Kapela sv. Eligija na Malem gradu

Kapela sv. Eligija na
Malem gradu
The Chapel of St. Eligius
on the Mali Grad hill
K
apela na Malem gradu predstavlja enega
izmed najpomembnejših kulturno–umetniških
spomenikov, ki v slovenski stavbni dediščini
nima ustrezne primerjave. Z njim je povezana
tudi legenda o skopuški grofični Veroniki, ki je
upodobljena v kamniškem grbu.
Mali grad je od leta 1986 spomeniško zaščiten z
Odlokom o razglasitvi starega mestnega jedra
Kamnika za kulturni in zgodovinski spomenik.
Celoten kompleks malograjskega hriba je
vključen v evropski projekt TRANSROMANICA
– romanske poti evropske dediščine. Namenjen
je krepitvi trajnostnega razvoja regij ter
spodbujanju prostorskega združevanja s pomočjo
kulturnega turizma na podlagi skupne evropske
romanske dediščine.
T
he Chapel on the Mali Grad hill is one of the major cultural and artistic
monuments, which falls within the greatest creations of Slovenian
architectural heritage. It is connected with the legend of stingy countess
Veronika, who is also depicted in the Kamnik count of arms.
In 1986 Mali Grad was put under heritage protection with an Ordinance
designating old town core of Kamnik as a cultural and historical
monument. The complex of the Mali Grad hill is included in European
project TRANSROMANICA – the Romanesque Routes of European Heritage,
whose aim is to strengthen sustainable development of the regions and
through cultural tourism promote regional integration on the basis of
common European Romanesque heritage.
Arheološka izkopavanja
Archaeological Excavations
N
he most thorough insight into the history of the Mali Grad Hill has
been enabled by excavations carried out on the eastern part of the
castle. The oldest remains of the New Stone Age (Neolithic) settlement
date back to the 4th millennium BC. Findings include a handful of typical
pottery shards, a few fragments of clay to glue together the huts made of
knitted branches and some stone tools. However, the type of dwellings can
only be inferred from the data collected at similar, better-preserved sites.
ajveč podatkov o zgodovini malograjske vzpetine so dala
arheološka izkopavanja vzhodnega dela gradu. Najstarejši so
vsekakor ostanki naselbine iz mlajše kamene dobe (neolitika), iz 4.
tisočletja pred našim štetjem. Ta nam je zapustila za nekaj prgišč črepinj
značilnega keramičnega posodja, nekaj drobcev gline, s katero so bile
oblepljene iz vej spletene koče, in nekaj primerkov kamnitega orodja. O
oblikah bivališč lahko sklepamo le na osnovi podatkov iz sorodnih, bolje
ohranjenih najdišč.
Skromen ostanek mlajše železne dobe je nož iz časa okrog 250 do 180
pred našim štetjem. Kot kaže, se je rimsko obdobje lokaciji ognilo.
T
From early Iron Age only a knife from about 250 to 180 BC was found.
Apparently this area was not settled in the Roman period.
Surprisingly, a smaller Old Slavic cemetery (27 graves) from the 10th
Presenetljivo je bilo odkritje manjšega staroslovanskega grobišča (27
grobov) iz 10. stoletja našega štetja. Nastalo je ob najstarejši cerkvici,
predhodnici sedanje malograjske kapele, verjetno v okviru utrjene
naselbine. Grobišče kaže tudi svojevrsten notranji red, oprt na grobove
najstarejših pokopanih oseb.
century AD was discovered there. It was positioned next to the oldest
church building – the forerunner of the current chapel on the Mali Grad
Hill – and it probably formed a part of the fortified settlement. The
cemetery was organised in a specific way, relying on the graves of the oldest
buried people.
Grad na malograjski skali se je razvil v več fazah. Prvotno jedro, ki je
vključevalo pravokotni bivalni del in kapelo, se je na zahodu (približno v
liniji s sedanjo vhodno lopo malograjske kapele) zaključevalo z dodatno
odebeljenim obzidjem (t.i. ščitno steno), v katerem so odkrili tudi vhod.
Tlorisne značilnosti in najstarejše drobne najdbe dovoljujejo datacijo
tega dela gradu že v čas pred prvo omembo v pisnih virih (l. 1202), že
pred prihodom grofov Andeških v Kamnik (konec 11. ali začetek 12.
stoletja). Morda je bil sestavni del najstarejšega gradu tudi že mogočen
stolp, katerega temelji so bili odkriti pod sedanjim stražnim stolpom.
Ta stolp je sprva služil kot nekakšna predstraža na najlaže dostopnem
mestu, potem ko se je grad razširil do sedanjega obsega pa je bil vključen
vanj kot zadnje, domala nezavzetno pribežališče branilcev. S svojimi
3,25 m debelimi zidovi je lahko kljuboval vsem tedanjim napadalnim
orožjem, njegov tloris (5,75 m x 5,75 m notranjega prostora oz. 12,25 m
The Mali Grad castle was built in several stages. Originally, on the western
side (approximately in line with the present covered entrance area to the
chapel) the basic unit comprising a rectangular housing and a chapel
ended with a specially thickened wall (the so-called protective wall) and
an entrance. According to the layout and the oldest smaller findings this
part of the castle had been built already before the existence of the first
written records (in 1202) and even prior arrival of Counts of Andechs to
Kamnik at the end of 11th century or beginning of the 12th century. The
oldest and original basic unit of the castle might have comprised also a
mighty tower, whose foundations were found below the present watch
tower. This tower used to serve as a sort of an outpost on the most exposed
part. Afterwards, when the castle expanded to its present size, it became a
part of the castle, which was at the same time one of the best places to hide.
It had 3.25 m thick walls which were strong enough to defend all weapons
of that period. According to its layout (5.75 x 5.75 m interior, or 12.25 x
12.25 m exterior) it can be assumed that original height was at least 20 m.
The oldest building stage of the Mali Grad castle is comparable with the
oldest building stage of the castle in Celje.
Complete layout of the castle remains unknown. Presumably, the Counts
of Andechs built the present chapel, enlarged residential part (palatium)
on the east and expanded the castle towards the west. The castle of Mali
Grad was not their permanent residence, they visited it only occasionally.
This can be confirmed by written records dating from 1250 on the signing
of a document in the upper chapel. There are also written records which
attest several caretakers of the castle (castellans), also after Counts of
Andechs went extinct in 1251.
Smaller findings and written records enable us to trace life at the Mali
Grad castle up to the 14th century, afterwards sources dry up. A thick
layer of cinder, which was found in the area, testifies that the castle went
to ruin. The citizens of Kamnik used the ruins to build the town’s defence
system and later on for their own houses.
x 12,25 m zunanjega) pa predpostavlja vsaj 20 m prvotne višine.
Najstarejša stavbna faza Malega gradu je zelo lepo primerljiva z na
primer najstarejšo fazo celjskega gradu.
Tloris gradu v celoti še ni poznan. Grofom Andeškim lahko pripišemo
izgradnjo sedanje malograjske kapele, povečanega bivalnega dela
(palacija) na vzhodu in razširitev gradu proti zahodu. Mali grad seveda
ni bil njihovo stalno prebivališče, obiskovali so ga le občasno - to nam
dokazuje omemba podpisa listine v zgornji kapeli l. 1250. Različni
grajski upravitelji (ministeriali) pa so v pisanih virih večkrat izpričani,
tudi po izumrtju te pomembne plemiške rodbine l. 1251.
Z drobnimi najdbami in pisanimi viri lahko sledimo življenju na Malem
gradu še v 14. stoletju, potem pa tako najdbe kot viri presahnejo. Propad
gradu označuje debela plast žganine, ki so jo arheologi izsledili na
celotni raziskani površini. Razvaline so s pridom izkoristili Kamničani –
sprva za mestne obrambne naprave, nato pa še pri zidavi svojih hiš.
Umetnostno-zgodovinski oris
kapele sv. Eligija
The Chapel of St. Eligius from the
art-historical point of view
Prve omembe
First records
Stavbna zgodovina izjemne romanske kapele s kripto je neločljivo
povezana z zgodovino Malega gradu, saj je z najnovejšimi arheološkimi
raziskavami potrjeno, da je bila kapela prvotno vpeta v grajski kompleks
in skrita za masivnim obzidjem. Ker se njeni temelji naslanjajo
neposredno na južno obzidje in delno slonijo na njem, je nedvomno
mlajša od najstarejše faze gradu. Njeni začetki s predhodnico obstoječe
stavbe, na katero so orientirani staroslovanski grobovi, verjetno segajo
v 11. stoletje, sedanjo trinadstropno obliko pa je dobila v povezavi z
znamenito rodbino Andeških konec 12. ali v začetku 13. stoletja, saj se
kot dvonadstropna leta 1250 tudi prvič listinsko omenja.
The history and building of this incredible Romanesque chapel with a
crypt is inseparably connected with the history of the Mali Grad castle, as
the latest archaeological research confirmed that the chapel was originally
set in the castle complex and hidden behind massive walls. Since its
foundations are positioned directly at and partly even lean against the
southern walls, it is clear that the chapel is younger than the oldest part
of the castle. The old chapel building, a forerunner of the present one,
and belonging Old Slavic graves date back to 11th century. The present
three-storey layout is connected with the famous noble family, Counts of
Andechs. It was built at the end of the 12th or at the beginning of the 13th
century, as the first written records of the double chapel date back to 1250.
Patrocinij
Zgornja kapela je bila ob koncu srednjega veka po vsej verjetnosti
posvečena sv. Jerneju (patrocinij, naveden ob podelitvi odpustkov kapele
leta 1516), spodnja pa sv. Eligiju, zavetniku kovačev, katerih kamniški
ceh je tu imel svoj oltar. Patrocinij sv. Jerneja v zgornji kapeli se je, vsaj ko
so zgradili novo kamniško župnijsko cerkev leta 1734, moral umakniti
patrociniju žalostne Matere božje, ki se omenja v vizitaciji leta 1752.
Po omenjeni vizitaciji je bila kripta posvečena sv. Petru apostolu v
kesanju. Kapela je podružnica kamniške fare, ki se je iz Nevelj preselila
neposredno v Kamnik.
Religious background (lat. patrotinium)
The upper chapel was most probably dedicated to St. Bartholomew (a
church anniversary or lat. patrotinium, stated when granting chapel’s
indulgences in 1516) at the end of the Middle Ages. The lower chapel, on
the other hand, was dedicated to St. Eligius, the patron of blacksmiths,
whose guild in Kamnik had its own altar. In 1734, when the new parish
church of Kamnik was built, the patrotinium of St. Bartholomew in the
upper chapel was replaced by the patrotinium of Our Lady of Sorrows,
which is mentioned in the visitation of 1752. After visitation, the crypt was
dedicated to St. Peter the Apostle in Repentance. The chapel is the branch
church of the Kamnik parish church, which was moved from the nearby
village of Nevlje to Kamnik.
lino in je bilo v celoti odkrito med zadnjo prenovo. Oblikovno je portal
oziroma okno nekoliko mlajše in skromnejše od glavnega portala v
lopi, ki sodi v sam vrh romanskega kiparstva pri nas. Spodnji portal
ima poleg podvojenega para stebrov v zalomljenem ostenju ohranjen
tudi polkrožno sklenjeni timpanon z reliefnim okrasom v podobi križa,
ki ponazarja Kristusa z levom in zmajem ob podnožju, kot ilustracijo
90. (91.) psalma (Stopal boš čez gada in modrasa, z nogo poteptal leva in
zmaja). Ker se posamezni kamnoseški elementi iz 11. stoletja oblikovno
ne prilegajo povsem, je možno, da je bil portal preoblikovan v 13.
stoletju ali prenesen z neke druge lokacije, verjetno iz prvotne cerkve.
V notranjosti na najzgodnejšo fazo spominja le še romanski portal
v zgornji kapeli med ladjo in prezbiterijem s polkrožnim sklepom
in zalomljenim ostenjem, v katerem stojita stebrička z romanskima
kapiteloma. Ostali elementi, vključno s poslikavami, pa so rezultat večjih
predelav.
Romanika: 11. – 13. stol.
Romanesque: 11 – 13 century
Dvonadstropna romanska kapela s kripto je kljub gotskim prezidavam
in barokizaciji ohranila romansko jedro s tlorisno zasnovo v vseh treh
nadstropjih. Jedro sestavljajo v skalo vkopana kripta, spodnja kapela
s prvotno ravnim stropom ter z ravno sklenjenim oltarnim delom in
zgornja kapela s polkrožnim – apsidalnim oltarnim delom. Vsi ostali
stavbni elementi, kot so vhodna lopa, obhod okoli spodnje kapele,
zakristija in zvonik na strehi, so mlajši. Zgornja in spodnja kapela sta
povezani z ozkimi stopnicami vgrajenimi v ostenju obeh ladij. Poleg
tlorisne zasnove jedra kapele romansko stilno obdobje opredeljuje tudi
kamnita plastovita zidava z vrezanimi črtnimi fugami, ki je ohranjena
na zunanjih zidovih spodnje kapele in pod mlajšimi ometi na fasadah
zgornje kapele, le da je v zgornjem delu izvirna podoba fasade zaradi
krhkega gradbenega materiala prekrita z ometi. Delno ponazarjajo
romansko fazo tudi ostenja prvotno polkrožno sklenjenih okenc.
Predvsem pa sta za romaniko značilna glavni portal in portal oziroma
veliko okno nad njim, ki se je poprej dalo slutiti na pročelju le z manjšo
Although the double Romanesque chapel with a crypt was rebuilt in
Gothic and Baroque style, the Romanesque foundations and the layout
in all three levels, (consisting of the crypt dug into the rock, lower chapel
with originally flat ceiling and an even altar part, and the upper chapel
with a circular and apsidal altar part), can still be seen. All other building
elements, such as the covered entrance area into the chapel, the walkway
around the lower chapel, the vestry and the belfry are younger. The upper
and the lower chapel are connected by narrow stairs built into the walls of
both naves. Next to characteristic layout of the chapel, the Romanesque
style can also be seen in the layered stony construction with chiselled seam
lines, which can be seen on external walls of the lower chapel and under
younger plasters on the façades of the upper chapel, except for the upper
part, where the original façade has been covered with renderings due to
brittle building materials. Partially, the Romanesque influence can also
be seen on the walls of the originally semi-circular windows. Moreover,
the most characteristic of the Romanesque style are the main portal and a
th
th
portal or a big window above it, with the latter being hidden and indicated
only by a small hatch on the front before the last renovation finally
completely uncovered it. In terms of design, the portal or the window is
slightly younger and more modest than the main portal which falls within
the very best creations of the Romanesque sculpture in Slovenia. Next to
the pair of the double columns in the walls also semicircular tympanum
with relief decoration in shape of a cross has been preserved. The cross
symbolises Jesus Christ with the lion and the dragon on his foot, as an
illustration of the 90th (91st) psalm (Thou shall go upon the asp and the
basilisk, the lion and the dragon shall you tread under your feet). Since
some stonemason elements from the 11th century do not fit perfectly in
form, one can assume that the portal was reconstructed in the 13th century
or even brought there from elsewhere, probably from the original church
building. In the interior of the chapel original style can be seen only on
the Romanesque portal in the upper chapel between the nave and the
presbytery with semicircular joint and fractured walls where two pillars
with Romanesque capital are positioned. Other elements, including
paintings, are results of more extensive reconstructions.
Gotika
Gothic
V visokem srednjem veku, v 15. in 16. stoletju, so najprej gotsko obokali
zgornji prostor; prvotno je bila namreč zgornja ladja krita z ravnim
lesenim stropom.
In the High Middle Ages, in the 15th and 16th century, the upper nave
which originally had a flat wooden ceiling got a vaulted ceiling.
Tedaj je bila kapela že slikarsko okrašena. Od najstarejše ohranjene
poslikave, ki je sodeč po izboru barv in vtisnjenih nimbih delo potujoče
furlanske delavnice iz okoli leta 1400, se je ohranil fragment na vzhodni
steni oltarnega prostora spodnje kapele nad romanskim oknom, ki
prikazuje neko stoječo svetnico (desno nad oknom). Na sredini nad
From the oldest paintings, which are judging by selection of colours and
halos a work of Friuli Workshop from around 1400, only a fragment on
the eastern wall of the altar room of the lower chapel above Romanesque
window, which represents a standing saint (on the right side above the
window), was preserved. In the middle, above the window, the head of
Jesus with a nimbus in composition with the Virgin Mary and Child can
be seen. More important are the remains of frescoes in the nave of the
lower chapel on the right, southern part of triumphal arch and on the
adjacent side of the southern wall with an image of St. Erasmus and votive
composition depicting the princely family of Thurn (Della Torre) with the
Immaculate One in the middle. The family of Thurn owned the Stari Grad
castle above Kamnik and the provincial court of Kamnik in the 16th and
The rib vault from the second half of the 15th century, which was
Križnorebrasti obok je bil delo kamniške stavbarske delavnice iz druge unfortunately destroyed in the 17th century, was made by Kamnik
polovice 15. stoletja, uničili pa so ga posegi v 17. stoletju. Sedanji obok je Architecture Workshop. The current vault is reconstruction of the former.
rekonstrukcija.
At that time the chapel was already decorated by ornamental paintings.
oknom se vidi še majhna Jezusova glava z nimbom iz kompozicije
Marije z detetom na prestolu. Pomembnejši pa so ostanki fresk v
ladji spodnje kapele na desnem, južnem delu slavoločne stene in na
sosednjem delu južne stene s podobo celotne postave sv. Erazma in
votivno kompozicijo, ki upodablja družino Thurnskih (Della Torre),
z Brezmadežno v sredini. Thurnski so bili zakupniki Starega gradu
nad Kamnikom in kamniškega deželnega sodišča v 16. in 17. stoletju.
Votivna kompozicija in sv. Erazem so pripisane Mojstru Vidu, ki je
17th century. The votive composition and St. Erasmus were presumably
poslikal ladjo pri sv. Primožu nad Kamnikom, datirajo pa v čas med 1510 painted by an artist known as Mojster Vid (Master Vidus), who painted
in 1520.
also the nave of the Church of Saint Primus above Kamnik. The paintings
date from between 1510 and 1520.
Barok
Baroque
V 18. stoletju je sledila barokizacija. V tem času so poslikali kripto.
Poslikal naj bi jo baročni slikar France Jelovšek (1700 – 1764) iz bližnjega
Mengša. Po letnici 1741 nad vhodnimi vrati bi lahko sklepali, da so
s štukaturnimi oviri sočasno obogatili tudi strop spodnje kapele,
medtem ko so svetniški liki v medaljonih mlajši, iz leta 1828. Baročna
je tudi poslikava oltarnega prostora spodnje kapele, ki jo je leta 1771
poslikal slikar Janez Potočnik (1749 – 1834), po rodu iz Krope. Korenito
adaptacijo je kapela ponovno doživela ob koncu 19. stoletja. Tej je nato
sledila poslikava zgornjega prostora, delo kamniškega slikarja Matije
Koželja (1842 – 1917). Med opremo je potrebno omeniti kipe sv. Roka,
sv. Jožefa in Sočutne. Sočasno so kapelo obogatili tudi z zvonikom na
strehi.
In the 18th century the chapel was converted to Baroque, when the crypt
was painted. The painting is attributed to Baroque painter France Jelovšek
(1700 - 1764) from the nearby village of Mengeš. According to the year
1741 written above the door it can be assumed that simultaneously the
ceiling of the lower chapel was decorated in stucco. The figures of saints
in medallions are younger, from 1828. The ornamental painting of the
altar room of the lower chapel is also baroque, painted in 1771 by Janez
Potočnik (1749 – 1834), born in Kropa. The chapel underwent extensive
renovation at the end of the 19th century, followed by the painting of
the upper room by painter Matija Koželj (1842 – 1917) from Kamnik.
To single out are the altarpieces of Saint Roch, Saint Joseph and the
Compassionate. At the same time, the belfry was made on the roof.
Prenova
Renovation
Kapelo so prvič temeljiteje raziskali v letih 1966 ter med leti 1968 in
1970. Med tedanjimi gradbenimi posegi je bil rekonstruiran rebrasti
obok zgornje kapele in prezentirane najboljše baročne faze s sočasno
poslikavo. Sondiranje pod odkritimi in restavriranimi freskami Janeza
Potočnika v oltarnem prostoru spodnje kapele je odkrilo tudi fragmente
gotskih poslikav.
In 1966 and between 1968 and 1970 the chapel was very carefully
examined for the first time. At that time, the rib vault of the upper
chapel was reconstructed and the best Baroque stages were represented
and simultaneously painted. Prospecting below already discovered and
restored frescoes in the altar room of the lower chapel painted by Janez
Potočnik revealed fragments of Gothic paintings.
Izhodišče zadnje prenove, zaključene z gradbeno sanacijo leta 2002,
je bila prezentacija novo odkritega grajskega obzidja tik pred zahodno
fasado, zaradi česar je bilo potrebno odstraniti stopnišče oziroma
dosedanji vhod v lopo. Izjemno višino trinadstropne romanske kapele,
skrite za visokim obzidjem, bi bilo mogoče pokazali le, če bi odstranili
The aim of the last renovation works which were finished in 2002 was to
present newly discovered castle walls adjoining the western façade. For
this very reason the existing staircase or access to the covered entrance
area had to be removed. Extraordinary height of the three-storey chapel
hidden behind the mighty walls could have only be presented if also the
tudi vhodno lopo in zidani obhod, ki bi ga morali nadomestiti z izvirnim covered entrance area and the walkway, which would have to be replaced
lesenim hodnikom. Zaradi varovanja glavnega portala in težavnosti
by the original wooden one, had been removed. To protect the main portal
novega dostopa preko odkritega obzidja je lopa ohranila svoje obrise,
and due to a too difficult new access over the newly discovered walls, the
v sodobni izvedbi so se iz osi morale umakniti le stopnice, ker sicer
covered entrance area was preserved on rough lines, only the stairs had to
ne bi bilo mogoče deloma pozidati obzidja. Kapela je bila statično
be moved from the axis, otherwise the walls could not be hardened. The
sanirana, obnovljeni so bili ometi, zunanji tlaki, napušči, streha nad lopo, chapel was also statistically renovated, the plasters, exterior cobble-stone
restavriran je bil zgornji portal. Glavni portal in notranjost še čakata na floor, projecting roofs, roof of the covered entrance area were renewed and
restavriranje.
the upper portal restored. However, the main portal and interior of the
chapel are still waiting to be restored.
Avtorji besedil:
Nika Leben, Milan Sagadin (Zavod za varstvo kulturne
dediščine, Območna enota Kranj) v sodelovanju z
dr. Andrejo Eržen in Alenko Hribar (Agencija za razvoj
turizma in podjetništva v občini Kamnik)
Texts written by:
Nika Leben, Milan Sagadin (Cultural Heritage Institute,
Regional Unit Kranj) in cooperation with Dr Andreja Eržen
and Alenka Hribar (Agency for Tourism and Development
Kamnik)
Oblikovanje / Design:
Marjan Kocjan, DC Studio
Lektura:
Aleksandra Matjašič
Prevod / Translated by:
Aleksandra Matjašič
Tisk / Printed by:
Aleksandra Matjašič
Agencija za razvoj turizma in podjetništva v občini Kamnik,
zanjo direktorica dr. Andreja Eržen, v sodelovanju z Zavodom
za varstvo kulturno dediščino, OE Kranj, zanj mag. Maja
Avguštin
Izvedbo razstave so omogočili:
Občina Kamnik, Agencija za razvoj turizma in podjetništvo v
občini Kamnik in Ministrstvo za kulturo
Agency for Tourism and Development Kamnik, represented by
Dr Andreja Eržen, in cooperation with the Cultural Heritage
Institute, Regional Unit Kranj, represented by MA Maja
Avguštin
The exhibition was made possible by:
the Municipality of Kamnik, Agency for Tourism and
Development Kamnik and the Ministry of Culture of Republic
of Slovenia
Kamnik, 2010