Martin M. Miles' photos with the keyword: hellmouth

Today, Plasencia is a city with more than 40,000 inhabitants. The city was founded in 1186 by Alfonso VIII of Castile during the reconquest of the Moorish-occupied territories from the 10th century onwards and was elevated to the status of a bishop's see by Pope Clement III just three years later. However, the conflicts between Christians and the Almohads, who were dominant at the time, continued until 1212, when the city finally came under Christian rule after the Battle of Las Navas de Tolosa. Plasencia Cathedral comprises two buildings: one known as the Old Cathedral, begun in the 13th century in the Romanesque style in transition to the Gothic. The remains of the original church include the naves, the western façade, the Gothic-style cloister and the chapter room crowned with a ribbed dome in the Byzantine tradition. The New Cathedral, begun in the 15th century, is in the Gothic style. It has high vaults supported by groups of columns. The Old Cathedral (Catedral vieja) currently houses the Cathedral Museum, while the New Cathedral (Catedral nueva) is the seat of the diocese of Plasencia

Alcobaça is home to the "Mosteiro de Alcobaça", one of the largest, most famous and oldest monasteries in Portugal. It was the seat of the Real Abadia de Alcobaça (Royal Abbey of Alcobaça), which from 1567 also presided over all Portuguese Cistercian monasteries. The complex dates back to 1153, when Portugal's first king, Afonso Henriques, gave the Cistercian order the 500 km² area that would later become the monastery, which had been reclaimed from the Moors. Bernard of Clairvaux (1090-1153) one of the most influential clerics of his time, had helped him in his disputes with Alfonso VII. of Leao and Castile over Portugal's unilaterally declared independence and the self-coronation of Alfonso Henriques as King of Portugal in 1139, especially as Eugene III was the first Cistercian to sit on the papal throne from 1145 to 1153. However, the papal bull recognizing Portugal, now issued by Alexander III, was delayed until 1179. Construction of the monastery began in 1178 and was completed in 1240 with the first section (church and first cloister). As a result of the initial large influx of friars, particularly from Burgundy, the complex was constantly expanded, including the addition of three further cloisters and a church. The economic success caused a considerable influx, which is why the monastery facilities were constantly expanded. By the beginning of the 15th century, the monks developed a great deal of activity, cultivating the land and developing and expanding agriculture, fishing, extracting salt and iron, promoting crafts and educating the settlers. In 1269 they founded one of the first public schools in the West, and its relocation to Coimbra in 1290 gave rise to the University of Coimbra. The communities belonging to the monastery prospered so well that even in the Alcobaça Abbey, some affluent living began to displace the strict Cistercian rules, a development to which many monasteries succumbed. That's why Pope Benedict XII ordered. In 1335 a reform of the Cistercian orders was announced. King Afonso IV (1291–1357) took advantage of this to curtail the abbey's power. and placed a large number of the towns belonging to Alcobaça under his rule on the grounds that the deed of foundation of King Afonso Henriques did not include the towns. In view of their wealth and power, the monks distanced themselves from the strict teachings of their founders. In 1475, Abbot Nicolau Vieira secretly ceded his rights to the Archbishop of Lisbon in exchange for an annual pension of 150,000 réis. The monks only found out about this when a delegation from the archbishop took possession of his new rights. The monastery, whose general assembly had always elected its own abbots, thus came under the influence of the commandant abbots (appointed by the king). In 1531, Afonso de Portugal (1509-1540), the fourth son of King Manuel I (1469-1521) and brother of the later King João III (1502-1557), became Abbot of Alcobaça, who was also Bishop of Lisbon and a cardinal. After his death, King João III appointed his other brother Henrique (1512-1580) as Abbot, who was also Archbishop of Lisbon and Inquisitor General of Portugal and was later appointed Cardinal. As a result of the Lisbon earthquake of 1755, the southern part of the monastery in particular was damaged and the sacristy destroyed. The monastery's own college was completely destroyed and relocated to the rebuilt parts of the southern monastery complex. In two large processions to the Santuário de Nossa Senhora de Nazaré, 10 km away, the monks gave thanks for being largely spared despite this damage. In 1774, Alcobaça was hit by a flood when the river Alcoa overflowed its banks. It once again damaged the southern monastery complex and also caused large areas of the monastery to sink into the muddy masses of the receding water. It took years for the masses of earth to be moved to the south side of the adjoining grounds, where they buried most of the monastery wall. Finally, as part of the Napoleonic Wars on the Iberian Peninsula in 1810, French troops invaded Alcobaça and pillaged the monastery. At the end of the 19th century the historian, archaeologist and agronomist Manuel Vieira de Natividade published his work on the monastery of Alcobaça. It was not until 1901 that the president of the district submitted a request to the government to repair and clean the monastery façade. In 1907, parts of the monastery were placed under protection for the first time by government decree. From 1929, the state began to repair the church and the medieval monastery and restore them to their original condition. Tomb of Dona Inês de Castro Inês was the natural daughter of Pedro Fernández de Castro and his noble Portuguese mistress Aldonça Lourenço de Valadares. Her family descended both from the Galician and Portuguese nobilities. Her stepmother was Infanta Beatriz of Portugal, the youngest daughter of Afonso of Portugal. Inês came to Portugal in 1340 as a lady-in-waiting of Constance of Castile, recently married to Pedro, the heir apparent to the Portuguese throne. The prince fell in love with her and started to neglect his lawful wife. Moreover, Pedro's love for Inês brought the exiled Castilian nobility close to power, with Inês' brothers becoming the prince's friends. King Afonso IV of Portugal, Pedro's father, disliked Inês' influence on his son and waited for their mutual infatuation to wear off, but it did not. Constance of Castile died in 1349. Afonso IV tried to arrange for his son to be remarried, but Pedro refused to take a wife other than Inês, who was not deemed eligible to be queen. Pedro's legitimate son, future King Ferdinand I of Portugal, was a frail child, whereas Pedro and Inês' illegitimate children were thriving; this created discomfort among the Portuguese nobles, who feared the increasing Castilian influence over Pedro. Afonso IV had banished Inês from the court in 1344, but Pedro remained with her, declaring her as his true love. After several attempts to keep the lovers apart, Afonso IV ordered Inês' death. Pêro Coelho, Álvaro Gonçalves, and Diogo Lopes Pacheco went to the Monastery of Santa Clara-a-Velha in Coimbra, where Inês was detained, and killed her, decapitating her in front of her small child. When Pedro heard of this he sought out the killers and managed to capture two of them in 1361.He executed them publicly by ripping their hearts out, claiming they didn't have one after having pulverized his own heart. In a large scene, the tomb depicts the Last Judgement and a huge Hellmouth.

r The town of Toro lies on a plateau above the Duero River about 40 km east of Zamora. In medieval times Toro had some importance. Ferdinand III of Castile was crowned king in Toro in 1230, his wife Elisabeth of Swabia died here five years later. The large collegiate church Colegiata de Santa María la Mayor, whose construction began in 1160 under Alfonso VII, but lasted possibly even until the end of the 13th century. During the reign of the Catholic Monarchs, it was elevated to a collegiate church. The architectural highlight of the church building is the two-story crossing tower (“cimborrio”) with its sixteen-sided floor plan, with four sides being particularly highlighted by round corner towers, which serve both for architectural decoration and for static stabilization. While the corner towers in the lower part hardly have any architectural decoration, the two levels of the central tower with their windows - accompanied by small columns and ending in oriental-looking multi-aisle arches - are designed in exactly the same way. The west portal ("Portada de la Majestad") is an important achievement of Spanish Gothic architecture. The portal itself is dated to the time of Sancho IV (1258-1295), the colored version comes from the 18th century. In the stone lintel there is a depiction of the death and ascension of Mary. The tympanum shows the scene of her sitting at God's right hand and being crowned. In the six archivolts above are a total of 78 individual figures. Here are parts of the outer archivolts. After the cruelest torture, the poor souls are stuffed into the mouth of hell. While the orchestra of the 24 Elders of the Apocalypse coninues to play.

León was founded in 68 AD for a Roman legion from which they were supposed to pacify the rebellious mountain dwellers of Asturias and Cantabria. The name of the settlement that was then developed is based on a refined form of the Latin word "legio". After the end of the Roman Empire, the city was conquered by the Visigoths and in 712 by the Moors. In 856, after the reconquest under King Ordoño I of Asturias, the city was repopulated. Ordoño II made León the capital of his kingdom of León in 914. Sacked by Almanzor in about 987, the city was reconstructed and repopulated by Alfonso V, León was an important stop on the Way of St. James to Santiago de Compostela. Traders and artisans settled in the suburbs and had a strong influence on the development of the city from the 13th century onwards. In the early Middle Ages, the city became prosperous through the cattle trade. However, from the 16th century until the 19th century, the economy and population declined. The main construction period of the cathedral was between 1255 and 1303. The first architect was "Master Enrique", who had previously built the transept and nave of Burgos Cathedral between 1243 and 1260. "Master Enrique" directed the construction from 1255 to 1277, using Reims Cathedral as a model. The experience he gained in Burgos prompted him to take a risk, which paid off centuries later, as many openings later had to be bricked up for stability reasons. In the middle of the 19th century, the structure was on the verge of collapse and had to be completely restored. Reconstruction lasted from 1859 to 1901. In 1302, the work was apparently stopped, probably for financial reasons. This may also be the reason for the comparatively short nave with only five bays, for the lack of a tower in the transept. The upper parts of the cathedral were not completed until 1439. The five-part porch on the west façade was built in the mid to late 13th century. The design of this sophisticated three-portal complex was based on the most important model of the time, the transept portals of Chartres Cathedral. The tympanum shows the Last Judgment. In the centre of the lower level, St. Michael stands holding the scales. After the "weighing of the souls", the saved ones go to St. Peter on the left (there is even music), while the damned are thrown into the pots of hell on the right.

Wilfred the Hairy (aka Guifré el Pilós), whom we just "met" as the founder of the nearby monastery in Sant Joan de les Abadesses, where his daughter Emma of Barcelona was the first abbess, founded the Monastery of Santa Maria in Ripoll in 879. Here his son Radulf de Barcelona was abbot. This was not only Wilfred´s family business, he was very successful in the political power game of that time. The first church was consecrated in 888, but as the monastery grew it was "reconsecrated" in 935, 977, and 1032. When Oliba de Besalú, as well a descendent of Wilfred, was abbot here (1008 - 1046), this was a cultural center. More than 250 books were on the shelves of the monastery´s library. The decline started within the 15th century. In 1428 it was severely damaged by an earthquake, the restoration was done in Gothic style. The church got ruined during the first Carlist War, the library burnt down, and the last monks had left. In 1847 part of the cloister and soon after, the abbot´s palace got demolished. The Bishop of Vic organized the rebuilding, so that the church got consecrated again in 1893. The church of today is vastly a product of the reconstruction of th 19th century, but it may be "near" to the romanesque structure. The cloister got reconstructed end of the 19th century as well, but as only a part of it had been demolished, it still contains a lot of the original structure. The construction of the ground floor started 1180 and it took to the the early 15th century to complete it. The second floor dates to the 15th and 16th century. Some of the capitals are sculptured by Jordi de Déu (aka Jordi Johan). Jordi de Déu (+1418), born on the island of Sicily, with greek roots, was sold as a slave to catalan master carver Jaume Cascalls, who taught him sculpture. These "jaws of hell" were probably not sculpted during the early times, but some decades later. A devil faces the onlooker out of the Hellmouth. The father or mother, whose face is lost, will be devoured together with the child.

Duke Frederick II the One-Eyed (1090-1147) of Swabia built a hunting lodge on an island in the Moder. The settlement that grew around was the beginning of Haguenau. Holy Roman Emperor Frederick I Barbarossa fortified the settlement and gave it town rights, important for further development, in 1154. On the site of the hunting lodge, he founded an imperial palace he regarded as his favorite residence. In this palace were preserved the "Crown Jewels of the Holy Roman Empire", i.e. the jeweled imperial crown, scepter, imperial orb, and sword of Charlemagne. The Romanesque church building began under Duke Frederick II the One-Eyed of Swabia and replaced an older Romanesque chapel. In 1143 the Strasbourg bishop granted the construction of the church, which was completed in 1189. The architecture recalls the style of the Hirsau Abbey which influenced the Romanesque architecture of Swabia. A Gothic choir was added to the Romanesque nave, which remained unaffected except for the vaults that were inserted later. The choir was consecrated in 1283. The winged altar was created in the 19th century by adding two late Gothic paintings as wings to the centerpiece depicting the "Last Judgement". This is a work by Diebold Martin, a contemporary of Grünewald. The "Weighing of Souls" and the Mouth of Hell. The "Weighing of Souls" and the Hellmouth. It looks like the better-off Petrus is taking to heaven while the lower class enters hell.

Duke Frederick II the One-Eyed (1090-1147) of Swabia built a hunting lodge on an island in the Moder. The settlement that grew around was the beginning of Haguenau. Holy Roman Emperor Frederick I Barbarossa fortified the settlement and gave it town rights, important for further development, in 1154. On the site of the hunting lodge, he founded an imperial palace he regarded as his favorite residence. In this palace were preserved the "Crown Jewels of the Holy Roman Empire", i.e. the jeweled imperial crown, scepter, imperial orb, and sword of Charlemagne. The Romanesque church building began under Duke Frederick II the One-Eyed of Swabia and replaced an older Romanesque chapel. In 1143 the Strasbourg bishop granted the construction of the church, which was completed in 1189. The architecture recalls the style of the Hirsau Abbey which influenced the Romanesque architecture of Swabia. A Gothic choir was added to the Romanesque nave, which remained unaffected except for the vaults that were inserted later. The choir was consecrated in 1283. The winged altar was created in the 19th century by adding two late Gothic paintings as wings to the centerpiece depicting the "Last Judgement". This is a work by Diebold Martin, a contemporary of Grünewald.

Florentina was established in Roman times as a settlement for veteran soldiers. The name had changed already when young Charlemagne conquered the town in 774. It became part of the Duchy of Tuscany, with Lucca as the capital. Around 1000 Margrave Hugo chose Florence as residency instead of Lucca. After the death of Matilda of Tuscany (1115), the Florentines formed a republic ruled by a council. The town prospered, despite a constant fight between the different factions and noble families. In the 15th century, Florence was among the largest and wealthiest cities in Europe. This was when the Medici family entered the political scene. As a dynasty of art-loving, power-hungry bankers, they made Florence the birthplace of the Renaissance. The Baptistery of San Giovanni is the baptistery of Florence Cathedral. The time of origin is disputed, the church was consecrated in the 11th century. The church stands on the foundations of a Roman building. The first reliable source dates from 897, when an ecclesia (church) dedicated to John the Baptist and facing the bishop's palace is mentioned. Today's building dates from the 11th century at the earliest. The octagon had been a common shape for baptisteries for many centuries since early Christian times. The construction was finished in 1128. An octagonal lantern was added to the roof around 1150. It was enlarged with a rectangular entrance porch in 1202, leading into the original western entrance of the building, that in the 15th century became an apse, after the opening of the eastern door facing the western door of the cathedral by Lorenzo Ghiberti. The interior is divided into a lower part with columns and an upper part with a corridor. The interior walls are clad in dark green and white marble inlaid with geometric designs. The marble lining of the interior began in the second half of the eleventh century. From 1225, the dome was decorated with one of the world's largest mosaic cycles, with a diameter of 26 m in eight rings by famous artists such as Giotto or Cimabue; This mosaic, dominated by a mighty figure of Christ, was only completed after 50 years. The cyclorama was created between 1260 and 1275 and has a diameter of eight meters. Details of the mosaic: Heaven and Hell

Gdańsk is mentioned the Vita of Saint Adalbert of Prague who baptised the inhabitants of "urbs Gyddannyzc" in 997. Later the site was a duchy of Poland. In 1224/25, merchants from Lübeck were invited Significant German influence did not appear until the 14th century, after the takeover of the city by the Teutonic Knights. In 1300, the town had an estimated population of 2,000. Low on funds, the Pomeranian Samborides lent the settlement to Brandenburg, although they planned to give it to Poland. Poland threatened to intervene, and the Brandenburgians left the town. Subsequently, the city was taken by Danish princes in 1301. The Teutonic Knights were hired by Polish nobles to drive out the Danes. In 1308, the town was taken by the Teutonic Knights. Primary sources record a large massacre carried out by the Knights against the population. In 1358, Danzig joined the Hanseatic League. After a series of Polish-Teutonic Wars, the Order had to acknowledge that it would hold Pomerelia as a fief from the Polish Crown. The city thrived as a result of increased exports via the Vistula River trading routes. While under the control of the Teutonic Order German migration increased. A new war broke out in 1409, culminating in the Battle of Grunwald in 1410. The city came under the control of the Kingdom of Poland. Only a year later, with the Peace of Thorn, it returned to the Teutonic Order. In 1440, the city participated in the foundation of the "Prussian Confederation", an organisation opposed to the Teutonic Knights. Upon the request of the organisation King Casimir IV of Poland reincorporated the territory to the Kingdom of Poland in 1454. This led to a war between Poland and the Teutonic Order. Casimir IV of Poland granted the town the Great Privilege. With this, the town was granted full autonomy and protection by the King of Poland. The privilege removed tariffs and taxes on trade within Poland, Lithuania and Ruthenia. Gaining privileged access to Polish markets, the seaport prospered while simultaneously trading with the other Hanseatic cities. Being the largest and one of the most influential cities of Poland, it enjoyed voting rights during the royal election period in Poland. In the 1575 election of a king to the Polish throne, Danzig supported Maximilian II in his struggle against Stephen Báthory. Stephen became monarch but the city shut its gates against him. After the 6 months siege of Danzig in 1577 the city's army was defeated. A compromise was reached: Stephen confirmed the city's special status and its privileges. The city recognised him as ruler of Poland and paid the enormous sum of 200,000 guldens in gold as payoff. During the Reformation, most German-speaking inhabitants adopted Lutheranism. The "Battle of Westerplatte" was the first battle of the German invasion of Poland, marking the start of WW II in Europe. The historic city centre of Gdansk was 90% destroyed at the end of WWII. It was reconstructed by Poles at great expense and today attracts tourists. The construction of the three-nave Gothic church started around 1360. The building was completed in the 15th century. There was space for the tower to be built later, as well as for the vaults, which were temporarily replaced by the beamed ceiling. The construction of the vaults and the tower was completed around 1465. In the following centuries, artisan guilds and brotherhoods founded 13 altars, but after the Reformation, most of the altars disappeared. In 1543 the church tower was consumed by fire. Soon there was a problem with the stability of the building. The church was too heavy, the foundation was too weak on unstable ground. In the 17th century, the chancel was on the verge of collapse and the gables were falling away from the east wall. In 1679, huge buttresses were erected on the east wall to keep it from collapsing. The structure was reinforced from the end of the 16th century, several times during the 17th and 18th centuries. In 1680-1690, on the north side of the transept, the library of the Zachariasz Zappio Foundation was established. Other outbuildings added to the temple over time were a large sacristy and the Chapel of St. Spirit on the south transept. In 1945 the church burned down. After the end of WWII, the burned-out church building was roofed over and its vaults were secured. But it fell into disrepair for many years. In the 1960s the tower was rebuilt and in the next decade, the pillars were stacked and reinforced. Only few traces of the former frescoes have survived the times. Like this Mouth of Hell.

Slavic Obodrites lived in the area, where Wismar is now, until the end of the 12th century. The exact date of the city's foundation is not clear, it had civic rights already in 1229 when migrants from Holstein and Westphalia settled here. The "Lübsches Stadtrecht" (town law) was confirmed in 1266. In 1259 Wismar joined a defensive agreement with Lübeck and Rostock, in order to counter the numerous Baltic pirates. Subsequently, more cities would agree to cooperate as commerce and trade were increasingly coordinated and regulated. These policies would provide the basis for the development of the "Hanseatic League". By the 13th and 14th centuries, Wismar had grown into a flourishing Hanseatic trading hub. In 1632, during the Thirty Years' War, Sweden conquered the city, and the Swedish Crown received in the Peace of Westphalia in 1648 after the end of the Thirty Years' War. Swedish rule over Wismar ended de facto in 1803 when Sweden pledged the city to the Duchy of Mecklenburg-Schwerin for 99 years. Formally, Wismar reverted to Germany in 1903 and Sweden waived its right to redeem the pledge. Wismar is a typical representative of the Hanseatic League with its city-wide Brick Gothic structures and gabled patrician houses and has alongside the historical old town of Stralsund been declared the UNESCO World Heritage Site "Historic Centres of Stralsund and Wismar". The Nicolaikirche (Church St. Nicholas) was built from 1381 until 1487 as a church for sailors and fishermen. St. Nicholas is a fine testaments to mediaeval brick architecture in northern Germany. In 1381, the city council commissioned the master mason Heinrich von Bremen to complete the choir. The consecration of the high altar is documented for 1403. Heinrich von Bremen continued to work until 1415. In 1434 work was carried out on the north aisle and later the south aisle. Under the direction of Peter Stolp and Hermann von Münster in 1459, the work was completed to such an extent that the church could be consecrated. From 1485 to 1487, Hans Mertens built the two upper storeys of the tower, and the spire was added in 1508. In December 1703, a storm destroyed the spire. Its parts smashed through the roof and the vaults of the nave. Many pieces of the interior furnishings were destroyed. Afterwards, the tower received a transverse gable roof and the nave a flat ceiling. The renovation of the furnishings lasted until the second half of the 18th century. It was not until 1867 that a vault was erected again. The air raids during the Second World War caused only minor damage to the church. After the Second World War, the Nikolaikirche was the least damaged of all the large churches in Wismar. Many works of art had been stored away and thus survived the war, but the churches lay in ruins and the important Marienkirche was later blown up. The baptismal font, cast in bronze around 1335, formerly stood in the Marienkirche. The basin is supported by three young men, and there are two rows of arcades. The arches are decorated with reliefs from the life of Jesus, the parable of the wise and foolish virgins and the Last Judgement. The Hellmouth is just in front. The font was coloured in earlier times. It is very similar to the font by Johann Apengeter in the Marienkirche in Lübeck and was probably made in the same workshop. Note the whalebones at the wall.

The parish of Kalkhorst is mentioned in 1230 in a list of villages belonging to the Ratzeburg diocese At the same time the village church of Kalkhorst was built. It was erected by the lords of the village. The church of today stands out because of the irregularity of its ground plan and the many additions and alterations. The square tower stands asymmetrically in front. The choir is dated to around 1350 based on an epitaph and replaced a previous building. The nave is attributed to the 13th century, so it is the older part of the building. The baroque furnishings from the beginning of the 18th century. The late gothic fresco of the choir. The mouth of hell.

Kottingwörth developed from a settlement on an island ("Werder") in the Altmühl river. The first wooden church may date back to the time of Christianisation. The first stone church was built in the 12th century. It got consecrated between 1183 and 1195. The towers were built between 1250 and 1310. In the first half of the 16th century, the towers were raised. In the years 1760/61, the medieval church building was replaced by a baroque new building. The oldest part of the church is the basement of the west tower, dated to the 13th century. Around 1310 the choir of the church (now the Vitus chapel) was adorned with frescoes. During the renovation work in the chapel in 1891 these murals were rediscovered under a coat of paint. The paintings are still well preserved. The weighing of souls (psychostasia). Like mostly, the demons try to interfere with the balance of scales. To the right, the evil souls line up in front of the Hellmouth. Even a bishop (mitra) and a monk (tonsure) are among the roped, well dressed doomed.

Kottingwörth developed from a settlement on an island ("Werder") in the Altmühl river. The first wooden church may date back to the time of Christianisation. The first stone church was built in the 12th century. It got consecrated between 1183 and 1195. The towers were built between 1250 and 1310. In the first half of the 16th century, the towers were raised. In the years 1760/61, the medieval church building was replaced by a baroque new building. The oldest part of the church is the basement of the west tower, dated to the 13th century. Around 1310 the choir of the church (now the Vitus chapel) was adorned with frescoes. During the renovation work in the chapel in 1891 these murals were rediscovered under a coat of paint. The paintings are still well preserved. In the centre, above the Saints, stands Archangel Michael holding the scale. The weighing of souls (psychostasia) is done on Judgement Day. Like mostly, the demons try to interfere with the balance of scales. To the right, the evil souls go to hell.

A church may have been here since Langobardic times, it is documented since 854, when it was already "pieve". In the 11th century the church got rebuilt with three naves and three apses. Some decades later a large narthex was added, to give shelter to the many pilgrims. Subsequently it got integrated into the church. Over the next centuries many enlargements and modifications were done. The bell-tower was added in 1302. Mid of the 18th century this was a Baroque church. Between 1927 and 1942 a major renovation was undertaken, reverting the church and the facade to its Romanesque elements. Many carvings are scattered over the facade, some of them are parts of a medieval pulpit, that was dismembered in the 18th century. What a horror!

Vicofertile, located at the old Via Francigena, is meanwhile is a small suburb of the City of Parma. A church probably existed in Vicofertile already within the 9th century, but the church mentioned in a document from 1039 was smaller than the church seen here. Excavations found the foundations about 50cms under the floor of San Geminiano. Today´s church was erected around 1200. The roof burned down in 1325, but got rebuilt soon after. The church got modified a couple of times, but a a restoration undertaken in the early 20th century got rid of all interior Baroque additions. The capitals were probably created around 1220/1230 - and all six are somehow enigmatic. Is the Mouth of Hell in the dark corner??

The construction of the Cattedrale di San Giorgio began in the early 12th century, when the city was taken by Matilda of Tuscany (aka "Matilde di Canossa"). When the new cathedral was consecrated in 1135 it was not completed at all. It was - and still is - located in the center of the city. The lower part of the facade is Romanesque was probably built in the first half of the 11th century. The building process was continued a century later in Gothic style. A "renovation" of the Ferrara Cathedral done in the early 18th century resulted in a demolition. Only the facade and the outer walls survived. The the medieval interior and the apses, that once existed are lost. The portal is attributed to Master Niccolò (aka "Nicholaus"), who (or his workshop) worked as well in Verona (San Zeno) and Piacenza (Cathedral). The upper part of the narthex depicts the "Last Judgement", a popular theme (eg Conques, Autun, Moissac, Sangüesa) here is seen in a delicate style of transition from from Romanesque to Gothic. Souls rise from open graves. Above them Archangel Michael holds a scale doing the "Weighing of the Souls". A little devil tries to hold down the right side. The sinners leave -naked- to the right side, the good souls - nicely dressed to the left. Above all Christ in a mandorla, showing the "Five Holy Wounds". I have added the neighbouring carvings (in a larger scale). To the left the good souls are saved in the "Bosom of Abraham", to the right the poor souls are stuffed by evil devils into the "Mouth of Hell".

On the ruins of a older basilica begann, just next to the Baptistère Saint-Jean the construction of large Cathédrale Saint-Pierre in 1162. The building, the new the seat of the Archbishop of Poitiers, was greatly funded by Henry II of England (aka "Henri II Plantagenêt") and Eleanor of Aquitaine. The construction started as usual in the east and was completed with the western facade end of the 13th century. The transition from the late Romanesque to the Gothic style is visible. The three Gothic portals of the western facade seem influenced by the Gothic cathedrals from northern France. The tympanum of the central portal depicts the "Last Judgment", a "traditional" theme, as this can often found on Romanesque tympana. The tympanum is densely populated and delicately carved. Tombs open on the lowest tier, while above them souls go to heaven (left) or enter the "Mouth of Hell" (right). Christ is flanked by angels, who hold the "Arma Christi". The icon "Instruments of the Passion" got popular during the 13th century.

There have been five cathedrals on this site. One was destroyed by Visigothic troops mid of the 8th century. The successive cathedral was burnt down by Vikings ("Danes") in 858. The carolingian structure that was erected within the next decades was burnt down in 962 by troops led by Richard I of Normandy (aka "Richard the Fearless", "Richard Sans-Peur"). The rebuilding started again, but whatever was completed got destroyed by a fire, caused accidently, in 1020. The erection of a Romanesque cathedral started and most of the still existing crypt dates back to that building. In 1134, another fire damaged the town and large parts of the cathedral. The towers got repaired and rebuilt and the portal between them got created. Another blaze hit the town in June 1194. The cathedral was burnt down. Construction works started the same year. The western towers and the undamaged western portal ("Portail Royal") got integrated into the new building. The nave was already vaulted in 1220, the transept and the stained windows were completed in 1260. On 24 October 1260, only 66 years after the start of construction, the Cathédrale Notre-Dame was consecrated in the presence of Louis IX of France (aka "Saint Louis", "le Prudhomme"). Since Charles the Bald, Louis the Pious´ son, had given the "Sancta Camisia" to the cathedral in 876. Because of this "Veil of the Virgin" Chartres developed into a very important Marian pilgrimage center in medieval times. The south transept portals were carved between 1225 and 1260, so these works are some decades younger than the northern portals and about a century younger than the Portail Royal. While the carvings there are still in a transition from Romanesque to Gothic style, the works of the South portal are elegant Gothic. The central portal was carved on the theme of the New Testament. Seen here are the trumeau, Christ standing on two lions, and the jamb statues of the right side. Apostles are standing on small workmen.