Built between 1710 and 1720 but in a different locations, the structure originally stood in Zakrzów near Kalwaria Zebrzydowska, but was left unused after a new church was erected there in 1922. Thanks to the efforts of the prelate Jan Hyc-Myrmuła and Jan Kasprowicz's son-in-law, the painter Wladysław Jarocki, the church was moved to Zakopane and installed in Harenda in late 1947 and early 1948. It took several years before it was fully reassembled. A general renovation restored it to its original shape. Placed right next to it was its bell tower built in 1840. The work was supervised by the painter and architect Professor Władysław Jarocki, who also restored the polychromes that had been destroyed. The church offers interesting architecture, especially the covered cloister surrounding the building. The beautiful sloping shingled roof is topped with richly adorned beautifully domed towers. The church features a collection of highland sacral art, including shrines and paintings on glass, wood-carved figures of the Apostles, votive offerings, and a picture of Christ the King painted on a board by an unknown artist. The original altar having been destroyed, a Baroque main altar was brought from Książ Wielki. It features a painting of the patron saint of the church, Saint John, painted by Jarocki. The side altars feature his oil paintings: Madonna of Harenda and Nativity. The late Baroque polychromes were also restored by Jarocki. On the ceiling of the chancel is depiction of the Coronation of the Blessed Virgin Mary, and on the choir are Saint Cecilia and angels. Whereas the majority of the paintings featured in churches from this period are based on patterns, the Harenda church features figural paintings with backgrounds done separately for each subject. The scene of the Coronation of the Blessed Virgin Mary painted on the ceiling is surrounded by a host of angels. The composition indicates an imitation of the Italian style. The polychrome of the walls is characterised by simplification which, in line with his other paintings, was strongly emphasised by Jarocki. The background of the figures on the walls, including the imitation marble and drapery, was done quite arbitrarily and with barely any attention to detail.