Originally it was the Orthodox Church of the Dormition of the Mother of God, built around 1913 according to the design of engineer Fyodor Wierzbicki in the barracks complex of the 64th Kazan Infantry Regiment of the Tsarist army. In the years 1921-39 it was the garrison church of the 42nd Infantry Regiment named after Gen. Jan Henryk Dąbrowski. Devastated during World War II, the church was rebuilt in 1946, thanks to the efforts of Father Aleksander Syczewski, as a branch church of the parish of the Assumption of the Blessed Virgin Mary. The independent parish was established on 25.06.1973. There is a commemorative plaque by the church dedicated to the 42nd Infantry Regiment.

The parish was established on October 2nd 1987. The church, designed by engineer architect Jerzy Zgliczyński, was built in the years 1990-96. Its shape refers to the architecture of the church of St. Roch. The interior of the church is decorated with paintings by Marek Karp. Masses are held in the lower church in the Latin and Byzantine-Ukrainian rites. The Museum of Siberians is also located here. In 1998, the monument to the Unknown Siberian by Dymitr Grozdev was created

Around 1981, the Muslim Religious Community in Białystok (existing since 1960) received for use a wooden residential house built around 1930. The majority of the community members were Podlasie Tatars. The building was adapted, adapting its interior to the religious and cultural needs of the Muslim community. A prayer hall was created with a mihrab – a niche indicating the direction of prayers towards Mecca, and a mimbar – a form of pulpit. In 2004, the 15th Congress of the Muslim Religious Union in the Republic of Poland elected Mufti Tomasz Miśkiewicz as the chairman of the Supreme Muslim Council based in Białystok, a position he holds to this day. In the period of March-November 2020, a significant reconstruction of the wooden building was carried out. A turret-minaret and an orangery were added. The external facades are decorated with oriental ornaments.

The neo-Romanesque church was built in the years 1909-1912 for the Białystok Evangelical-Augsburg community. It was designed by an engineer from Łódź, Jan Wende, on the plan of a Greek cross. The church served the Evangelicals until 1939. During the German occupation, sporadic services were held there for German army units sent to the eastern front. The abandoned church was taken over by the Catholic Church in 1944 and consecrated under the invocation of St. Adalbert the Bishop and Martyr. On the 31st of October 1944, the first service was held for the Białystok victims of Nazi executions in Grabówka. In the years 1961-79, it was the seminary church of the Higher Theological Seminary, where masses were celebrated by, among others, Father Michał Sopoćko. The independent parish was established in 1979. In 1997, the Primate of Poland, Cardinal Józef Glemp, donated a reliquary with the remains of St. Adalbert, thanks to which the church was raised to the rank of a sanctuary. On the 15th of September 2013, as a result of a short circuit in the electrical installation, the church tower burned down. Of the original equipment of the Evangelical church, the galleries-balconies and the pulpit have survived to this day. The altar table contains the reliquary of St. Adalbert. The presbytery is decorated with paintings by Warsaw artist Kinga Pawełska referring to the Romanesque style, presenting the history of the church’s patron saint. On both sides of the church porch are chapels: Katyń chapel, designed by the Białystok sculptor, Prof. Jerzy Grygorczuk, and Martyrology of the Polish Nation chapel.

The cathedral complex consists of two buildings: the 17th-century one, known as the “white church” and the neo-Gothic one – the “red church” or ‘Farny church’.

The “White Church” is the oldest monument in Białystok, built in the years 1617-1626 in the Renaissance style with elements of late Gothic. It was founded by the then owners of the Białystok estates – Piotr Wiesiołowski the younger and his son Krzysztof. The original furnishings of the temple include the late Renaissance entrance portal depicting the scene of the coronation of Mary and a plate with the coats of arms of Ogończyk, Bogoria, Jastrzębiec and Korczak, which is an element of Piotr Wiesiołowski’s tombstone (currently placed on the outer wall of the temple).

In the years 1751-52, Jan Klemens Branicki rebuilt the church and its furnishings in the Baroque style. The wooden altarpiece of the main altar contains an oil painting of the Assumption of the Blessed Virgin Mary by Sylwester August Mirys – the court painter of the Branicki family. The two side altars are decorated with images of the Mother of God and the Crucifixion. The church is also the Branicki family mausoleum. On the right side, there is a marble monument to the hearts of Stefan Mikołaj Branicki – the voivode of Podlasie and his mother Katarzyna Aleksandra née Czarniecka. On the left side, there is a tombstone of the heart of Jan Klemens Branicki funded by his wife Izabela née Poniatowska. On the right wall, there is also Izabela’s epitaph embroidered by her lady-in-waiting Weronika Paszkowska in 1811, as well as plaques by Franciszek Karpiński, the author of “Pious Chansons” and the most popular Polish carol “Bóg się Rodzi” (“God Is Born”) performed for the first time in this church in 1795, and the founder of the temple by Piotr Wiesiołowski the younger. Under the church there are crypts, where the following are buried: probably the founder, Izabela Branicka, her niece Katarzyna Poniatowska and the remains of the bishops of Białystok.

The neo-Gothic “red church” was built in the years 1900-1905 according to the design of Józef Pius Dziekoński. The initiator of its construction was the then parish priest, Father Wilhelm Szwarc. It is an “extension”, as the tsarist authorities issued a permit only for the expansion of the existing temple. The main altar was made by the Warsaw company Szpetkowski according to the design of Wincenty Bogatczyk in the form of a cabinet. It shows the Assumption of the Blessed Virgin Mary. In the right aisle there is the oldest altar of St. Anthony of Padua, funded in 1906 by railway workers from Starosielce. The oil painting of the saint was painted by Kazimierz Stabrowski. At both ends of the transept – the transverse nave – there are two chapels dedicated to the Mother of God. On the right, the neo-Gothic altar is decorated with the image of Our Lady of Częstochowa, brought by Białystok pilgrims from Jasna Góra in 1906. On the left, there is a copy of the image of Our Lady of the Gate of Dawn by Łucja Bałzukiewicz from 1927, brought by the last archbishop of Vilnius, Fr. Romuald Jałbrzykowski. The chapel was consecrated on November 27th 1977 by the then metropolitan of Kraków, Cardinal Karol Wojtyła (who later became pope John Paul II). In the left nave there is the altar of the Merciful Jesus with a painting by Ludomir Sleńdziński from 1955, painted on the initiative of Fr. Michał Sopoćko.

The neoclassical church based on the Greek cross plan was built in the years 1843-1846 probably according to the design of Konstantyn Thon. In connection with the erection of the Białystok-Gdańsk diocese of the Polish Autocephalous Orthodox Church on September 07th 1951, the church was raised to the rank of a cathedral. On September 22nd 1992, the relics of the Holy Martyr Gabriel of Białystok were transferred from Grodno to the cathedral and this day is celebrated every year as a diocesan holiday. The classicist, wooden iconostasis was made in Vilnius in 1846. The icons inside were painted by the Moscow icon painter Adrian Malakhov. The original polychromes have not survived to this day. The current ones from 1975-76 are the work of Józef Łotowski. To the right of the iconostasis there is a silver reliquary of St. Gabriel, the patron saint of children and youth, and a copy of the icon of Our Lady of Białystok, which was lost in 1915.

In 1925, the second parish of St. Roch was established in Białystok. The parish priest was Father Adam Abramowicz – the builder of churches in Dereczyn (now Belarus), Uhowo (near Łapy) and Goniądz. He invited the professor of Warsaw University of Technology Oskar Sosnowski to cooperate as a designer. The temple was to combine the invocation of the Litany of Loreto “Morning Star” with the idea of ​​a monument of gratitude to Divine Providence for regaining independence. It is located on St. Roch Hill – an important element of the Baroque urban composition of Białystok. Construction work began in 1927, but was constantly accompanied by financial difficulties. By the outbreak of World War II, the construction had been brought to the so-called “raw state”. During both the Soviet and German occupations, it was important for the church community to protect the church from being requisitioned, which is why masses have been held here since 1941.

Due to the death of Professor Oskar Sosnowski in 1939, the position of construction manager was taken over by engineer Stanisław Bukowski in 1945. On August 18th 1946, Archbishop Romuald Jałbrzykowski consecrated the church of the Queen of Poland, Christ the King and St. Roch. The finishing works were finally completed in 1966. In 2018, the church was raised to the rank of a minor basilica and was also included on the prestigious list of Historic Monuments of Poland.

The modernist church was built on an octagonal plan, and the basic building material was reinforced concrete. The main body of the building consists of three gradually growing volumes and an openwork tower 78 m high, topped with a Piast (Polish dynasty) crown and a 3 m high figure of Our Lady Queen of the Polish Crown. Original elements include a glass roof in the dome in the shape of an octagonal pyramid (invisible from the outside) and repeating crystal and star motifs, referring to the litany invocation “Morning Star”. The interior of the church is dominantly white with addition of wood. The central element of the main altar from 1945, made by Antoni Masłoń, is the figure of Christ the King created by Stanisław Horno-Popławski. The side altars are dedicated to St. Anthony (on the left) and Our Lady of the Rosary (on the right). The two side chapels are: on the left – the chapel of St. Roch with an 18th-century painting by an unknown artist, on the right – the Our Lady of the Gate of Dawn chapel with the figure of the Crucified Christ by the self-taught Vilnius sculptor Wincenty Bałzukiewicz, the painting of the Our Lady of the Gate of Dawn and plaques commemorating the borderland regiments of the Polish Army of the Second Polish Republic. The stained glass window in the ceiling plafond designed by Placyda Bukowska depicts the symbols of the Holy Spirit and the four evangelists. At the entrance to the church is the tombstone of its builder, Father Adam Abramowicz. The banks surrounding the temple refer to the defensive functions of the borderland temples. The main gate is dominated by a sculpture of Christ the Good Shepherd by Stanisław Horno-Popławski. At the foot of the hill, two monuments were erected: one of the marching battalion of the 42nd Infantry Regiment defending the city in September 1939 and one of the victims of the Smolensk disaster. At the base of the tower is a viewing terrace from which you can see the panorama of Białystok. It is open during the tourist season on weekdays from 9:00 a.m. to 4:00 p.m., and on Sundays and holidays from 2:00 p.m. to 5:00 p.m.

It was built in the years 1936-1939 in the modernist style. Its founders were the Białystok Cytron family of textile manufacturers. The prayer hall had a wooden ceiling in the form of coffers, decorated with colorful floral and geometric ornaments. After the establishment of the ghetto in 1941, it was located on its territory, illegally continuing its religious functions. Until 1967, it was used by the Jewish community as a place of prayer, meetings, and a funeral home. In the 1970s, it was rebuilt, during which valuable details of the equipment were irretrievably destroyed. Since 1995, the Sleńdziński Gallery has been located here. After the gallery’s main headquarters was moved to a new location on Kościuszko Square, a gallery of Jewish culture was opened in the building of the former synagogue.

The two-level, classicist temple was built in the years 1984-96 according to the design of engineer-architects Andrzej Nowakowski and Janusz Pawłowski. A great proponent of the creation of the sanctuary was the late Father Michał Sopoćko – confessor of St. Faustina, propagator of the cult of Divine Mercy. On November 30th 1988, his remains were exhumed and reburied in the crypt of the temple. In 1993, the relics of St. Faustina were placed in the lower church. After a several-year beatification process, on September 28th 2008, Father Michał Sopoćko was declared blessed, and the reliquary with his remains was placed in the upper church. In 1996, the “Tree of Jesse” bas-relief, which was part of the papal altar in 1991, was revitalized and placed in the sanctuary.

The two-level church, built in the years 1991-96 in the Vilnius Baroque style according to the design of engineer-architect Michał Bałasz, is intended to be a replica of the 18th-century Uniate Church of St. Apostles Peter and Paul from Berezwecz (currently Belarus), destroyed by the Soviets in 1970. The interior design of the church is a composition of various styles and forms – from antiquity, through Renaissance, to Baroque. The sculptural elements were made by Prof. Jerzy Grygorczuk, and the polychromes are the work of Jerzy Pasternak from Krakow. The basic ideological motif is the commemoration of all Poles – victims of the invaders of the war years. Under the terrace, there is the Sanctuary of GLORIA VICTIS and the glory of the defenders of Białystok in September 1939.