Martin M. Miles' photos with the keyword: hell

People have lived in this area since the Neolithic period, but it has been continuously inhabited since the conquest by Roman legions, who established an outpost and took over the existing castros in the area. It developed into a military centre known for its baths. The Romans built defensive walls, spanned the river with a bridge, and exploited the local mines. The importance of the town led to it being elevated to the status of a city in 79 AD, during the reign of the first Flavian Caesar, which was also reflected in its name, Aquae Flaviae. Rome's hegemony lasted until the 3rd century, when, successively, the Suebi and Visigoths as well as the Alani colonized the settlements of Chaves. The area surrendered to Islamic forces at around 714-716. The city was conquered by Alfonso I of Asturias in 773 and repopulated in 868 by Alfonso III of Asturias. Battles between Christian and Muslim forces then continued until the 11th century, when Alfonso V of León permanently reconquered Coimbra, establishing a firm buffer-zone to the south. He reconstructed, settled and encircled the settlement of Chaves with walls, in addition to establishing a Jewish quarter in the community. It was in the reign of Afonso I of Portugal that it was taken from León and firmly integrated into the Kingdom of Portugal domain (1160). Owing to its geographic location King Denis, ordered the construction of a castle to protect the kingdom's border. It is said to have been the seat of a Christian bishopric as early as the Migration Period. The existing church is said to have been partially destroyed, and the Arab occupation led to the extinction of the diocese. Documentary references to the church of Santa Maria Maior can be found in the Afonsinas Inquiries of 1259. The Romanesque church may have been built on top of another Visigothic building in the 12th century. The bell tower and portal of the medieval building remain. The purgatory

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.

Payerne Priory (= Peterlingen), a former Cluniac monastery, was founded around 962 by Empress Adelheid as the burial place of her mother Queen Berta of Burgundy. It was annexed to the reform abbey of Cluny in 962 as one of the first daughter monasteries. It was richly endowed by the kings of Burgundy and the German emperors and had extensive landholdings In 1033, Conrad II was crowned King of Burgundy in Peterlingen. The priory was first directly managed by the abbots from Cluny, but starting in 1050 the local prior led the monastery with increasing independence. Saint Ulrich of Zell, was prior here in the later 11th century. He later founded two Cluniac monasteries in the Black Forest. In 1444, the antipope Felix V raised the priory to an abbey. This elevation brought no benefits to the monastery. The Reformation and the weakening of Savoy's power led to the dissolution of the monastery. After the Bernese conquest of Vaud, some of the buildings were demolished. The former abbey church of Notre Dame is an example of Cluniac architecture and an important Romanesque church building. The current construction was started in the 11th century by Abbot Odilo of Cluny on the site of the previous 10th-century church. Parts of the previous building, including the archaic capitals, were included in the new church. After the Reformation, the church was profaned and served in the 17th century as a bell foundry, in the 18th century as a granary, and later also as a prison and barracks. Since 1926 a careful restoration was carried out. Aproaching eternal hell The scene is part of a depiction of the Last Judgment.

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

Lindau, located near the borders to Austria and Switzerland, was mentioned first time in 882 when a nunnery was founded here. The old town is on an island, which meanwhile is connected with the mainland by a road bridge and a railway dam. The church of St. Stephan was built around 1180, Franciscans founded a monastery here in 1224. In 1274/75 Lindau became an Imperial Free City under King Rudolf I. Lindau became Protestant in 1528. The nunnery remained Catholic while the Franciscan monastery, from which the first Reformation preachers came, was closed. During the Thirty Years' War, Lindau was unsuccessfully besieged by Swedish troops in 1646/47. Between 1445 and 1761, 18 people were indicted in witch trials in Lindau. The last victim of the witch hunt was Maria Madlener, who was executed on August 4, 1730. The construction of the church started around 1000 in the centre of an early fishing settlement hence the Petrus patronage, the saint is the patron saint of fishermen. St. Peter lost its importance after the completion of St. Stephan, the new parish church on the island in 1180. The building was used by a Beguine-like convent, dedicated to the care of the sick. Already within the 16th century the church got profaned and was used as a storage. In the beginning of the 20th century wood and coal was stored here. Since 1928 the former church is a war memorial. The murals were rediscovered in 1849. A first restoraten was undertaken in 1921, when all post-Reformation fixtures and extensions got removed. In the centre of the apse is a younger "Coronation of Mary", seen above is Christ judging. He sends the believers to the left side, where they are awaiting everlasting bliss, while all others are sent to the right side, where they are awaited by devils, who look like hares (just like in Conque and Koenigslutter). They are pushed into the hell´s mouth and will go to everlasting condemnation.

Otranto occupies the site of an ancient Greek city. It gained importance in Roman times, as it was the nearest port to the eastern coast of the Adriatic Sea. After the end of the Roman Empire, it was in the hands of the Byzantine emperors until it surrendered to the Norman troops of Robert Guiscard in 1068. The Normans fortified the city and built the cathedral, that got consecrated in 1088. When Henry VI., son of Emperor Frederick Barbarossa, married Constanze of Sicily in 1186 Otranto came under the rule of the Hohenstaufen and later in the hands of Ferdinand I of Aragón, King of Naples. Between 1480 and 1481 the "Ottoman invasion" took place here. Troops of the Ottoman Empire invaded and laid siege to the city and its citadel. Legends tell that more than 800 inhabitants were beheaded after the city was captured. The "Martyrs of Otranto" are still celebrated in Italy, their skulls are on display in the cathedral. A year later the Ottoman garrison surrendered the city following a siege by Christian forces and the intervention of Papal forces. - Otranto had been one of the last Byzantine strongholds in Apulia, but finally Robert Guiscard could take it. It had probably been such a stronghold, as Otranto had hosted an autocephalous bishopric, only dependent of the patriarchal see of Byzantium since 968. So (Roman) Catholicism had to perform something "convincing" for the so long (Byzantine) Orthodox christians. One was to erect a huge church. The Otranto Cathedral was erected, over ruins of a Paleo-christian church from 1080 on and was consecrated in 1088. It is 54 metres long by 25 metres wide and is built on 42 monolithic granite and marble columns. I had come to Otranto, to see the mosaic. I had planned to stay one night in Otranto, I spent three nights - and still had not seen all the details. I was so overwhelmed, that I took hundreds of photos, but the mosaic is "endless". I will upload only a couple. It was created by a monk named Pantaleon and his workshop between 1163 and 1165. Pantaleon lived at the monastery San Nicola di Casole, located a few kilometres south of Otranto. The mosaic covers the nave, both aisles, the apse and the presbytery. This sums up to a total of 1596 m². About 10 000000 (10 million!) "tesserae" were used. There are scholars, who have counted up to 700 different "stories", that are told here. Though, these "stories" are often disputed, as today's interpretations are mostly very "vague". German historian Carl Arnold Willemsen published the most important book about the mosaic in Italian " L'enigma di Otranto", that since the 1970s is translated in many languages. I followed his theories. As the church is a parish church, there are benches placed on the mosaic floor. Only for the Sunday service, the ropes are open so that the parishioners can reach the benches. I stayed up to Sunday to mix with the locals. The left aisle has like the nave and the right aisle a tree in the middle. Here it separates hell (right) from heaven (left). Another view into hell. The poor people are tortured and even devoured by snakes. The two large figures in the back are the crowned SATANAS (right) and INFERNUS (left), who is roped.

Otranto occupies the site of an ancient Greek city. It gained importance in Roman times, as it was the nearest port to the eastern coast of the Adriatic Sea. After the end of the Roman Empire, it was in the hands of the Byzantine emperors until it surrendered to the Norman troops of Robert Guiscard in 1068. The Normans fortified the city and built the cathedral, that got consecrated in 1088. When Henry VI., son of Emperor Frederick Barbarossa, married Constanze of Sicily in 1186 Otranto came under the rule of the Hohenstaufen and later in the hands of Ferdinand I of Aragón, King of Naples. Between 1480 and 1481 the "Ottoman invasion" took place here. Troops of the Ottoman Empire invaded and laid siege to the city and its citadel. Legends tell that more than 800 inhabitants were beheaded after the city was captured. The "Martyrs of Otranto" are still celebrated in Italy, their skulls are on display in the cathedral. A year later the Ottoman garrison surrendered the city following a siege by Christian forces and the intervention of Papal forces. - Otranto had been one of the last Byzantine strongholds in Apulia, but finally Robert Guiscard could take it. It had probably been such a stronghold, as Otranto had hosted an autocephalous bishopric, only dependent of the patriarchal see of Byzantium since 968. So (Roman) Catholicism had to perform something "convincing" for the so long (Byzantine) Orthodox christians. One was to erect a huge church. The Otranto Cathedral was erected, over ruins of a Paleo-christian church from 1080 on and was consecrated in 1088. It is 54 metres long by 25 metres wide and is built on 42 monolithic granite and marble columns. I had come to Otranto, to see the mosaic. I had planned to stay one night in Otranto, I spent three nights - and still had not seen all the details. I was so overwhelmed, that I took hundreds of photos, but the mosaic is "endless". I will upload only a couple. It was created by a monk named Pantaleon and his workshop between 1163 and 1165. Pantaleon lived at the monastery San Nicola di Casole, located a few kilometres south of Otranto. The mosaic covers the nave, both aisles, the apse and the presbytery. This sums up to a total of 1596 m². About 10 000000 (10 million!) "tesserae" were used. There are scholars, who have counted up to 700 different "stories", that are told here. Though, these "stories" are often disputed, as today's interpretations are mostly very "vague". German historian Carl Arnold Willemsen published the most important book about the mosaic in Italian " L'enigma di Otranto", that since the 1970s is translated in many languages. I followed his theories. As the church is a parish church, there are benches placed on the mosaic floor. Only for the Sunday service, the ropes are open so that the parishioners can reach the benches. I stayed up to Sunday to mix with the locals. The left aisle has like the nave and the right aisle a tree in the middle. Here it separates hell (right) from heaven (left). The devil-chef is on duty in hell's kitchen. The fire is burning and the first soul is being cooked in the pot.

The Phoenicians, the Greeks and the Romans have been here. In 216 BC, during the second Punic war, the Battle of Canne was fought nearby which led to the heavy defeat of the Romans by Hannibal's army. After the collapse of the Roman Empire, the area was taken over by the Normans, who built a fortress here. During the time of the Crusades, Barletta became an important gathering point for the armies of knights. The city had its heyday under Frederick II, who in 1228 announced the sixth crusade during the Diet held here. Following the Muslim conquest in the Holy Land, the Archbishops of Nazareth took permanent refuge in Barletta in 1327. - The Duomo di Barletta (aka "Basilica di Santa Maria Maggiore") was erected in Romanesque and later Gothic style from the 12th to the 14th century. The church occupies the site of ancient structures attributed to a temple dedicated to Neptune. Already in the 6th century, a palaeo-Christian basilica existed here. After Canosa had been destroyed by Muslim raiders, numerous clerics moved to Barletta. Traces of the church they erected can still be seen. A Romanesque church was built over this in Norman times, late 12th century the bell tower was raised. The church was consecrated in 1267, but was not completed before the 14th century. The window is framed by devils and evil creatures from hell, all torturing and devouring the poor souls of the sinners.

A settlement has existed here already before Romans and Gauls settled here, the town Belleville was actually founded by the House of Beaujeu. Humbert III de Beaujeu (+ 1194), the 8th Sir de Beaujeu, had a city wall built and founded a commanderie that in 1158 was converted into a Augustinian priory and 6 years later became an abbey. The church, that now serves the parish is the only remaining structure of this abbey. The construction of the large church (63m long) started in 1168. It was completed only 11 years later and was consecrated and dedicated to the Virgin in 1179. The nave (and the choir) seem already early Gothic in some parts. The church was the burial site for the House of Beaujeu. Though much of the interior got destroyed durig the Wars of the Religions, there are still nice (and well restored) Romanesque carvings and capitals here. The lady is lost! The devil has grabbed her and will now take her to hell. A common icon in medieval art.

A settlement has existed here already before Romans and Gauls settled here, the town Belleville was actually founded by the House of Beaujeu. Humbert III de Beaujeu (+ 1194), the 8th Sir de Beaujeu, had a city wall built and founded a commanderie that in 1158 was converted into a Augustinian priory and 6 years later became an abbey. The church, that now serves the parish is the only remaining structure of this abbey. The construction of the large church (63m long) started in 1168. It was completed only 11 years later and was consecrated and dedicated to the Virgin in 1179. The nave (and the choir) seem already early Gothic in some parts. The church was the burial site for the House of Beaujeu. Though much of the interior got destroyed durig the Wars of the Religions, there are still nice (and well restored) Romanesque carvings and capitals here. There is a hand, holding a knife, piercing a tongue. How gruesome. Is this torture? Punishment? I remember a similar icon in Conques. There devils torture the poor souls in hell with this.

Manegold of Lautenbach, a celebrity of his time, lived here in the 11th. century. During the Investiture Controversy, Manegold sided strongly with Pope Gregory VII. Emperor Henry IV was so annoyed about this, that he sent an army to Lautenbach, to destroy the monastery and churches. About 50 years later Augustinian Canons settled here - and rebuilt the church, reusing a lot of old material. Many changes took place in and around the building (now the parish church) over the time, but the ground floor of the westwork seen here, seems still unchanged. Having seen the delicate structure of the narthex with slim pillars -and fine capitals, both friezes are kind of shocking. The naiv style of these carvings differs totally from the others. These friezes may have been part of the church destroyed 1086 - and be reused here. Here is the right side of the "smiling-devil-frame", seen before. A pig is feeding here on that babylike body, symbolising the soul, that the devil is holding by the leg. On the left side a body (head upward) is given to a snake, on the right side a body (head downward) is given to a pig. Why did the carver choose a snake and a pig? Accidently? Just two snakes would have created a very nice, even symmetrical icon. The snake and the pig must have different "symbolic values" - in the evil system of hell. There must be sins, punished by being fed to snakes, and other sins, punished by being fed to pigs.

Manegold of Lautenbach, a celebrity of his time, lived here in the 11th. century. During the Investiture Controversy, Manegold sided strongly with Pope Gregory VII. Emperor Henry IV was so annoyed about this, that he sent an army to Lautenbach, to destroy the monastery and churches. About 50 years later Augustinian Canons settled here - and rebuilt the church, reusing a lot of old material. Many changes took place in and around the building (now the parish church) over the time, but the ground floor of the westwork seen here, seems still unchanged. Having seen the delicate structure of the narthex with slim pillars -and fine capitals, both friezes are kind of shocking. The naiv style of these carvings differs totally from the others. These friezes may have been part of the church destroyed 1086 - and be reused here. Here is the left side of the "smiling-devil-frame", seen before. A giant snake feeds on that babylike body, symbolising the soul, that the devil is holding by the right arm. The snake has a very strange head and snout, like biblical snakes often have. The carver tried to give the giant moving snake a three-dimensionality, but it does not really work. So - for a certain kind of sin - the souls are eaten up by a giant snake. This sin should depicted be on one of the two friezes.

A priory had existed here already from 768 on. The Benedictine abbey was founded 1088, the church of today was built in the 12th century replacing a previous, smaller church, erected probably in the 10th century. The abbey belonged to the Sacra di San Michele Abbey in Piedmont (more than 700 kms east). The church was strongly fortified and had battlements, watchtowers and even moats at that time. The facade got heavily vandalized during the French Revolution, when the rioting revolutionists used hammers to destroy sculptures and carvings. This (for me) does not look like a tympanum. Here fragments are "glued" together that were found, after the vandals had left. In the center is a (headless) sculture. The upper band (and the right side if the center) depict scenes from hell. The left side of the center may depict the shepherds of Bethlehem. The lower one has battle scenes.

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!

Conques is a popular stop for all pilgrims traveling the Via Podiensis. This is a treat after having crossed the harsh Aubrac. I had started in Geneva in 2008 and I still remember my feelings, when I reached Conques after some weeks. A tiny convent existed here already in the 8th century. This grew into a very successful monastery, after the relics of St. Foy arrived in Conques through theft in 866. The relics were stolen by a monk from Conques, who had posed as a loyal monk in Agen for years. The arrival of the relics of St. Foy caused the pilgrimage route to shift to Conques. As the existing church was too small for all the pilgrims, a new, much larger church had to be constructed. It was completed by the end of the 11th century. As a large pilgrim´s church it had an ambulatory with five radiating chapels. A century later galleries were added over the aisle and the roof was raised over the transept and choir to allow people to circulate at the gallery level. This can still be done for an hour in the evening and is - absolutely breathtaking! The "main attraction" is probably the tympanum. The "Last Judgement" was carved around 1130 - and tells many stories. Here are tortures of hell. The right devil may be a (winged?) hare and the poor soul being roasted may be a hunter.

The construction of the cathedral was ordered by King Ferdinand III of Castile and Mauricio, the Bishop of Burgos. Ferdinand had just married Barbarossa´s granddaughter Beatrice of Swabia (aka "Elisabeth of Swabia") and wanted a cathedral, reflecting his new role in the European power game. The former Romanesque cathedral got demolished and on July 20, 1221, the construction of the new Gothic started under the guidance of an unknown French architect. After nine years, the chevet was completed and the high altar was consecrated. Then the construction stopped for about 200 years. Attending the Council of Basel (aka "Council of Florence") in 1435 bishop (and diplomat) Alfonso de Cartagena saw the just completed, elegant towers of the Basel Minster. When he returned to Burgos he was accompanied by German architect Johannes von Köln (aka "Juan de Colonia"), who probably knew the blueprints of the towers, planned for the Cathedral of Cologne. Under his guidance the towers of the Cathedral were completed in open tracery. He was followed on the construction site by his son Simon de Colonia. The crossing tower collapsed in 1539, but got rebuilt, so that in 1567 the Cathedral was finally completed. The north transept portal, known as "Portada de la Coroneria", erected around 1240, is permanently locked since 1830. Over the centuries residents had entered the cathedral here and by using the opposite portal as an exit, had a nice short cut to the market. In the center of the tympanum is the Last Judgement (see previous upload). The way to hell (previous upload) leads to hell. A glimpse into the center of hell, where devils are busy to torture thé poor souls. I have the impression that the person on the very right is at stool, producing coins. I am not really sure about the coins actually. It remembers me on a fairy tale by the German Grimm Brothers "The Wishing-Table, the Gold-Ass, and the Cudgel in the Sack".

The "Cathédrale Saint-Étienne de Bourges" was erected as a replacement for a 11th-century structure. The construction started probably in the last quarter of the 12th century, around the same time, when the builders and bricklayers started in Chartres. The choir of the cathedral was in use by 1214, the nave was finished 1255. The cathedral was consecrated in 1324. With the completion of the choir of the cathedral , the first stained glass windows got installed. Most of the windows around the choir, created 1220/1230, survived the times. The wonderful "vitraux" here may even be a bit older than the more famous ones in Chartres. The parable of the rich man and Lazarus Luke 16 : 22 "The poor man died and was carried by angels to Abraham’s side. The rich man also died and was buried." The rich man´s soul leaves the body and is immidiatly grabbed by the devil. The fork, the right devil uses, can often be seen as an evil tool.

"Santa María la Real" is one of the highlights for all people following the "Camino Aragonés" - since about 800 years. The facade is impressing it may take hours, to find out the many details. I stayed an extra day, when I had reached the town, just to see the shadows movig over the carvings. A church did exist here already in 1131 next to the bridge crossing the river Aragon. It was transferred by Alfonso I to the "Knights Hospitaller" (aka "Order of Saint John", later "Sovereign Military Hospitaller Order of Saint John of Jerusalem of Rhodes and of Malta"). The apse is the oldest part of the structure and probably dates back to that time. The nave and the breathtaking Southern Portal of Santa María la Real were created late 12th/13th century. I uploaded a "total overview" earlier and now will focus more on details. A detail from the right side of the tympan, depicting the Last Judgement. The right side is actually on God´s left side, standing for the evil. - Here is the Weighing of the Souls (psychostasia). A large snake tries to pull down one side of the scale, held by the archangel. Beside the scale is the mouth of the hell, a nude couple is sinking into it. Below are the heads of the apostles, their fading names are written on the arches. It seems that the artist knew the much older bas-relief from the portal in Artaiz (ca. 30kms west), as the hellmouth here has the same structure