Ljubljana Cathedral, also named St. Nicholas' Cathedral, was originally a Gothic church. In the early 18th century, it was replaced by a Baroque building. It is an easily recognizable landmark of the city with its green dome and twin towers and stands at Cyril and Methodius Square by the nearby Ljubljana Central Market and Town Hall.
The site was originally occupied by an aisled three-nave Romanesque church, the oldest mention of which dates from 1262. It was a succursal church of the ancient Parish of Saint Peter. An extensive fire in 1361 saw it refurbished in the Gothic style but underwent alterations when the Diocese of Ljubljana was established in 1461 and the church became a cathedral. However, in 1469 it was burnt down again. This time, it was suspected to be arson, presumably by the Turks.
In 1700 the Capuchin friar Florentianus Ponnensis from Milan or Bologna designed a new Baroque hall church. The following year, after the construction already started, the plan was revised and complemented by the Jesuit architect Andrea Pozzo who designed it as a basilica and added to it a dome. He did not supervise the realisation of his plan, so the buildings was significantly adapted by the builders, in particular by Francesco Bombassi of Venice. The two belfries, resembling of the Salzburg Cathedral, were added upon the plan by Lombard Giulio Quaglio.
The construction took place between 1701 and 1706. The first worship took place in the new building in August 1706, and the consecration took place on 8 May 1707. Originally, a fake dome was painted on the arch above the centre until the church's real dome was constructed in 1841.
Inside much of the original Baroque decor remains with frescoes painted by Giulio Quaglio between 1703–1706 and later 1721–1723. Other notable decorations in the cathedral include the altar angels by the brothers Paolo and Giuseppe Groppelli on the right part of the nave (1711) and by Francesco Robba on the left (1745–1750). Angelo Putti was assigned to much of the artwork, with his painting of Thalnitscher (1715) and the statues of the four bishops of Emona seated under the dome beam (1712–1713). The dome was painted by Matevž Langus in 1843–44. The fresco in the cupola depicts the Holy Spirit and angels, whereas the frescos on the walls of the dome depict the coronation of the Virgin and the glorification of Saint Nicholas, surrounded by angels and saints. In the 1950s, the architect Jože Plečnik made plans for new church furnishings.References:
The Broch of Gurness is an Iron Age broch village. Settlement here began sometime between 500 and 200 BC. At the centre of the settlement is a stone tower or broch, which once probably reached a height of around 10 metres. Its interior is divided into sections by upright slabs. The tower features two skins of drystone walls, with stone-floored galleries in between. These are accessed by steps. Stone ledges suggest that there was once an upper storey with a timber floor. The roof would have been thatched, surrounded by a wall walk linked by stairs to the ground floor. The broch features two hearths and a subterranean stone cistern with steps leading down into it. It is thought to have some religious significance, relating to an Iron Age cult of the underground.
The remains of the central tower are up to 3.6 metres high, and the stone walls are up to 4.1 metres thick.