Martin M. Miles' photos with the keyword: mandorla

Barfrestone is a small village known since the time of the Domesday Book, when the manor was owned by Odo, the Bishop of Bayeux. In 1076, the lands were then granted to Hugh de Port, whose descendents may be connected to the erection of this church end of the 12th century, that was a site on the pilgrim route between Dover and Canterbury. This small church is a masterpiece of Norman art and architecture. The southern portal shows carving of the highest order, most probably the work of master carvers and masons, based in nearby Canterbury. The tympanum Christ is seated in a mandorla raises one hand in blessing while the other holds the Bible. He is surrounded above by angels, two holding scrolls. At the sides are crowned heads, while at Christ´s feet are a sphinx, mermaids and a griffin.

Clayton is a village about 10 kilometres north of Brighton, it is mentioned in the Domesday survey in 1086, when it was called Claitune or Claitona. The Anglo-Saxon church was in the possession of Lewes Priory, which had been given it by de Warenne in 1093. The original dedication of St John the Baptist's Church was All Saints what was a common dedication during the Anglo-Saxon era. The small and simple Anglo-Saxon building is distinguished by its "remarkable" and extensive set of wall paintings, dating from the early 12th century and rediscovered more than 700 years later. Much of the structural work of the church is 11th-century and has had little alteration. The wall paintings were painted by monks from Lewes Priory, this was the first Cluniac house in England and had close links to its mother priory at Cluny in Burgundy, and the art techniques developed at Cluny were very influential. The murals were uncovered between 1893 and 1895 when Charles Eamer Kempe was restoring the interior. More were uncovered during subsequent alterations between 1917 and 1919. Most authorities agree that they are frescoes—painted directly on wet plaster.

The Romanesque chapel from the 12th century was built on the edge of a basalt spur overlooking the Alagnon valley and the town of Massiac. It got the "Chalet" in its name from a nearby village. The Lords of Mercœur had a feudal castle on this strategic position and the chapel was once part of that complex. It actually opened to the courtyard of the castle. The very most of the large medieval ceiling fresco is lost, but "Christ in Majesty" (Majestas Domini) is still recognizable in the mandorla.

The area around Lübeck, today a large city with a population of more than 200,000, had been settled by Slavs since the 7th century. Slavs had a settlement north of the present city called "Liubice", which was razed by the pagan Rani tribe in 1128. 15 years later Adolf II, Count of Schauenburg and Holstein, founded the modern town as a German settlement on the river island of Bucu. He built a new castle, first mentioned as existing in 1147. Adolf II had to cede the castle to the Duke of Saxony, Henry the Lion, in 1158. After Henry's fall from power in 1181, the town became an Imperial city. Emperor Barbarossa ordained that the city should have a ruling council of 20 members. With the council dominated by merchants, trade interests shaped Lübeck's politics for centuries. In the 14th century, Lübeck became the "Queen of the Hanseatic League", being by far the largest and most powerful member of that medieval trade organization. In 1375, Emperor Charles IV named Lübeck one of the five "Glories of the Empire", a title shared with Venice, Rome, Pisa, and Florence. Conflicts about trading privileges resulted in fighting between Lübeck (with the Hanseatic League) and Denmark and Norway – with varying outcome. While Lübeck and the Hanseatic League prevailed in conflicts in 1435 and 1512, Lübeck lost when it became involved in a civil war that raged in Denmark from 1534 to 1536. From then on Lübeck's power slowly declined. The city remained neutral in the Thirty Years' War, but the devastation from the decades-long war and the new transatlantic orientation of European trade caused the Hanseatic League – and thus Lübeck with it – to decline in importance. However, Lübeck still remained an important trading town on the Baltic Sea. In 1160 Henry the Lion moved the bishopric of Oldenburg to Lübeck and endowed a cathedral chapter. In 1163 a wooden church was built, however, at the beginning of the 13th century, it was no longer sufficient to meet the representative demands of the self-confident burghers. St. Marien was built 1250 - 1350. It has always been a symbol of the power and prosperity of the Hanseatic city. It situated at the highest point of the island that forms the old town. Gothic cathedrals in France and Flanders made of natural stone were the models for the new construction of Lübeck's three-nave basilica. St. Marien epitomizes North German "Brick Gothic" and set the standard for many churches in the Baltic region. The church embodied the towering style of Gothic architecture using brick. The incentive for the City Council to undertake such an enormous project was rooted in the bitter dispute with the Lübeck bishopric. As a symbol of the long-distance merchants' desire for freedom and the secular power of the city, which had been free of the Empire since 1226, the church building in the immediate vicinity of Lübeck's city hall and the market square was intended to clearly and uncatchably surpass in size the city's bishop's church, Lübeck Cathedral. On the pillar, near the pulpit, there is this very early fresco. Depicted is Christ in a mandorla. The symbols of the four evangelists are in the corners. The style of the painting reminds me very much of Byzantine frescoes.

The "Abbazia di San Leonardo in Lama Volara" (aka "San Leonardo di Siponto") was probably founded at the end of the 11th century. It is dedicated to Saint Leonard of Noblac, a popular "Norman" saint. The monastery initially served as a hospice for pilgrims on their way to the Saint Michael Sanctuary of Monte Sant'Angelo, an important pilgrimage site since the early Middle Ages. Later it also served as a place for travellers on their way to the Holy Land during the Crusades. Since 1127 Augustinian canons worked here, in 1261, the Teutonic Order took over the meanwhile dilapidated hospice and made the monastery to their centre of activities in Apulia. The Teutonic Order left in the second half of the 15th century. Some scholars claim, that the portal is one of the finest in Apulia. It opens to the road, where the pilgrims came along (today SS89). The tympanum depicts Christ in a mandorla, flanked by two angels. The archivolt has the symbols if the evangelists left (Mark and Matthew) and right (Luke and John). Above them two centaurs with harp (left) and horn (right), a deer and a dragon.

The Cahors Cathedral was erected between 1080 and 1135. It got consecrated by Pope Calixtus II in 1119. The same pope, who two years later could imprison his rival "Antipope" Gregory VIII. Four years later, Calixtus ended the Investiture Controversy by agreeing with Emperor Henry V on the Concordat of Worms. During the times of medieval pilgrimage, this cathedral was an important place on the "Via Podiensis", as the "Sainte Coiffe" could be venerated here. This "Holy Headdress" was believed to have been used during Jesus' burial. Legends tell, that it had been given to the Bishop of Cahors by Charlemagne, but what is more likely it was brought to Cahors by Bishop Gerard de Cardillac after his trip to the Holy Land in 1113. A relic similar to the "Shroud of Turin". Prominent features are the two domes (a third one collapsed in the 13th century) and this Romanesque portal on the northern side. It was widely discussed, whether it was once moved from the west to this location, but since the 1980s it is proven (Bratke, Durliat), that it was constructed (after 1140) for the northern side, where it is still today. The portal was walled up 1732 and got "rediscovered" in 1840, so it survived the furore of the Revolution. A closer look on to the tympanum. In the centre, Christ in a mandorla. The right in a blessing gesture, a bible in his left hand. In the lower part are represented the apostles, surrounding the Virgin in the centre. The style is often compared to Moissac, where the transition from Romanesque to Gothic style can be seen.

The parish church "Notre-Dame", in the center of the small village of Orglandes was erected within the 15th century, but some spolia of the Romanesque churches, that was here before, were saved. One of them is a relief, "reused" here in the tympanum. Christ in a mandorla surrounded by the symbols of the fur evangelists. The two flanking persons are Saint Peter (right), holding a key, and Saint Paul, holding a writing slate. As I have already uploaded photos from this church after my last visit, this is the only one from here right now. - PiP -

The village of Berghausen is part of larger Schmallenberg since some decades. It existed already around 1200, when St. Cyriakus was erected, a very small basilica. The church was built on the floorplan of a "greek cross" and originally had three apses. The small right apse got lost, when the sacristy was added. During a renovation in 1936 frescoes were discovered under the plaster. Most remarkable is this large apse fresco. Christ Pantocrator in a mandorla.

Gensac-la-Pallue is a small town (10kms southeast of Cognac) with a population of about 1500. Saint Martin is the large parish church of Gensac-la-Pallue. It is unknown, who financed this church, when it was erected within the 12th century (the choir and tower were added a century later) and there are no obvious connections to one of the important abbeys of the area, but for a parish church, built on swampy grounds, this is a pretty prestigious structure. Saint-Martin has an extraordenary western facade, that is basically typical for the Saintonge with the two blind arches, flanking the central portal. There are no carved archivolts, but a long frieze-like band extending over the facade. Two large mandorla-carvings are symmetrically placed. On the left side the Virgin, on the right St. Martin Of Tours, seen as the bishop holding a crozier. Both are surrounded by angels.

The church, dedicated to St. Ägidius (= "Saint Gilles") was mentioned the first time in 1169, though a legend tells, that it was founded by Saint Hemma of Gurk. Rebuilt after a fire in 1354 it has been dependent from the Canons of Gurk upto 1781. It is located in the center of the village´s graveyard. The interior walls got decorated with frescoes within the 14th century by different masters. Seen here is the choir. Christ in a mandorla, surrounded by angels. Below are the 12 disciples. This fresco is signed, it was created in 1390 by Master "Hainricus".

Sainte-Trinité dates back to the early 12th century. It is Romanesque, described as "style bourguignon". The dedication to the Holy Trinity is not very frequent in this period. Autry was part of the convent Montet-aux-Moines (20kms south), itself a priory dependent on Saint-Michel-de-la-Cluse in Piedmont ("Sacra di San Michele" near Turino, Italy). Later the parish passed under the authority of the Abbess of Saint-Menoux, just a few kilometers north. The tympanum has two angels holding an "empty" mandorla which surrounds "normally" Christ in glory. It may have been painted - and weathered away. Left and rights are arches with lamps and behind houses and towers. That architecture may stand for the "Heavenly Jerusalem". The inscription in the triangle above the mandorla reads "PENAS REDDO MALIS PREMA DOD BONIS" = I punish those who do evil I reward thos who do good. The church, renovated and partly reconstructed in the 19th century, is rather large - Autry-Issards today only has a population of about 350.

The former church of a priory, built from local limestone 1150/1170, got remodelled quite often over the centuries. This was done not only by architects, but as well by clerics. The church was dedicated to St. Genesius first, then to St. Limin, followed by Saint-Martin. Within the 19th century the dedication changed to Saint-Bonnet and just some decades ago to Saint-Bénilde, a saint born in Thuret in 1805. This church has very interesting carvings, but the title "Le Vezelay de la Limagne", that I found on a local leaflet, is too ambitious. As the carvings in Thuret are extraodenary, they have been a subject in the literature ever since. The tympanum, over the southern portal, is a first example. A very common scene: Christ in a mandorla, holded upright by two angels. The arms and the hands of the angels are too long, the trees on the side are very simplistic while the large wings even have feathers. Christ, in a blessing gesture, is sitting in a very stiff position. B. Craplet ("Auvergne roman", 1992) identifies the angels as the archangels Gabriel and Michael and describes the work as "unskilled". He disagrees with Z. Swiechowski ("Sculpture Romane D'auvergne", 1973), who sees this as the work of "naive folk art". Craplet points out the delicately carved clothing of the three sculptures (hard to see here) - and so has a proof, that the artist was "able" to do "better". A. Gybal ("L´Auvergne, berceau de l´artroman", 1958) describes a specific "Thuret-style" being a totally simplified work of art. For him, the simplification is the result of the artists inspiration. He makes totally clear, that this is not "folk art" ("l`art populaire"), but the result of artistic work of very skilled monks ("moines tres cultives"). Note the cat on the right capital.

The Cahors Cathedral was erected between 1080 and 1135. It got consecrated by Pope Calixtus II in 1119. The same pope, who two years later could imprison his rival "Antipope" Gregory VIII. Four years later, Calixtus ended the Investiture Controversy by agreeing with Emperor Henry V on the Concordat of Worms. During the times of medieval pilgrimage this cathedral was an important place on the "Via Podiensis", as the "Sainte Coiffe" could be venerated here. This "Holy Headdress" was believed to have been used during Jesus' burial. It had been given to Aymatus, Bishop of Cahors, by Charlemagne. A relic similar to the "Shroud of Turin". On the northern side of the cathedral, this intricate Romanesque portal faces the "Via Podiensis". This was what the pilgrims saw first - and this portal they used entering the basilica. Christ in a mandorla, surrounded by angles- Below are Mary and the Apostles. The carvings are already soft and elegant. They are dated to 1130/1140.

The former collegiate church Saint-Aignan was built from the early 11th to the early 13th century, so there is a transition from Romanesque to early Gothic style. The church replaced a chapel from the 9th century and was a center of pilgrimage, as the relics of Saint Aignan of Orlean (+ 453) were venerated here. The church was ruined for a long time and got renovated and restored during the 19th century. During the renovation of the nave at least some parts got recreated. Fortunately the ambulatory crypt, the oldest part of the collegiate church SaThe former collegiate church Saint-Aignan was built from the early 11th to the early 13th century, so there is a transition from Romanesque to early Gothic style. The church replaced a chapel from the 9th century and was a center of pilgrimage, as the relics of Saint Aignan of Orlean (+ 453) were venerated here. The church was ruined for a long time and got renovated and restored during the 19th century. During the renovation of the nave at least some parts got recreated. Fortunately the ambulatory crypt, the oldest part of the collegiate church Saint-Aignan, got not renovated like the nave. It stayed pretty much intact and has frescoes dating back to the 12th and 13th century. Here is the apse of the crypt´s central chapel - and a Christ Pantocrator ("Christ in Majesty") in a mandorla.int-Aignan, got not renovated like the nave. It stayed pretty much intact and has frescoes dating back to the 12th and 13th century. Here is the apse of the crypt´s central chapel - and a Christ Pantocrator ("Christ in Majesty") in a mandorla.

Notre-Dame la Grande, a former collegiate church, was completed around 1150. This facade is a masterpiece of Romanesque art. The church replaced an older one, known since the 9th century. The western facade is the result of an enlargement. In the first half of the 12th century, the older facade got removed - and two spans were added to the nave toward the west. The facade (sometimes called it a "frontage-screen") completed that enlargement. This facade is a brilliant example of the Romanesque "style poitevin". Seen here is the top tier, a richly-carved medallion of Christ in Glory (now headless), surmounted by the sun and moon and surrounded by the symbols of the Four Evangelists. As the church went trough the Wars of Religions and the French Revolution many of the carvings are damaged.

The first church ever built here, was near the sea, where Saint Guirec, a missionary from Wales, went ashore in the 6th century. The parish church seen here was erected little inland, on a hill ("Perros" - "Pen-roz") and was dedicated to Saint Guirec. Within the 11th century, the first pilgrims on their way to Santiago passed through and so Saint-Jaques was added. Of the Romanesque church the nave and the southern walls still exist. Here is the southern portal. The tympanum depicts a "Majestas Domini". Christ seated on a throne as ruler of the world. He is surrounded by a mandorla and flanked by a lion (= Mark) and an eagle (= John).

The parish church "Notre-Dame", in the center of the small village of Orglandes was erected within the 15th century, but some spolia of the Romanesque churches, that was here before, were saved. A hug! Utah Beach, where the Allied landed during the D-Day invasion on 6 June 1944, is not far away. Just east of Orglandes is the "Orglandes War Cemetery" with the graves of more than 10.000 German soldiers.

The parish church "Notre-Dame", in the center of the small village of Orglandes was erected within the 15th century, but some spolia of the Romanesque churches, that was here before, were saved. One of them is a relief, "reused" here in the tympanum. Christ in a mandorla surrounded by the symbols of the fur evangelists. The two flaking persons are Saint Peter (right), holding a key, and Saint Paul, holding a writing slate.