In a properly oriented axis, the 3/8-ended presbytery, rectangular church aisle and a church tower are lined up. On the inside, the presbytery is separated from the church aisle with a pointed triumphal arch, which was cut on both sides. The presbytery has Gothic windows. The ribs run from the ribbed, arched vault to the pointed consoles. The contacts and the intersections of the ribs are decorated with the differently sized keystones in a shape of rosettes. The contacts and the intersections of the ribs are decorated with the differently sized keystones in a shape of rosettes. On the south side of the presbytery, there is an inscription of the name of the architect Anton Knez and the year 1629. The church aisle is slight wider, rectangular and hemispherically arched. A part of a few in number, but valuable equipment, are two wooden golden altars from 1688, located next to the arched wall. The right one is dedicated to St Ana and the left one to Our Lady of Sorrows. A part of the external appearance of the church is also a small stone wall that surrounds the church. The stone steps lead to the church.
Measures
Area 132 m2, height 9 m.
Materials
Stone, marble, brick pavers, mortar.
Dating
1500
Author / Producer
Author information is not known.
Picture attachments
Original use
Originally, probably in 1500, the church was dedicated to the Holy Spirit, but in 1631 it was built to its final design and was dedicated to the Holy Trinity. The church construction, which served for the needs of Catholic liturgies, goes back to the beginnings of mining in Idrija. In the first half of the 17th century, the church got the described Late Gothic appearance. In 1668, the Baroque church aisle was equipped with two side “golden” altars, dedicated to St Ana and Our Lady of Sorrows. In 1703, Carl Reselfeld made a painting of the Coronation of Mary for the main altar. After the completion of the Parish Church of St Barbara, the Church of Holy Trinity lost its central position. In the first half of the 19th century they wanted to reconstruct it into a school facility or a mercury warehouse, and lastly simply to demolish it. Anton Alojzij Wolf (1782–1859), the famous Idrian compatriot and the Bishop of Ljubljana, stood up for its preservation.
Present use
The Church of the Holy Trinity is being preserved, secured and presented as an important monument of Idrija mining heritage with exceptional universal values. It is the oldest sacred building in the town and is important because of the preserved Gothic and Baroque construction elements and Baroque altars. In 1980s, the church was completely renovated under the guidance of architect Franc Kvaternik and Dr Emilijan Cevc. The historical and modern stylistic elements are reasonably accentuated inside the church. The presbytery is decorated with bright coloured stained glass windows, made by the painter Lojze Čemažar, who meaningfully connected the biblical and Idrija theme. The symbols in it are the planet Mercury, the flag of Idrija, the ore, the mining bar with a chisel-shaped point functioning as a drill when rotated and the carbide lamp as an eternal light. Liturgies, concerts and temporal exhibitions still occasionally take place in it.
Original location
2357 Idrija – town, lot no. 1281, building no. 562.
Present location
No changes.
STATE OF CONSERVATION
History of conservation:
In accordance with the instructions given by the Institute for the Protection of Cultural Heritage of Slovenia, Nova Gorica (1981–1984), the built extension of the sacristy was removed. The walled Gothic windows of the presbytery and two aisle windows were opened. The floor has been replaced. Based on the sondages, the facade was renovated. All three altars were also restored. Additional interventions are not necessary. Security of the premises is taken care of.
Present state
good
Necessary activities:
Performing regular maintenance services by the programme, including status control and preservation, security and presentation of the heritage.
DOCUMENTATION
Addresses / collections / links etc. where further in-depth information is accessible:
- The Cultural Heritage Register of the Republic of Slovenia;
- Kavčič, Janez. Znamenje vekov: Cerkev Sv. trojice v Idriji 1500-2000. Idrija, Založba Bogataj, 2000;
- FiIipič, Janez. Idrija in njeni spomeniki sakralne umetnosti. Idrija, 1979;
- Medvešček et al. Cerkev Sv. trojice – pomemben kulturnozgodovinski in sakralni spomenik. Idrijski razgledi, XXXIII, 1988/1, Idrija Municipal Museum.