Na Mirni je cerkev stala že leta 1265, ko je 17. julija Ulrich, vojvoda Karantanski, v njej potrdil sodnijske in ostale svoboščine v Slovenski krajini nasproti deželnim stanovom. A za njeno natančno lokacijo in izgled danes ni dokazil, čeprav je morala biti dovolj velika, da je v listini imenovana kot “cerkev” in ne kot “kapela”. Slednja pa je stala pod mirnskim gradom, ki mu je tudi služila, in bila posvečena sv. Nikolaju.
The church stood on Mirna as early as 1265, when on July 17 Ulrich, Duke of Carantania, confirmed in it the judicial and other liberties in the Slovene Krajina opposite the provincial estates. But he did not prove its exact location and appearance today, although it had to be large enough to be referred to in the charter as a “church” and not as a “chapel”. The latter stood under the peaceful castle, which also served him, and was dedicated to St. Nikolai.
Današnja cerkev je sorodna šentrupertski, kar je povezano tudi s šentrupertskim župnikom Ivanom Harrerjem (1450─1474), ki je listinsko vpleten v gradnjo obeh gotskih cerkva. 17. januarja 1463 je Hans Pomunder podaril dve kmetiji za pomoč pri gradnji cerkve sv. Janeza na Mirni šentrupertskemu župniku Hansu Harrerju, tako da so zdajšnjo mirnsko cerkev zidali v drugi polovici 15. stoletja v dveh bližnjih, vendar stilno različnih obdobjih. Do leta 1463 je bilo zgrajeno svetišče s tristranim zaključkom in zvezdasto rebrastim obokom, ladja pa je bila končana do leta 1498, kakor dokazuje letnica, vklesana na kamnu na južni steni, desno od današnjega gotskega portala, in istočasno tudi mrežasto rebrasto obokana. Spodnji del zvonika pa je stal že mnogo prej – okrog 1165. leta.
Today's church is related to the one in Šentrupert, which is also connected with the parish priest of Šentrupert Ivan Harrer (1450─1474), who is involved in the construction of both Gothic churches. On January 17, 1463, Hans Pomunder donated two farms to help build the church of St. John on Mirna to the parish priest of Šentrupert Hans Harrer, so that the present Mirna church was built in the second half of the 15th century in two close but stylistically different periods. By 1463, a sanctuary with a three-sided finish and a star-ribbed vault was built, and the nave was completed by 1498, as evidenced by a year carved in stone on the south wall, to the right of today's Gothic portal, and at the same time a mesh ribbed vault. The lower part of the bell tower stood much earlier - around 1165.
Kasneje so cerkev še dvakrat temeljito predelali. Do leta 1690 so jo barokizirali: ostro so začrtali prehod med svetiščem in ladjo z močnim baročnim slavolokom in v ladji na vsaki strani prizidali cerkvi stranski kapeli. Takrat je cerkev zgubila tudi vso dotedanjo opremo, ki je bila zamenjana z baročno, od katere se je ohranil le lep kip bičanega Kristusa, sedečega ob stebru, zvonik pa je dobil baročno streho.
Later, the church was thoroughly rebuilt twice more. By 1690, it was baroqued: the passage between the sanctuary and the nave with a strong Baroque triumphal arch was sharply delineated, and a side chapel was added to the church on each side of the nave. At that time, the church also lost all previous equipment, which was replaced by a baroque one, of which only a beautiful statue of the whip Christ sitting by the pillar has survived, and the bell tower has been given a baroque roof.
Na stropu prezbiterija in ladje so se ohranile freske dveh povsem različnih stilnih obdobij. Prve ohranjajo dokazila za zgodovino glasbe in so delo mojstra Bolfganga iz okoli 1465─1470, uporabil je že uveljavljeno, vendar nekoliko razširjeno ikonografsko shemo kranjskega prezbiterija. Druge so iz začetka 16. stoletja in so delo več delavnic, med njimi tudi Podpeškega mojstra. Te z znamenjem enoroga namigujejo na znamenito plemiško rodbino Galenbergov in z masko norca naznanjajo prihod renesančnega humanizma ter nudijo gradivo za zgodovino gledališča. Maska norca ima specifičen kulturnozgodovinski pomen in je v tovrstnem gradivu v evropskem stenskem slikarstvu velika redkost. Oboje predstavljajo torej dragoceni vir za nadaljnje raziskave kulturne zgodovine na Slovenskem.
On the ceiling of the presbytery and the nave, frescoes of two completely different stylistic periods have been preserved. The first ones preserve evidence for the history of music and are the work of master Bolfgang from around 1465-1470, he used the already established but somewhat extended iconographic scheme of the Carniolan presbytery. Others date from the beginning of the 16th century and are the work of several workshops, including the master of Podpeč. With the sign of the unicorn, they hint at the famous noble family of the Galenbergs and with the mask of a fool announce the arrival of Renaissance humanism and offer material for the history of the theater. The mask of a fool has a specific cultural-historical significance and is a great rarity in this kind of material in European wall painting. Both are therefore a valuable source for further research into cultural history in Slovenia.
Cerkev je bila nato v času historičnih slogov podaljšana za sedem metrov, dobila je pevski kor in fasadni izgled z južne strani. Na severni strani je bila prizidana zakristija, streha na stolpu in dekoracije zvonika so dobile današnjo obliko, okna krogovičje in južna stena nad glavnim vhodom rozeto ter južna kapela trikotni zaključek z novogotskimi ornamenti in rozeto. Vsa ta dela je sredi 19. stoletja vodil Italijan Poseoli, in sicer med letoma 1850 in 1857. Leta 1913 pa so uredili okolico cerkve z dohodnimi stopnicami, kakršne so še danes, s čimer so utrdili južni fasadni izgled.
The church was then extended by seven meters during historical styles, given a choir and a façade appearance from the south. A sacristy was added on the north side, the roof on the tower and the decorations of the bell tower were given their present shape, the windows are round and the south wall above the main entrance is a rosette, and the south chapel has a triangular finish with Neo-Gothic ornaments and a rosette. All these works were led by the Italian Poseoli in the middle of the 19th century, between 1850 and 1857. In 1913, they arranged the surroundings of the church with incoming stairs, as they are today, thus consolidating the southern façade appearance.
V letih 1931-1932 je notranjost cerkve poslikal Pražan Seppe Grassmück. Slike so bile pri obnavljanju cerkve leta 1968 preslikane, ohranili sta se le slikariji v prezbiteriju, ki sta bili izvedeni al fresco: Obglavljenje Janeza Krstnika in Marijino obiskovanje. Z njima je Grassmück posredoval vplive znamenite "École de Paris", ustanovljene leta 1912 v Parizu, kateri so takrat pripadali najmodernejši evropski slikarji s Picassom, Modiglianijem in Chagallom na čelu.
In 1931-1932, the interior of the church was painted by Seppe Grassmück from Prague. The paintings were painted during the restoration of the church in 1968, only the fresco paintings in the presbytery have been preserved: the beheading of John the Baptist and the visitation of Mary. With them, Grassmück conveyed the influences of the famous "École de Paris", founded in 1912 in Paris, to which the most modern European painters at the time belonged, with Picasso, Modigliani and Chagall at the helm.
Na Mirni je bil do 18. stoletja sicer samo vikarijat, danes pa župnija pokriva območje celotne občine, k njej pa spadajo še podružnične cerkve Naše ljube Gospe oz. Marijinega imena na Ševnici, sv. Helena, cerkev na Žunovcu in kapela sv. Ane na Debencu.
Until the 18th century, there was only a vicariate in Mirna, but today the parish covers the entire municipality, and it also includes the branch churches of Our Lady. Mary's name on Ševnica, st. Helena, the church in Žunovac and the chapel of St. Anne in Debenc.
Kratko o tem, kdo je bil Janez Krstnik? Briefly about who John the Baptist was?
Rodil se je očetu Zahariji in mami Elizabeti, ki nista mogla imeti otrok, a jima je nadangel Gabrijel naznanil, da ga bosta dobila. Zaharija je v to podvomil, zato ga je Bog kaznoval tako, da je onemel.
He was born to father Zacharias and mother Elizabeth, who could not have children, but the archangel Gabriel announced to them that they would have one. Zechariah doubted this, so God punished him by making him dumb.
Bog je Janeza že vnaprej napovedal, Jezus pa je o njem rekel, da med možmi, rojenimi od žena, ni večjega od njega. To in pa dejstvo, da je bil izbran za Jezusovega glasnika, tistega, ki mu je v srcih ljudi pripravil pot, je razlog, da Cerkev slovesno praznuje njegov rojstni dan, kar za druge svetnike ni običaj.
God foretold John, and Jesus said of him that there is no one greater than him among men born of women. This, and the fact that he was chosen as the messenger of Jesus, the one who prepared the way for him in the hearts of the people, is the reason why the Church solemnly celebrates his birthday, which is not the custom for other saints.
Mučeniško smrt je prestal, potem ko je Saloma z zvijačo od Heroda zahtevala njegovo glavo. Janez Krstnik je bil namreč trn v peti njeni materi Heriodiadi, s katero je Herod živel v grešnem razmerju, saj je Janez ta njun greh večkrat javno grajal in obsojal. Herod ga je zaradi kritike dal zapreti v ječo, saj ga ni upal ubiti. Nato pa je v trenutku opitosti Salomi obljubil vse, kar si želi, kar je izkoristila njena mati in hčerko pregovorila, da ji naj prinesejo glavo Janeza Krstnika na zlatem pladnju. Herod ni želel požreti svoje besede, zato je obljubo (kljub strahu) izpolnil. Tako je tudi Saloma prišla do tega, da je lahko poljubila Janeza (pa čeprav samo odrezano glavo).
He endured a martyr's death after Salome tricked Herod into claiming his head. John the Baptist was a thorn in the side of her fifth mother, Heriodiada, with whom Herod lived in a sinful relationship, as John repeatedly publicly rebuked and condemned their sin. Herod had him imprisoned in prison for his criticism, as he did not dare to kill him. Then, in a moment of drunkenness, Salomi promised everything she wanted, which her mother took advantage of and persuaded her daughter to bring her the head of John the Baptist on a golden platter. Herod did not want to swallow his word, so he kept his promise (despite fear). That's how Saloma got to the point where she could kiss Janez (even if only her head was cut off).
Svoje poslanstvo je dokončal, ko je v Jordanu krstil Jezusa in nanj pokazal kot na »jagnje božje, ki odjemlje greh sveta«. Upodabljajo ga v puščavniški obleki iz kož, največkrat ima ob sebi jagnje; kako krščuje Jezusa. Goduje 24. junija.
He completed his mission when he baptized Jesus in the Jordan and pointed to him as the "Lamb of God who takes away the sin of the world." He is depicted in a desert leather dress, most often carrying a lamb; how he baptizes Jesus. He celebrates on June 24th.
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