In 1996, two enhancements were installed on the cathedral in the form of two large bronze doors, one on the west facade and the second on the south facade adjacent to Ciril-Metodov Trg. These were added to commemorate the visit of Pope John Paul II. The stunning west door is decorated with a raised relief schemes depicting 1,200 years of Christianity in Slovenia including scenes of the Crusades through to the independence of Slovenia, whilst the south door is decorated with the raised relief of the bishops of Ljubljana.

Ljubljana Cathedral stands above the square Pogačarjev trg and by Ciril-Metodov trg in the centre of the medieval town. By orders of the Academia Operosorum, it was built anew, on the foundations of the destroyed Romanesque-Gothic three-nave church with a long choir loft, which had already been the Bishops’ Seat since 1461. All that remains of the older church is the keystone with Christ built in the façade by the entrance. Several Roman tombstones are built in the exterior walls. In the niches of the façade are a Gothic pieta and statues of important Bishops and Saints. The plans of the two-towered church were drawn by the Jesuit Andrea Pozzo in 1701, and construction after 1704 was directed by Gregor Maček, Sr. The cathedral has a ground plan in the shape of a Latin cross and the scheme imitates the church Il Gesu in Rome. The elongated hall is surrounded by four chapels on each side. Above the crossing the dome was added in 1841 (builder M. Medved). The new west bronze door was designed by Tone Demšar, and the new south bronze door by Mirsad Begić (1996). Demšar designed reliefs with the history of Slovenian territory under the rule of three important Bishops and blessed by Pope John Paul II. Begić designed the dead Christ with more artistic license. From His sacrifice rise the images of the Bishops of the Ljubljana Diocese in the last century.

By 1723 the interior had been painted by Giulio Quaglio and his co-workers. The sculptural pieces were chiseled by Angelo Putti (statues of the Bishops of Emona, symbols of the temperaments, a portrait of the canon J. G. Dolničar), Francesco Robba (the altar of Corpus Christi with lively angels in the transversal nave) and others. The newly built dome was painted in the middle of the 19th century by Matevž Langus. The author of the painting of St. Nicholas in the presbytery is Pietro Liberi. The Bishop’s throne, the baptism front, and the Chapel of the Cross by the pulpit were drawn in the fifties by Jože Plečnik. After the renovation of the presbytery in 1970 (architect Anton Bitenc), the reliefs of the Way of the Cross were added (sculptor France Gorše).

Hotel Park Ljubljana is a part of urban beat in the heart of Ljubljana as well as being a part of nature – it is situated in the park in the pedestrian area. It is well known for its warmth and hospitality, committed to sustainable development, encouraging respect for the environment and connecting with local communities. Since we support many cultural events and host different artists in the hotel, it’s also known as a cultural ambassador.

Because of its placement in the green environment of parks as well as its name Hotel Park represents remarkable regional parks, pearls of Slovenia. Each of the floors in the hotel presents one of the parks. And since Ljubljana is the European Green Capital 2016, special attention was paid to regional parks in its vicinity which every visitor becomes acquainted with.

Ivan Hribar (19 September 1851 – 18 April 1941) was a Slovene and Yugoslav banker, politician, diplomat and journalist. During the start of the 20th century, he was one of the leaders of the National Progressive Party, and one of the most important figures of Slovene liberal nationalism. Between 1896 and 1910, he was the mayor of Ljubljana (nowadays the capital of Slovenia),^[1] and greatly contributed to its rebuilding and modernisation after the 1895 earthquake.

Hribar was known as a passionate politician and a great Slovene and Yugoslav patriot. After the Axis invasion of Yugoslavia in 1941, Hribar committed suicide (at the age of ninety) as a protest against the Italian annexation of Ljubljana. On 18 April, after returning home from a meeting with the Fascist Italian authorities, which had just offered him the mayorship of the city, he jumped into the Ljubljanica River, wrapped in the Yugoslav flag. He left a note with the verses from France Prešeren’s poem The Baptism on the Savica:^[3]

Manj strašna noč je v črne zemlje krili,
kot so pod svetlim soncem sužnji dnovi.

Less fearful the long night of life’s denial
Than living ‘neath the sun in subjugation!

The chapel is one of the oldest parts of Ljubljana Castle.

According to the emperor’s document from 1489 the chapel was consecrated to St. George, St. Pancras and the emperor Helena. The original chapel entrance was on the northern side, leading up thirteen steps, which are still in use today. Later the entrance to the chapel was from the southern side. The original Gothic chapel had open roofing, four Gothic pointed windows and an emporium, where the noblemen attended holy mass. It was rebuilt in Baroque style,  and 1747 painted with the coat of arms of the land governors. The function of province governors enters the historical scene accompanied by the formation of the provinces at the end of the 13th century. In Habsburg lands they represent the person acting as substitute to the province duke and as a military commander of the army and chairman of the province.*

In the 16th century, the governors changed every two to five years; only later did this service become permanent. Among the names are also Herman and Ulrik the count of Celje, Henrik count of Gorica, Devin noblemen, representatives of family Turjak (Auersperg), etc. The ceiling also contains the coat of arms for the provinces Carniola and Istria, Slovenian marks and five Austrian rulers. Only rarely do we come across paintings with secular content in churches, therefore this chapel is truly a European pearl. During the last renovation (1992), the original Gothic painting was discovered – borders around the altars, entrance and window openings. The walls display dedicatory crucifixes in Gothic style, symbolising the Stations of the Cross.*

* From the Ljubljana Castle guide book.