 1967, the parish operated in relative peace. Unfortunately, a short while later the authorities requisitioned the vicarage and rectory. Fortunately, the church continued to function, led, until 1984, by Father Kazimierz Mączyński. Throughout this time, the building was modernised. Modern utilities (light, gas, water) were installed, the floor was changed and the interior of the church was painted. Further renovations took place under Father Jozef Legowicz, who led the parish from 1984 to 2009. In addition to numerous modernisations in the interior, the furnishings and surroundings of the building were also enriched.

Both the church and the monastery are situated to the south of the square, symmetrically to the parish church. The temple is oriented (i.e. facing the symbolic east, implicitly Jerusalem), built of stone and brick and plastered. The body is three-nave and three-bay with a low pseudo-transept formed by rectangular chapels. These adjoin the third bay of the main nave. The chancel is two-bay and closed polygonal. Naturally, the chancel is slightly lower and narrower than the main section.

The attention is drawn to the tower, built on a square plan, which contains in the ground floor a chapel with a rectangular porch. It is located between the presbytery and the pseudo-transept. It is divided into five storeys using capitular cornices. The second, third and fourth storeys were lit by ogival windows alternating with blendes of identical shape. In the fifth storey, on the other hand, we notice circular windows and rectangular blends flanked at the top with clock faces.

The tower is an interesting addition to the front of the church, noting that the façade was formerly dominated by a turret (photo documentation from the late 1950s). It is likely that the renovation of the early 1990s abandoned this decoration and left a simpler, triangular finial, whose field contains the painting 'Our Lady of Perpetual Help', dated 1924. Furthermore, the façade consists of the front elevation of the nave and the side aisle elevations and vestibule. The nave elevation is single storey. It is crowned by the aforementioned triangular gable preceded from below by an ornate, shallow aedicula. It is separated from the lower part by a cornice. Beneath it is a simple field with a stone niche closed in a semicircle. In its centre is a sculpture of Christ in the Garden of Olives (workshop of Tadeusz Błotnicki 1883-1884).

The presbytery, nave and porch are covered by gable roofs. There is a multi-pitched roof over the apse and pent roofs over the other parts. All of them are covered with sheet metal, as are the tower helmet and the bell towers.

Inside, in the nave, the articulation of the walls was carried out with prominent pilasters in the Tuscan type. In between, low and narrow semi-circular arcades cut into the walls were used. The bays of the side aisles were separated by powerful lisailles. The rainbow arch is high and pointed. The nave and chancel are covered with cross-ribbed vaults that flow seamlessly into the aforementioned pilasters and, at the icosahedron arch, into brackets. A similar treatment was applied to the apse, except that this part was covered with a lunette vault. The other parts have concrete vaults. The music choir is made of brick. It is supported by three segmental arcades.

Highlights of the church furnishings include:

• Painting decoration by Julian Krupski and Michal Leszczynski from 1925-1926;
• Stained glass windows from the beginning of the 20th century made by the studio of B. Skarda from Brno;
• Main altar designed by Jozef Kruczkowski, 1901;
• The ensemble of four side altars and pulpit by Antoni Miękuszewski from 1890-1891, partially renovated and transformed by Nowakowski and Leszczynski in 1926;
• Altar of St. Joseph from 1890;
• Altar of Our Lady of Perpetual Help, dating from 1890;
• Altar to Our Lady of Lourdes, 1891;
• Plaque commemorating the consecration of the church, made by the municipal stone workshop, Trembowla, dated 1903.

As Piotr Krasny writes in his study of the buildings, a Dominican monastery was founded concurrently with the foundation of the parish discussed above. The Church of St Catherine of Alexandria was built slightly earlier, in 1343, and was rebuilt by the order in 1705. Unfortunately, in 1788 the Austrian Emperor Joseph II abolished the Dominican Order. The monastery buildings were turned into barracks and later into a prison. However, in 1858 the town bought the buildings from the government and turned them into a school and a tax office. At the end of the 19th century, the buildings were acquired by the Redemptorists of the Vienna Province. During the Second World War part of the monastery was used as a hospital. Under Soviet rule, the monastery was used entirely as a hospital. The church was used as a warehouse.

The monastery was built of stone and brick and plastered. It joins the northern arm of the pseudo-transept and the eastern part of the church. In plan, the shape is similar to the letter 'T'. The first of the wings has a one-and-a-half-bay layout and is two-storey with a hipped roof covered with sheet metal. The north wing is also two-storey. In the eastern part there is an annex containing the sacristy (ground floor) and the novitiate chapel (first floor).

The most important elements of the building's furnishings and surroundings include:

• Paintings by Michał Leszczyński (1926), located in the house chapel;
• An altar in the novitiate chapel from 1902;
• Paintings including: "Our Lady with Child" (oil on canvas), "Holy Trinity" (oil on canvas) by F. Nowakowski, 1884, "The Holy Redeemer" (oil on canvas) by F. Nowakowski, 1884,"Saint Alphonsus Liguori" (oil on canvas) by F. Nowakowski, 1884, "Saint Gerard surrounded by angels" (oil on canvas) by F. Nowakowski, 1893, "Saint Gerard", ol. wood, background with ornament embossed in the ground, executed by the workshop of J. Obletter, 1903, "Christ and Saint John the Evangelist" (oil on canvas), "Christ the High Priest" (oil on canvas), "Christ of Milaty" (oil on canvas), "Christ in the Tomb" (oil on canvas), "Vision of Saint John the Evangelist on Patmos" (oil on canvas), "Saint Alphonsus Liguori at work" (oil on canvas), "Saint Teresa of the Child Jesus";
• Sculptures: "Saint Gerard", imported from Tyrol in 1893, polychrome wood, "Saint Simon of Lipnica", 1912, white painted plaster;
• Garden and orchard at the monastery.