Martin M. Miles' photos with the keyword: Linden

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. It may be, that the reliefs, seen here, are just single icons, that are not interconnected to a certain "iconographic program". This is claimed by Paul Clement (1938), Georg Dehio (1933) and Josef Minn (1942). In 1947 Albert M. Koeniger published the results of his research, interpreting the reliefs as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"). A sow and three piglets According to Albert M. Koeniger, the sow stands for lust ("luxuria") and the three piglets for the three sins connected to lust. The following relief depicts the merman with the net, seen already, framing the arch with the paddling mermaid to the left. This ends the large semicircle.

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. It may be, that the reliefs, seen here, are just single icons, that are not interconnected to a certain "iconographic program". This is claimed by Paul Clement (1938), Georg Dehio (1933) and Josef Minn (1942). In 1947 Albert M. Koeniger published the results of his research, interpreting the reliefs as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"). A bird, wearing a bearded man's face on the back, feeding on fish. The bird may be an eagle or at least a bird of prey (beak, raptorial claws). Maybe this is a fish-eagle, but a very special one, having that face on it´s back. The long haired, bearded face, reminded my on the head of John the Baptist. The fish looks like a salmon. According to Albert M. Koeniger, the fish is a carp and the sea-eagle is known for the gluttony, one of the deadly sins ("gula"). He quotes Phil. 3.18 " their god is their stomach", to explain the face...

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. It may be, that the reliefs, seen here, are just single icons, that are not interconnected to a certain "iconographic program". This is claimed by Paul Clement (1938), Georg Dehio (1933) and Josef Minn (1942). In 1947 Albert M. Koeniger published the results of his research, interpreting the reliefs as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"). A monopod aka sciapod (scias = shadow) in his typical position, using his one large leg as a sunshade. These mythical creatures were well known, but rarely seen during medieval times. Sciapods were first mentioned by authors like Pliny the Elder. Albert M. Koeniger describes an idly resting man, standing for for the sin of lethargy and listlessness ("acedia").

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. It may be, that the reliefs, seen here, are just single icons, that are not interconnected to a certain "iconographic program". This is claimed by Paul Clement (1938), Georg Dehio (1933) and Josef Minn (1942). In 1947 Albert M. Koeniger published the results of his research, interpreting the reliefs as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"). A jumping animal. Some have seen this as a fox or cat, but most described a jumping dog. According to Koeniger, the agressive dog stands for wrath / anger ("ira"). Note the collar. To the right followed the cope stone, that is lost. Maybe this lost stone was the key for the interpretation.

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. It may be, that the reliefs, seen here, are just single icons, that are not interconnected to a certain "iconographic program". This is claimed by Paul Clement (1938), Georg Dehio (1933) and Josef Minn (1942). In 1947 Albert M. Koeniger published the results of his research, interpreting the reliefs as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"). A fish-tailed bird with bearded human face. Is this a male bird-siren? But then it should have a bird´s tail. Or a merman with wings? Some claim it is a harpy. For Koeninger this icon stands for vanity and/or foolishness. The artistic style of this carving is clearly different. It is way more ambitious. The beard of the chimaera is curly, the hair is nicely combed. Note the tip of the wing! The artist even used a stone driller here.

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. It may be, that the reliefs, seen here, are just single icons, that are not interconnected to a certain "iconographic program". This is claimed by Paul Clement (1938), Georg Dehio (1933) and Josef Minn (1942). In 1947 Albert M. Koeniger published the results of his research, interpreting the reliefs as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"). Over the paddling mermaid (left) is this bearded bicaudal merman in a "typical" pose, mostly seen with female species. Koeniger interpretes this as a symbol for arrogance.

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. It may be, that the reliefs, seen here, are just single icons, that are not interconnected to a certain "iconographic program". This is claimed by Paul Clement (1938), Georg Dehio (1933) and Josef Minn (1942). In 1947 Albert M. Koeniger published the results of his research, interpreting the reliefs as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"). The semicircle starts with a paddling mermaid and ends on the right with a merman, presenting, what he has caught. The merman has eight fish. Following Koeninger, these fish stand for eight souls/ the eight deadly sins. He has three fish in the basket, four under his left arm and one in his right hand. In most other carvings, I have seen sofar elsewhere, the fish-icon is connected to "ichthys". Other than his "spouse" on the left, this merman has no legs.

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. It may be, that the reliefs, seen here, are just single icons, that are not interconnected to a certain "iconographic program". This is claimed by Paul Clement (1938), Georg Dehio (1933) and Josef Minn (1942). In 1947 Albert M. Koeniger published the results of his research, interpreting the reliefs as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"). With this mermaid, holding a paddle, the semicircle of the large gate starts at the left side. Mermaids have always been symbols of lust and vanity, tempting the pious souls. Koeninger interpretes this as a "mermaid paddling in the attempt, to entrap these souls". Interesting, that the semicircle ends on the right with a merman (male!) to the right. I will upload the merman next.

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. In 1902, when the neo-Romanesque church St. Peter and Paul was erected, the Pfarrhoftor got placed here, next to the new church. This very weathered relief probably corresponds to the "triumphator" (previous upload). It is one of the few, that are undisputed and depicts Samson (with very long hair), killing a lion with his bare hands.

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. In 1902, when the neo-Romanesque church St. Peter and Paul was erected, the Pfarrhoftor got placed here, next to the new church. A person equipped with helmet, shield and spear standing / posing on the bones of an slaughtered enemy. This may be St. Michael, triumphing over the dragon (with a human face), but there are no wings, no nimbus. For church historian Dr. Koeniger (1947) the icon offers criticism to the knighthood, as the person defiles the bones of an enemy. Or is this virtue triumphing over vice..? Or David (Humalitas) and Goliath (Superbia)? Undisputed is that the triumphator wears a garment, that was widely used by the nobility within the 12th century.

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambitions". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. In 1902, when the neo-Romanesque church St. Peter and Paul was erected, the Pfarrhoftor got placed here, next to the new church.

The exact age of the St.-Peters Church in Linden (about 6kms south of Giessen) is unknown. The church is placed on a once strongly fortified hill, mentioned in the Lorsch codex. A smaller Carolingian chapel had been here already as early as 810/820, foundations of this chapel have been found during a restauration. The church was probably erected within the 12th century. The romanesque portal is the outstanding feature of St.-Peters. It was carved around 1220/1230 and originally it had been on the southern entrance of the church, but was moved to the western facade. There are only a few of these portals in Germany - and this one is pretty unique, though it is weathered and difficult to "read". One theory claims, that the carvings are connected to the legend of Saint Wenceslaus I, who was murdered by his brother. Soon after his "martyrdom" several hagiographies were (told and) written - and these were very popular within the middle ages. The right side of the outer archivolt has this icon. A large and a small man, wearing hats or helmets. They both hold something in their hands, but it is impossible, to see, what it is. In the right corner "hangs" and axe, or a hammer. R. Hamann sees Cain and Abel. I see two men - and a tool. This is the last upload, centered around the portal of this church. It is in deed very mysterious, it is difficult to interconnect the different carvings. I have the impression, that there might not be a story. There are symbols like the devouring lions and the dragon. There might be a Virgin, there is a dragon-fighter. Then there is a hunter, a bishop, accompanied by a person with a banner, a couple of peasants, two horse carts.. The parish has a website about the history of the church (in German): www.ev-kirche-gr-linden.de/kirchengelaende.html

The exact age of the St.-Peters Church in Linden (about 6kms south of Giessen) is unknown. The church is placed on a once strongly fortified hill, mentioned in the Lorsch codex. A smaller Carolingian chapel had been here already as early as 810/820, foundations of this chapel have been found during a restauration. The church was probably erected within the 12th century. The romanesque portal is the outstanding feature of St.-Peters. It was carved around 1220/1230 and originally it had been on the southern entrance of the church, but was moved to the western facade. There are only a few of these portals in Germany - and this one is pretty unique, though it is not clear, how to "read" them. One theory claims, that the carvings are connected to the legend of Saint Wenceslaus I, the Duke of Bohemia. Saint "Wenzel" was murdered by his brother. Soon after his "martyrdom" several hagiographies were (told and) written - and these were very popular within the middle ages. The parish has a website about the history of the church (in German): www.ev-kirche-gr-linden.de/kirchengelaende.html

The exact age of the St.-Peters Church in Linden (about 6kms south of Giessen) is unknown. The church is placed on a once strongly fortified hill, mentioned in the Lorsch codex. A smaller Carolingian chapel had been here already as early as 810/820, foundations of this chapel have been found during a restauration. The church was probably erected within the 12th century. The romanesque portal is the outstanding feature of St.-Peters. It was carved around 1220/1230 and originally it had been on the southern entrance of the church, but was moved to the western facade. There are only a few of these portals in Germany - and this one is pretty unique, though it is weathered and difficult to "read". One theory claims, that the carvings are connected to the legend of Saint Wenceslaus I, the Duke of Bohemia. Saint "Wenzel" was murdered by his brother. Soon after his "martyrdom" several hagiographies were (told and) written - and these were very popular within the middle ages. This is an "overview" of the two archivolts, I will upload more detailed shots later. R. Hamann sees the nativity-scene in the center of the outer archivolt, the Magi rush to the center with wagons! Gottfried Kiesow ("Romanik in Hessen") supports that. The inner archivolt has on the left a hunter with a typical hunting-horn . His three dogs have cornered a boar (?). On the right a large winged dragon with a long tail. The light here is different from the previous shots from the same portal. This shot is from a second visit in Linden. The church was locked btw - both times. The parish has a website about the history of the church (in German): www.ev-kirche-gr-linden.de/kirchengelaende.html

The exact age of the St.-Peters Church in Linden (about 6kms south of Giessen) is unknown. The church is placed on a once strongly fortified hill, mentioned in the Lorsch codex. A smaller Carolingian chapel had been here already as early as 810/820, foundations of this chapel have been found during a restauration. The church was probably erected within the 12th century. The romanesque portal is the outstanding feature of St.-Peters. It was carved around 1220/1230 and originally it had been on the southern entrance of the church, but was moved to the western facade. There are only a few of these portals in Germany - and this one is pretty unique, though it is weathered and difficult to "read". One theory claims, that the carvings are connected to the legend of Saint Wenceslaus I, who was murdered by his brother. Soon after his "martyrdom" several hagiographies were (told and) written - and these were very popular within the middle ages. So here is the center of the outer archivolt and the complete inner with the hunting scene and the dragon. R. Hamann, quoted by Kiesow, sees a nativity scene in the center, flanked by the Magis, traveling with two wagons. The carvings are pretty weathered, but I doubt that. I see a lady in a position, that could well be the "Maria Regina", but I can not see a child. There are neither ox nor ass, but two men and (between them) an animal (dog). They carry weapons or tools and may be hunters or peasants. They seem to chat. Then there are these two wagons, on the left "equipped with two" on the right with one person. The lady may stand for the Virgin, but all others seem like "simple people" - to me. The parish has a website about the history of the church (in German): www.ev-kirche-gr-linden.de/kirchengelaende.html

The exact age of the St.-Peters Church in Linden (about 6kms south of Giessen) is unknown. The church is placed on a once strongly fortified hill, mentioned in the Lorsch codex. A smaller Carolingian chapel had been here already as early as 810/820, foundations of this chapel have been found during a restauration. The church was probably erected within the 12th century. The romanesque portal is the outstanding feature of St.-Peters. It was carved around 1220/1230 and originally it had been on the southern entrance of the church, but was moved to the western facade. There are only a few of these portals in Germany - and this one is pretty unique, though it is weathered and difficult to "read". One theory claims, that the carvings are connected to the legend of Saint Wenceslaus I, the Duke of Bohemia. Saint "Wenzel" was murdered by his brother. Soon after his "martyrdom" several hagiographies were (told and) written - and these were very popular within the middle ages. Both sides have very weathered lions. From this position only the little sinner in the lion´s mouth can be seen. This is the left side, next to the door, sideview. The carvings are weathered and kind of "clumsy", compare with the qualities of work, that can be found in France and Spain. On the left - a person, holding a flag or banner with five tails. His bearded head is strangely bent sidewards. He probably "accompanies" the person seen on the frontview. On the right - a siren - and below a huge snake. The parish has a website about the history of the church (in German): www.ev-kirche-gr-linden.de/kirchengelaende.html

The exact age of the St.-Peters Church in Linden (about 6kms south of Giessen) is unknown. The church is placed on a once strongly fortified hill, mentioned in the Lorsch codex. A smaller Carolingian chapel had been here already as early as 810/820, foundations of this chapel have been found during a restauration. The church was probably erected within the 12th century. The romanesque portal is the outstanding feature of St.-Peters. It was carved around 1220/1230 and originally it had been on the southern entrance of the church, but was moved to the western facade. There are only a few of these portals in Germany - and this one is pretty unique, though it is weathered and difficult to "read". One theory claims, that the carvings are connected to the legend of Saint Wenceslaus I, the Duke of Bohemia. Saint "Wenzel" was murdered by his brother. Soon after his "martyrdom" several hagiographies were (told and) written - and these were very popular within the middle ages. This is the left side, next to the door, frontview. On the right under the siren stands a small bishop wearing a mitra on his head - and holding a small crosier. This bishop stands "next" to the person holding that banner (seen on the previous upload). On the left a large bearded man, holding an enormous axe. I saw this man as an executioner, displaying his giant tool, first. Then I noticed, that the object, he has in his left hand may be a kind of medieval straightedge. That would mean, he may be a timberman, working on a construction site. The parish has a website about the history of the church (in German): www.ev-kirche-gr-linden.de/kirchengelaende.html

The exact age of the St.-Peters Church in Linden (about 6kms south of Giessen) is unknown. The church is placed on a once strongly fortified hill, mentioned in the Lorsch codex. A smaller Carolingian chapel had been here already as early as 810/820, foundations of this chapel have been found during a restauration. The church seen here was probably erected within the 12th century. The romanesque baptismal font has been moved in front of the church. From this point of view, the outstanding feature of St. Peters is already visible - a sculptured portal.