Pokopališče Žale

Žale Cemetery

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Vodeni ogledi pokopališča Žale Od marca do septembra vsako prvo soboto v mesecu ob 10.00

oziroma po naročilu za skupine. Odhod izpred vhoda v Vrt Vseh svetih na Žalah.

Informacije: Turistični informacijski centri

Guided tours of the Žale cemeteryMarch to September, every first Saturday of the month at 10:00.

Groups by appointment. The tour departs from the entrance to Žale’s Garden of All Saints.

Information: Tourist Information Centres

www.visitljubljana.com

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ContentsIntroduction 5

Žale Cemetery: A Paradigm of Architectural Excellence 5Trumler, Plečnik, and Mušič 5Cultural Heritage Site 7

Ljubljana Cemeteries through Time 7

Prehistory 7Antiquity 7Middle Ages 9From the Reformation Period to the 20th Century 11

Development of the Žale Cemetery 13

The Opening of the Cemetery of the Holy Cross (Section A) 13Church of the Holy Cross 13Outdoor Gallery 13Expansion of the Cemetery of the Holy Cross 15Garden of All Saints 15Church of All Saints 17New Cemetery (Section B) 19New Žale (Section C) 19Mušič's New Žale (Section D) 21

The Sights of the Žale Cemetery 22

Tourist Information Centres 42

Kazalo Uvod 4

Pokopališče Žale: Pojem arhitekturne odličnosti 4Trumler, Plečnik in Mušič 4Spomenik kulturne dediščine 6

Ljubljanska pokopališča skozi čas 6

Prazgodovina 6Antika 6Srednji vek 8Od reformacije do 20. stoletja 8

Razvoj pokopališča Žale 10Odprtje Svetokriškega pokopališča (del A) 10Cerkev sv. Križa 10Galerija na prostem 12Širitev Svetokriškega pokopališča 12Vrt Vseh svetih 12Cerkev Vseh svetih 14Novo pokopališče (del B) 18Nove Žale (del C) 18Mušičeve Nove Žale (del D) 18

Znamenitosti pokopališča Žale 22

Turistični informacijski centri 42

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UvodPokopališče Žale: Pojem arhitekturne odličnosti

Nekatera pokopališča so več kot le prostor poslavljanja, žalovanja in spominjanja. So arhitekturni fenomeni in pravi biseri poslovilne kulture. Eno takšnih pokopališč so Žale, osrednje ljubljansko pokopališče, ki je v nekaj več kot stotih letih svoje zgodovine zraslo v enega večjih spomenikov v Sloveniji, po zaslugi slovitega ljubljanskega arhitekta Jožeta Plečnika (1872–1957) pa sodi med arhitekturno najpomembnejša evropska pokopališča. Poleg edinstvene arhitekture ga odlikujeta tudi izjemna raznolikost in oblikovno bogastvo nagrobnih obeležij, ki so jih izdelovali največji slovenski kiparji in slikarji.

Trumler, Plečnik in MušičPrvi od arhitektov, najzaslužnejših za današnjo podobo pokopališča, je bil dunajski arhitekt Ferdinand Trumler, ki je ustvaril najstarejši del pokopališča in pokopališko cerkev sv. Križa ob njem. Trumler je pokopališče zasnoval kot park s širokimi alejami, kjer drevesa in grmičevje odpirajo in zapirajo razgled in dajejo mehkobo kamnitim obeležjem. Trumlerjevo delo je nadaljeval Jože Plečnik, ki je zasnoval znameniti Vrt Vseh svetih, ki je leta 1940 sprožil val kritik, danes pa velja za biser pokopališke arhitekture. Tradicija arhitekturne odličnosti se je na pokopališču Žale nadaljevala tudi po Plečnikovi smrti. Vsi arhitekti in umetniki, ki so sodelovali pri širitvi pokopališča, so stremeli k nadgrajevanju obstoječega, četudi je vsak od njih sledil okusu in potrebam svojega časa. Do odločilnih sprememb v videzu pokopališča je prihajalo zlasti zaradi obnove starodavne tradicije upepeljevanja ter nastanka tradicije raztrosa pepela, spričo katerih se je pojavila potreba po žarnih grobovih in nišah ter gomilah, namenjenih raztrosu pepela. Najnovejši del pokopališča, ki je zasnovan v skladu z novimi načini pokopa in oblikami nagrobnih obeležij, hkrati pa se navezuje na Plečnikovo delo, je ustvaril arhitekt Marko Mušič.

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IntroductionŽale Cemetery: A Paradigm of Architectural Excellence

Some cemeteries are more than just places to mourn, remember, and pay respect to the dead. Rather, they are phenomenal pieces of architecture and true gems of burial culture. One of such cemeteries is the Ljubljana Žale cemetery, which has, over its more than a hundred-year history, grown into one of the largest monuments in Slovenia and, thanks to Ljubljana's famous architect Jože Plečnik (1872–1957), one the most impressive cemeteries in Europe, remarkable not only for its unique architecture, but also for its extraordinary diversity of sepulchral monuments, created by some of the greatest Slovenian sculptors and painters.

Trumler, Plečnik, and MušičThe first of the architects who deserve most of the credit for the Žale cemetery's present appearance was Ferdinand Trumler, a Vienna-based architect who designed the oldest part of the cemetery and the cemetery church of the Holy Cross next to it. Trumler conceived the cemetery as a park with broad avenues, where trees and shrubbery allow fleeting views of the cemetery site and soften the contours of stone monuments. Trumler's work was carried on by Jože Plečnik, who designed the famous Garden of All Saints, which provoked a wave of criticism back in 1940, but is now considered to be a prime example of cemetery architecture.The tradition of architectural excellence at the Žale cemetery continued after Plečnik's death. All the architects and artists involved in the expansion of the cemetery strived to build on the existing architecture while at the same time trying to respond to current needs and suit the taste of the time. The most significant changes to the appearance of the cemetery were due to the revival of the ancient tradition of burning the dead, which resulted in a need for urn graves and vaults, and special mounds where ashes could be scattered. The newest part of the cemetery, rooted

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Spomenik kulturne dediščineLjubljanske Žale, ki so skozi desetletja postale pomemben del kulturne dediščine mesta in države, so leta 2009 dobile status kulturnega spomenika državnega pomena. Leta 2001 je pokopališče postalo ena izmed ustanovnih članic združenja kulturno pomembnih pokopališč Evrope (ASCE). Leta 2007 je bilo uvrščeno v seznam evropske kulturne dediščine.

Ljubljanska pokopališča skozi časPrazgodovina

Korenine stalne poselitve na območju Ljubljane segajo v prazgodovino, s tem pa tudi različne kulture in načini pokopavanja. Prvi znani prebivalci ljubljanskega območja, koliščarji, ki so tod živeli pred približno 6500 leti, so pokojnike po vsej verjetnosti kremirali, vendar je dokazov o tem premalo, da bi to z gotovostjo trdili. Naslednja velika kultura na ljubljanskem območju, kultura žarnih grobišč iz obdobja na prehodu iz bronaste v železno dobo, že s svojim imenom nakazuje, kako so tiste čase ravnali s pokojniki. Pripadniki kulture žarnih grobišč so živeli na vzhodnem bregu Ljubljanice, pokojnike pa so skupaj z različnimi darovi za posmrtno življenje v lončenih žarah pokopavali na zahodnem bregu reke, na območju današnjega Poletnega gledališča Križanke, Narodne in univerzitetne knjižnice ter Slovenske akademije znanosti in umetnosti.

AntikaV 1. stoletju našega štetja je s postavitvijo najprej rimskega vojaškega tabora, nato pa rimskega mesta Emona na področje Ljubljane prišla rimska kultura in z njo drugačen način pokopavanja. Rimska pokopališča so nastala zunaj emonskega obzidja, ob glavnih vpadnicah v mesto. V Emoni se je glavno pokopališče nahajalo vzdolž današnje Slovenske ceste od Kongresnega trga do

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in Plečnik's work, but designed to enable the newly revived burial practices and provide space for new types of sepulchral monuments, was created by the architect Marko Mušič.

Cultural Heritage SiteOver the decades of its existence, the Žale cemetery has become an important part of Ljubljana's cultural heritage. In 2007, it was designated a European Cultural Heritage Site and in 2009 a Cultural Heritage Site of National Significance. It is one of the founding members of the Association of Significant Cemeteries of Europe (ASCE), established in 2001.

Ljubljana Cemeteries through TimePrehistory

The origins of permanent settlement in the Ljubljana area go back to prehistory and so do various burial cultures and practices. It is very likely that the first known settlers, the so called pile dwellers, who lived in the area approximately 6,500 years ago, cremated their dead, but there is not sufficient evidence to prove this. The next large culture to settle in the Ljubljana area was the Urnfield culture from the period between the Bronze and the Iron Age, whose very name speaks about the ways in which the dead were treated in its time. The members of the Urnfield culture lived on the east bank of the river Ljubljanica, while the ashes of their dead, along with various offerings for the journey to the afterlife, were buried in pottery urns on the west bank of the river, on the sites of the present-day Križanke Summer Theatre, National and University Library, and Slovenian Academy of Sciences and Arts.

AntiquityThe 1st century AD, when first a Roman military encampment and then a Roman city called Emona were built on the site of the

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skoraj kilometer oddaljenega Gospodarskega razstavišča. Simbol rimske Emone, pozlačen bronast kip emonskega meščana, ki krasi Kongresni trg, je ostanek rimskega mavzoleja z začetka 2. stoletja, ki je stal na mestu današnje Kazine. Od prihoda Rimljanov v naše kraje so pokojnike večinoma pokopavali v žare, od 4. stoletja naprej, ko je večinska vera Rimskega imperija postalo krščanstvo, pa se je kultura pokopavanja spremenila in kot edinin način pokopa se je za skoraj dve tisočletji uveljavil zemeljski pokop.

Srednji vekZ nastankom srednjeveških mest je v tradiciji in kulturi pokopavanja prišlo do nemajhnih težav. Prebivalci srednjeveških mest so si želeli biti pokopani v sveti oziroma posvečeni zemlji v bližini cerkva in samostanov, da bi bili tako tem bližje krščanskemu simbolu ponovnega vstajenja. Krščanske norme pa so bile v tem pogledu jasne: že Nicejski koncil leta 325 je prepovedal pokopavanje pri cerkvah in na drugih svetih prostorih, ker bi bila to oskrunitev.Prvi so si pravico za pokop v sveti samostanski zemlji izborili menihi, ki so bili po smrti tako lahko bližje svojim bratom. Že v 12. stoletju so si pravico do pokopa v cerkvah pridobili cerkveni škofje, nadškofje in posvetni veljaki, le nekoliko kasneje pa je bilo tudi navadnemu prebivalstvu dovoljeno mrtve pokopavati ob cerkvah. Tako so nastala prva župnijska, cerkvena pokopališča. Podobno je bilo tudi v Ljubljani, kjer so imele vse cerkve svoje pokopališče. Spričo pomanjkanja prostora sicer manjše pokopališče je imela celo ljubljanska stolna cerkev sv. Nikolaja. Najpomembnejša pokopališča srednjeveške Ljubljane so bila pri cerkvi sv. Jakoba, pri frančiškanskem samostanu na Vodnikovem trgu, kjer je bilo največje mestno pokopališče, in pri cerkvi sv. Petra, ljubljanski prafari, kjer so pokopavali tudi okoliške prebivalce.

Od reformacije do 20. stoletjaS prihodom reformacije v 16. stoletju so si protestantje uredili pokopališče pri križu sv. Trojice oziroma kasnejšem znamenju, ki je stalo na današnji Ajdovščini in so ga pozneje prestavili na današnji

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present-day Ljubljana, saw change in the existing burial practice. Roman burial grounds were located outside the city wall of Emona, along the main approach roads to the city. The main burial ground was situated along the present-day Slovenska cesta road, from the Kongresni trg square to the Ljubljana Exhibition and Convention Centre nearly a kilometre away. The symbol of Emona, a gilded bronze statue of an Emonan citizen adorning the Kongresni trg square, is a surviving part of a Roman mausoleum dating from the beginning of the 2nd century, which stood on the site of the present-day Kazina building. After the arrival of the Romans in the area, the dead were mostly buried in urns, but when Christianity became the majority religion in the 4th century, the existing burial culture changed. Earth burial prevailed and remained the only mode of burial for almost two millennia.

Middle AgesWhen the first medieval towns came to existence, the existing traditions of burying the dead came under question. The residents of medieval towns wanted to be buried on holy (i.e. sanctified) sites next to churches and monasteries to be able to be as close as possible to the Christian symbol of resurrection. Christian norm, however, was very clear on this point: according to the decrees of the First Council of Nicaea, held in 325, burying the dead next to churches and on other holy sites was prohibited as being an act of sacrilege.The first to be triumphant in their fight for the right to be buried on holy sites were monks, who could be closer to their monastic brothers if they were buried on monastery grounds. Already in the 12th century, archbishops, bishops, and notables were granted the right to be buried in churches. It was only a little later that common townspeople were permitted to bury their dead next to churches and the first parish church cemeteries came into existence. In medieval Ljubljana, there was a cemetery next to every church; a burial ground, albeit small due to the lack of space, stood even next to the Cathedral of St. Nicholas. The

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Kongresni trg. Z izgonom protestantov je bilo to pokopališče opuščeno.Ljubljana je dobila novo pokopališče šele leta 1779. Uredili so ga ob cerkvi sv. Krištofa in kmalu je postalo osrednje mestno pokopališče. Z rastjo mesta, predvsem pa s prihodom železnice v Ljubljano v sredini 19. stoletja je tudi to pokopališče postalo premajhno, njegova lokacija pa neprimerna. Mesto je moralo na novo pokopališče, današnje Žale, čakati vse do leta 1906. Takratne mestne oblasti so se odločile, da v sklopu velike obnove po katastrofalnem postresu iz leta 1895 prostor večnega počitka umaknejo daleč proč od takratnega mestnega jedra, v Šempetrsko župnijo. Ostanke pokopališča pri cerkvi sv. Krištofa so po načrtih arhitektov Jožeta Plečnika in Iva Spinčiča preuredili v panteon slovenskih kulturnikov, umetnikov in drugače zaslužnih za narod, ki je danes znan pod imenom Navje.

Razvoj pokopališča ŽaleOdprtje Svetokriškega pokopališča (del A)

Svetokriško pokopališče, danas znano pod imenom Stare Žale oziroma del A, je bilo blagoslovljeno leta 1906. Odprli so ga s prekopom Šempetrskega župnika Martina Malenška s pokopališča sv. Krištofa na novo lokacijo in pokopom delavca Antona Novaka 3. maja. S tem se je pogrebna dejavnost v Ljubljani preselila na novo pokopališče. Evangeličanska skupnost je do konca prve svetovne vojne še vedno pokopavala pri cerkvi sv. Krištofa, po vojni pa so tudi Evangeličani svoje pokopališče preselili v novo odprti oddelek pokopališča pri cerkvi sv. Križa.

Cerkev sv. KrižaNačrte tako za Svetokriško pokopališče kot za pokopališko cerkev sv. Križa je izdelal dunajski arhitekt Ferdinand Trumler. Cerkev, ki je bila zgrajena v neoromanskem slogu leta 1907 in je služila pokopnim obredom, krasijo okenski vitraži, ki jih je izdelal Heinrich

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most important cemeteries were located next to the Church of St. James, next to the Franciscan monastery in the present-day Vodnikov trg square, which was the site of the largest cemetery in town, and next to the Church of St. Peter, the church of the ancient parish of Ljubljana, where also the dead from the town's surrounding areas were buried.

From the Reformation Period to the 20th CenturyIn the 16th century, during the Reformation period, Ljubljana's Protestants created their own cemetery next to the Holy Trinity cross (later replaced by another shrine) in the present-day Ajdovščina quarter, which was later moved to the site of today's Kongresni trg square. The cemetery was abandoned when Protestants were expelled from the city.Ljubljana did not get a new place to bury the dead before 1779, when a burial ground was created next to the Church of St. Christopher and soon became Ljubljana's main cemetery. But the city continued to grow and when railway was built in the middle of the 19th century, the Cemetery of St. Christopher was already too small and its location unsuitable. Nevertheless, Ljubljana had to wait for a new cemetery, today's Žale cemetery, until 1906, when the city authorities decided that the place of final rest should be moved far away from the then city centre, to the parish of Šempeter (St. Peter), as part of the reconstruction works following the devastating earthquake of 1895. The architects Jože Plečnik and Ivo Spinčič were commissioned to turn the remains of the old city cemetery into a pantheon of luminaries, artists, and other deserving Slovenians, today known as Navje.

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Marchi in so dar družine Kollmann, ter oltarni križ, delo ruskega vojnega ujetnika iz časa prve svetovne vojne. Cerkev je bila leta 1965 spričo širitve mesta povzdignjena v župnijsko cerkev in odtlej je služila ne le pokopališkim obredom, temveč tudi bogoslužju. V celoti je bila obnovljena leta 1993.

Galerija na prostemSvetokriško pokopališče odlikuje izjemna raznovrstnost nagrobnih obeležij, grobnic in mavzolejev, ki so jih ustvarili največji slovenski umetniki, kiparji in arhitekti svojega časa. Tu vidimo na primer dela Lojzeta Dolinarja, Franceta in Toneta Kralja, Jožeta Plečnika, Edvarda Ravnikarja in Ivana Vurnika, kar je eden od razlogov, da je bil ta del pokopališča poimenovan Galerija na prostem. Največje obeležje v njem je kostnica, posvečena slovenskim vojakom, padlim v prvi svetovni vojni, ki jo je na predvečer druge svetovne vojne oblikoval Edvard Ravnikar.

Širitev Svetokriškega pokopališčaSvetokriško pokopališče se je od odprtja leta 1906 večkrat povečalo. Prvotnemu, v celoti obzidanemu pokopališču (danes znanemu kot del A), je bilo v dvajsetih in tridesetih letih na severu dodano ravno tako obzidano Novo pokopališče (del B). Leta 1940 je bil južno od prvotnega pokopališča po načrtih Jožeta Plečnika urejen t. i. Vrt Vseh svetih z znamenitimi vhodnimi propilejami, mrliškimi vežicami in molilnico. V sedemdesetih letih so bile severno od obstoječega pokopališča postavljene Nove Žale (del C), kjer je med drugim tudi novi poslovilni center z mrliškimi vežicami in krematorijem. V osemdesetih letih se je pokopališče razširilo na parcelo na drugi strani Tomačevske ceste, kjer so po načrtih arhitekta Marka Mušiča nastale t. i. Mušičeve Nove Žale (del D).

Vrt Vseh svetihSkoraj dvatisočletna tradicija zemeljskega pokopa se je tudi v Ljubljani do začetka 20. stoletja kaj malo spreminjala. Svojci in ostali žalujoči so pokojnika po večdnevnem nočnem bdenju ob

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The Development of the Žale CemeteryThe Opening of the Cemetery of the Holy Cross (Section A)

The Cemetery of the Holy Cross, today referred to as the Old Žale or Section A, was consecrated in 1906. It was brought into use when the remains of Martin Malenšek, the priest of the parish of Šempeter, were moved from the Cemetery of St. Christopher to the new cemetery and the worker Anton Novak was buried there on 3 May. The city's funeral services were thus moved to the new location. Only the evangelical community continued to bury their dead next to the Church of St. Christopher until the end of the First World War, but after the war they too moved their cemetery to a newly opened section of the Cemetery of the Holy Cross.

Church of the Holy CrossBoth the Cemetery of the Holy Cross and its namesake cemetery church, intended to provide space for funeral ceremonies, were designed by the Vienna-based architect Ferdinand Trumler. The church, built in the neo-Romanesque style in 1907, is adorned with stained glass windows made by Heinrich Marchi and donated to the church by the Kollmann family, and an altar cross created by a Russian First World War prisoner of war. In 1965, due to the city's expansion, the Church of the Holy Cross was consecrated as a parish church and began to be used not only for funeral ceremonies, but also for worship. It was fully renovated in 1993.

Outdoor GalleryThe Cemetery of the Holy Cross is remarkable for its extraordinary diversity of sepulchral vaults, mausoleums, and monuments created by some of the greatest Slovenian architects, sculptors, and painters of their time, such as Lojze Dolinar, the brothers France and Tone Kralj, Jože Plečnik, Edvard Ravnikar, and Ivan

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parah šele na dan pogreba v žalnem sprevodu pospremili na zadnjo pot na pokopališče. Ta tradicija je postala vsaj v mestih tako iz higienskih kot prostorskih razlogov neprimerna, zato so se ljubljanske mestne oblasti odločile pokopališče posodobiti z novo mrtvašnico. Projekt so zaupale arhitektu Jožetu Plečniku, ki je ustvaril leta 1940 odprti Vrt Vseh svetih, ki je v mnogočem spremenil tradicijo poslavljanja svojcev od pokojnikov.Plečnik mrliških vežic ni zasnoval kot del ene same večje stavbe, temveč je dal vsaki vežici v Vrtu prostor zase. Pred vhod v pokopališče je v slogu stebriščnega vhoda v atensko Akropolo postavil mogočne, dvonadstropne vhodne propileje, ki jih na vrhu krasi dvojni kip Jezusa in Marije. Jezus k sebi sprejema pokojne, Marija pa daje živim novo upanje. V glavni osi propilej stoji molilnica. Pred njo sta katafalk, oder, na katerega ob pogrebnih svečanostih položijo krsto z mrličem, in govorniški oder pod velikim baldahinom iz umetnega kamna. Okoli molilnice kot osrednjega objekta so kot manjši templji in kapelice razporejene mrliške vežice. Trinajst jih je poimenovanih po ljubljanskih farnih patronih, zadnja pa po bibličnih prastarših, Adamu in Evi. Meščani so Vrt Vseh svetih zelo hitro poimenovali Žale in to poimenovanje se je kasneje preneslo na celotno pokopališče.

Cerkev Vseh svetihPokopališče Žale je imelo sprva le eno cerkev, pokopališko cerkev sv. Križa. Ko je bila leta 1965 zaradi širitve mesta ustanovljena svetokriška župnija, je cerkev postala premajhna za opravljanje tako pokopaliških obredov kot bogoslužja, zato so ob glavni aleji pred vhodom v najstarejši del pokopališča postavili novo cerkev. Zgrajena je bila leta 1987, poimenovana pa po Plečnikovem Vrtu Vseh svetih, kjer stoji. Načrte zanjo je izdelal Fedja Košir, notranjost pa je opremil slikar Stane Kregar. Cerkev ima polkrožen tloris. Na oltarnem podestu sta dve prižnici. Glavna prižnica, namenjena duhovnikom, je okrašena z reliefom dvanajstih apostolov, stranska, namenjena laikom, pa z reliefom ribe, enega najstarejših krščanskih simbolov. V cerkvi stoji križ, ki so ga prinesli iz Svetokriške cerkve.

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Vurnik. This is one of the reasons why this part of the cemetery was named Outdoor Gallery. The largest monument there is the ossuary containing the skeletal remains of Slovenian soldiers fallen in the First World War, designed by the architect Edvard Ravnikar on the eve of the Second World War.

The Expansion of the Cemetery of the Holy CrossSince its opening in 1906, the Cemetery of the Holy Cross has been enlarged to several times its original size. To the north of the original walled cemetery (today known as Section A), another walled cemetery, called the New Cemetery (Section B), was built in the 1920s and 1930s. In 1940, the so called Garden of All Saints, famous for its entrance gateway (propylaea), chapels of rest, and oratory, was built to the north of the original cemetery to designs by the architect Jože Plečnik. The 1970s saw the building of the so called New Žale cemetery (Section C), which includes, among other things, cemetery's new funeral home with chapels of rest and a crematorium. In the 1980s, the cemetery was expanded to include a plot of land on the other side of the Tomačevska cesta road, where the so called Mušič's New Žale cemetery (Section D) was built to designs by the architect Marko Mušič.

Garden of All SaintsIn Ljubljana, the nearly 2000-year tradition of earth burial remained practically unchanged until the beginning of the 20th century. On the day of the funeral, following a several-day wake, a funeral procession composed of the bereaved and other mourners would accompany the deceased on their journey to the cemetery. But at the beginning of the 20th century, in cities at least, this tradition became unacceptable for sanitary reasons and lack of space, so the Ljubljana authorities decided to build a funeral home to modernize the city cemetery. The project was entrusted to the architect Jože Plečnik, whose Garden of All Saints, opened in 1940, changed the tradition of mourning the dead in many ways.Rather than being part of a large funeral home, each of Plečnik's

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chapels of rest has its own space in the Garden of All Saints. In front of the entrance to the cemetery, Plečnik built a majestic double-storey propylaea in the style of the columned entrance gateway to the Acropolis in Athens and adorned it with a double statue of Christ and St. Mary. While Christ welcomes the dead, St. Mary gives hope to the living. Along the main axis of the propylaea stands an oratory. The area in front of the oratory is occupied by a platform on which the dead body is placed before a funeral ceremony (catafalque) and a speakers platform covered by a large canopy made of artificial stone. Around the oratory as the main building in the Garden there are fourteen chapels of rest reminiscent of small temples or chapels. Thirteen of them are named after the patron saints of Ljubljana's parish churches and one of them after the Biblical first parents, Adam and Eve.Very soon, the people of Ljubljana began to refer to the Garden of All Saints as Žale. The name later began to be used in reference to the entire cemetery.

Church of All SaintsAt the Žale cemetery there was originally only one church, a cemetery church of the Holy Cross. When the city expanded, however, and the Parish of the Holy Cross was founded in 1965, the church soon became too small to provide space for both funeral ceremonies and worship. For this reason, a new church was built in Plečnik's Garden of All Saints, along the main avenue in front of the entrance to the oldest part of the cemetery. The church, built in 1987 and named the Church of All Saints after the part of the cemetery in which it stands, was designed by the architect Fedja Košir and its interior was decorated by the painter Stane Kregar. The church has a semi-circular floor plan. On the altar platform there are two pulpits. The main pulpit, intended for use by priests, is adorned with a relief of the twelve Apostles, and the side pulpit, intended for use by laymen, with a relief of a fish, one of the oldest Christian symbols. The church provides space for a cross brought

Levo: Cerkev vseh svetih / Left: Church of All Saints

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Oltar od leta 2009 krasi mozaik, delo patra Marka Rupnika, zgornji del cerkve pa vitraži Janeza Kovačiča. Zunanjost cerkve je urejena tako, da se kar najbolj ujema z Vrtom Vseh svetih, tako po gabaritih kot barvno in do neke mere tudi oblikovno.

Novo pokopališče (del B)Po prvi svetovni vojni je bilo pokopališče Žale razširjeno proti severu v t. i. Novo pokopališče, danes znano kot del B, ki ga najbolj zaznamujejo vojaška pokopališča, kjer so pokopani italijanski vojaki, padli v prvi svetovni vojni, ter avstrijski in nemški vojaki, padli v drugi svetovni vojni. Na severnem delu Novega pokopališča so bila po drugi svetovni vojni postavljena tudi obeležja borcem in talcem, ki jih je zasnoval Nikolaj Bežek, obeležje internirancem, katerega avtor je Janez Boljka, ter Fontana življenja, delo Zdenka Kalina. V bližini sta še kenotaf žrtvam Dachauskih procesov ter Park zvončkov, namenjen raztrosu pepela najmlajših, ki je bil urejen leta 2001. Na vzhodnem delu Novega pokopališča ima svoje pokopališče judovska skupnost.

Nove Žale (del C)Leta 1978 so po načrtih inženirja Petra Kerševana in Biroja 71 na Novih Žalah postavili nov, severni poslovilni kompleks in prvo upepeljevalnico v Sloveniji. Prej so pokojnike upepeljevali v avstrijskem Beljaku. Mogočna stavba, ki je za nadstropje vkopana, da višinsko ne presega okolice, ima ovalno streho, prekrito s cinovimi ploščami, katerih barva se zliva z barvo neba. Mrliške vežice so skrite pod gomilami pred glavno stavbo.

Mušičeve Nove Žale (del D)Leta 1982 je na natečaju za ureditev novega dela pokopališča zmagal arhitekt Marko Mušič. Zasnoval je mogočen pokopališki kompleks, ki naj bi obstoječega v celoti objemal po zahodni in severni strani. Po Mušičevih prvotnih načrtih naj bi se novi pokopališki kompleks s svojimi geometričnimi mrežami

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from the Church of the Holy Cross. In 2009, the church's altar was adorned with a mosaic by Marko Rupnik and stained glass windows were created by Janez Kovačič in the upper part of the church. The church's exterior is designed to match the Garden of All Saints in terms of height, colour, and to a certain extent design.

New Cemetery (Section B)After the First World War, the Žale cemetery expanded to the north to include the so called New Cemetery, now known as Section B, whose most characteristic features are military burial grounds, where Italian soldiers fallen in the First World War and Austrian and German soldiers who died in the Second World War are buried. In the northern part of the New Cemetery, several memorials were erected after the Second Word War, including Nikolaj Bežek's memorial to combatants and victims of war killed in retaliation, Janez Boljka's memorial to civilian internees, and Zdenko Kalin's Fountain of Life. Not far away from the military burial grounds are a cenotaph to the victims of the Dachau Trials and the so called Snowdrop Park, where the ashes of the youngest children have been scattered since 2001. The eastern part of the New Cemetery is occupied by a Jewish burial ground.

New Žale (Section C)In 1978, a new funeral home and Slovenia's first crematorium were built in the New Žale section of the cemetery to designs by Peter Kerševan and the Biro 71 architectural and construction company. Before 1978, the dead of Ljubljana were cremated in Villach, Austria. The mighty funeral home building, sunk into the ground by one floor in order not to be taller than its surroundings, has an oval roof covered with tin sheets, whose colour makes the roof blend with the sky. The chapels of rest are hidden within the mounds in front of the main building.

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grobnih polj, ograjenih z obzidji, oblikovno navezoval na obstoječe pokopališče, njegov celoten zunanji obod pa naj bi predstavljal prostor za raztros pepela. Realiziran je bil le manjši del predvidenega pokopališkega kompleksa na zahodni strani obstoječega pokopališča, danes znan kot Mušičeve Nove Žale. Ta del pokopališča ima na severu mogočen polkrožen vhod, zaznamovan s stebrišči in z najstarejšim grobnim simbolom, dvema piramidama. Od vhoda se proti jugu širijo vse večja in vse bolj odprta grobna polja. V zahodnem delu Mušičevih Novih Žal so umetne gomile, namenjene raztrosu pepela, nad katerimi se pneta kamnita oltarna miza in križ. Pred gomilami stoji kenotaf padlim v vojni za samostojno Slovenijo.

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Mušič's New Žale (Section D)In 1982, an architectural design competition was held for the construction of a yet another section of the Žale cemetery. The competition was won by the architect Marko Mušič, who conceived a majestic cemetery complex that was supposed to extend along the entire length of the existing cemetery's western and northern edges. The new complex, with its geometric arrangement of walled burial plots, would match the design of the existing cemetery and its entire outer edge would be used as space for scattering ashes. However, only a small part of Mušič's project was brought to completion. The cemetery complex built to Mušič's designs is located on the western edge of the Žale cemetery and is known as Mušič's New Žale.At the northern end of Mušič's New Žale there is a majestic semi-circular entrance flanked by two colonnades and two pyramids, the latter symbolically associated with funerary sites since ancient times. Increasingly open burial plots extend to the south of the entrance. The western part of Mušič's Nove Žale provides space for artificial mounds intended as space for scattering ashes. A stone altar table and a cross rise above the mounds. In front of them stands a cenotaph to the victims of the war for Slovenian independence.

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Znamenitosti pokopališča ŽaleThe Sights of the Žale Cemetery

Grobnica rodbine Zois, leta 1844 ulita v livarni Dvor in naknadno prestavljena na današnje mesto. V njej je pokopan Carl Zois, nečak razsvetljenca Žige Zoisa.The Zois family vault, cast at the Dvor foundry in 1844 and placed in its present position later. The vault contains the remains of Carl Zois, a nephew of a leading representative of the Enlightenment in Slovenia, Žiga Zois.

Mavzolej družine Kollmann, zgrajen v letih 1908/1909 za pomembno trgovsko družino, ki je imela svojo ljubljansko rezidenco v prestižni Vili Podrožnik.The Kollmann family mausoleum, built in 1908/1909 for a notable family of merchants whose Ljubljana residence was the prestigious Villa Podrožnik.

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Grobnica ljubljanskih škofov, zgrajena leta 1936 po načrtih Jožeta Plečnika. Motiv križanega je delo Boža Pengova. V grobnici sta pokopana škof Jeglič in nadškof Vovk.The vault of the Bishops of Ljubljana, built in 1936 to a design by Jože Plečnik. The figure of the crucified Christ is a work by Božo Pengov. The vault contains the remains of Bishop Jeglič and Archbishop Vovk.

Spomenik slovenski moderni, izdelan leta 1925 po načrtih Dušana Grabrijana. Posvečen je Josipu Murnu, Ivanu Cankarju in Dragotinu Ketteju. Leta 1955 je bil dodan spomenik Otonu Župančiču, delo pesnikovega sina Marka Župančiča.Monument to Slovenian Early Modernists, made in 1925 to a design by Dušan Grabrijan and dedicated to Josip Murn, Ivan Cankar, and Dragotin Kette. The monument to Oton Župančič, added in 1955, is by the poet’s son Marko Župančič.

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Spomenik septembrskim žrtvam, posvečen Ivanu Adamiču in Rudolfu Lundru, ki sta bila ubita v protinemških demonstracijah leta 1908. Žalostna Mati Božja iz tirolskega marmorja je delo Sevtozarja Peruzzija iz leta 1909.Monument to the September Victims, dedicated to Ivan Adamič and Rudolf Lunder, both killed in anti-German demonstrations in 1908. The statue of Our Lady of Sorrow, made of Tyrolean marble, was sculpted by Svetozar Peruzzi in 1909.

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Grobnica dr. Ivana Šušteršiča, zgrajena leta 1930 po načrtih Jožeta Plečnika. Kip je delo Ivana Pengova. V grobnici je pokopan viden politik, zadnji glavar Vojvodine Kranjske.The vault of Ivan Šušteršič, the last Governor General of the Austro-Hungarian province of Carniola, built in 1930 to a design by Jože Plečnik. The statue was created by Ivan Pengov.

Kostnica žrtev prve svetovne vojne, zgrajena leta 1939 po načrtih Edvarda Ravnikarja. Spomenik Kranjskega Janeza je nedokončano delo Svetozarja Peruzzija, ki ga je dokončal Lojze Dolinar.Ossuary for the fallen in the First World War, built in 1939 to a design by Edvard Ravnikar. The monument to ‘Carniolan Janez’, a synonym for the typical Slovenian, was begun by Svetozar Peruzzi and finished by Lojze Dolinar.

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Grobnica Janeza Evangelista Kreka, zgrajena leta 1920 po načrtih Lojzeta Dolinarja. Janez Evangelist Krek je bil ugleden teolog in politik.The vault of Janez Evangelist Krek, a distinguished theologian and politician, built in 1920 to a design by Lojze Dolinar.

Spomenik slovenskim skladateljem, izdelan leta 1936 po načrtih Iva Spinčiča. Doprsna plastika Davorina Jenka je delo Lojzeta Dolinarja.Monument to Slovenian composers, built in 1936 to a design by Ivo Spinčič. The bust of Davorin Jenko is a work by Lojze Dolinar.

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Spomenik slovenskim dramskim igralcem, izdelan leta 1930 po načrtih Stanka Rohrmana. Gledališka maska je delo Jakoba Savinška.Monument to Slovenian theatre actors, built in 1930 to a design by Stanko Rohrman. The theatre mask is a work by Jakob Savinšek.

Spomenik Uršulinkam iz leta 1859, ki je prvotno stal pri cerkvi sv. Krištofa, nato pa so ga znižali in prenesli na današnjo lokacijo. Relief Marije Pomagaj je delo Franca Ksaverja Zajca.Monument to Ursuline sisters, built in 1859. The monument initially stood next to the Church of St. Christopher and was later reduced in height and moved to its present location. The relief of Our Lady of Mercy is a work by Franc Ksaver Zajc.

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Grobnica rodbine Blumauer, zgrajena leta 1942 po načrtih Jožeta Plečnika. V njej je pokopan Robert Blumauer, ustanovitelj kirurške službe na Slovenskem.The Blumauer family vault, built in 1942 to a design by Jože Plečnik. The vault contains the remains of Robert Blumauer, the founder of surgical services in Slovenia.

Grobnica rodbine Hribar, delo kamnoseške delavnice Vodnik. V njej je pokopan Ivan Hribar, župan mesta Ljubljana.The Hribar family vault, a work by the Vodnik masonry workshop. The vault contains the remains of Ivan Hribar, a mayor of Ljubljana.

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Grobnica Vladimirja Dedijera v obliki Bogomilskega stečka, ki jo je v letih 1991/1992 ustvaril Janez Pirnat. Vladimir Dedijer je bil politik in eden od avtorjev Titove biografije.The vault of Vladimir Dedijer, a politician and one of the co-authors of the biography of President Tito. The vault, shaped in the form of a Bogomil stone coffin, was sculpted by Janez Pirnat in 1991/1992.

Grob Ivane Kobilca, slovenske slikarke.The grave of Ivana Kobilca, a Slovenian painter.

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Grob Lili Novy, slovenske pesnice, kjer so pokopani tudi njeni otroci.The grave of Lili Novy, a Slovenian poet. The grave also contains the remains of the poet’s children.

Italijansko vojaško pokopališče, nastalo je v letih 1930–1941. Tam so pokopani italijanski vojaki, padli v prvi svetovni vojni.Italian military burial ground, created between 1930 and 1941. The burial ground contains the remains of Italian soldiers fallen in the First World War.

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Avstijsko vojaško pokopališče, urejeno leta 1962 po načrtih Wolfganga Skale. Tam so pokopani Avstrijski vojaki, padli v obeh svetovnih vojnah.Austrian military burial ground, created in 1962 to designs by Wolfgang Skala. The burial ground contains the remains of Austrian soldiers fallen in the two World Wars.

Nemško vojaško pokopališče, kjer so pokopani nemški vojaki, padli v drugi svetovni vojni.German military burial ground, which contains the remains of German soldiers fallen in the Second World War.

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Judovsko pokopališče, urejeno po letu 1955. Spomenik je posvečen padlim judovskim partizanom.Jewish burial ground, created after 1955. The monument is dedicated to the Second World War Jewish partisans.

Kenotaf žrtvam Dachauskih procesov iz leta 1989, izdelan po načrtih Ferda Koširja. Posvečen je žrtvam politično zrežiranih procesov po drugi svetovni vojni.Cenotaph to the victims of the Dachau Trials, built in 1989 to a design by Ferdo Košir and dedicated to the victims of the politically motivated Dachau Trials held in Ljubljana after the Second World War.

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Spomenik internirancem iz leta 1965, delo Janeza Boljke in Ferda Koširja.Monument to civilian internees, sculpted by Janez Boljka and Ferdo Košir in 1965.

Stranski vhod v Mušičeve Nove Žale, delo Marka Mušiča iz leta 1988.Side entrance to Mušič's New Žale, built to designs by Marko Mušič in 1988.

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Spomenik padlim v vojni za Slovenijo s križem in prostorom za raztros pepela v ozadju, delo Marka Mušiča iz leta 1992.Monument to the fallen in the war for Slovenian independence with a cross and space for scattering ashes in the background, created by Marko Mušič in 1992.

Nagrobnik Jožeta Plečnika, ki ga je leta 1957 izdelalo kamnoseštvo Vodnik. Jože Plečnik je pokopan skupaj s sestro Marijo, poročeno Matkovič, in bratom Janezom, profesorjem anatomije.The tombstone of Jože Plečnik, made by the Vodnik masonry workshop in 1957. Jože Plečnik is buried together with his sister Marija, whose married name was Matkovič, and his brother Janez, a professor of anatomy.

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Navček v najnovešem delu pokopališča Žale, delo Marka Mušiča iz leta 2012.The Passing Bell in the newest part of the Žale cemetery, created by Marko Mušič in 2012.

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Nagrobnik Kamnoseštva Vodnik, izdelan leta 1939 po načrtih Jožeta Plečnika. Kamnoseštvo Vodnik je za Jožeta Plečnika izvajalo najzahtevnejša kamnoseška dela.The tomb of the Vodnik masonry workshop, made in 1939 to a design by Jože Plečnik. The workshop carried out the most demanding masonry works for Jože Plečnik.

Propileje na vhodu v Vrt vseh Svetih, zgrajene leta 1940 po načrtih Jožeta Plečnika.The propylaea at the entrance to the Garden of All Saints, built in 1940 to designs by Jože Plečnik.

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Mrliška vežica sv. Petra v Vrtu vseh Svetih, zgrajena leta 1940 po načrtih Jožeta Plečnika. St. Peter's chapel of rest in the Garden of All Saints, built in 1940 to designs by Jože Plečnik.

Mrliška vežica sv. Ahaca v Vrtu vseh Svetih, zgrajena leta 1940 po načrtih Jožeta Plečnika.St. Achatius's chapel of rest in the Garden of All Saints, built in 1940 to designs by Jože Plečnik.

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Fotografija na naslovnici: Vhod v poslovitveni kompleks pokopališča Žale (fotograf: Mihael Grmek) / Cover photo: Entrance to the Žale funerary complex (photo by Mihael Grmek)

Izdajatelj: Turizem Ljubljana / Published by: Ljubljana Tourism, Krekov trg 10, SI-1000 Ljubljana, Slovenia, www.visitljubljana.com

Besedilo: Martin Šuštaršič / Text by: Martin Šuštaršič

Fotografije: Dunja Wedam / Photos by: Dunja Wedam

Redakcija besedila in prevod: Patricija Fajon / Content editing and translation: Patricija Fajon

Postavitev in priprava za tisk: Studio DTS / Typesetting and prepress: Studio DTS

Tisk: Collegium graphicum d.o.o. / Printed by: Collegium graphicum d.o.o.

Naklada: 3.000 izvodov / Print run: 3,000 copies

Ljubljana, junij 2013 / Ljubljana, June 2013

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