Martin M. Miles' photos with the keyword: hammer

Pont du Gard is a Roman aqueduct that crosses the Gardon River. It is one of the best preserved aqueducts and part of the Nîmes aqueduct, a 50-kilometre system built in the first century AD to carry water from a spring t Uzès to Nîmes, a Roman colony named Nemausus. After the Roman Empire collapsed, the aqueduct fell into disuse. The Pont du Gard remained largely intact, due to the importance of its secondary function. It was used as a toll bridge, so for centuries the local lords and bishops were responsible for its upkeep. Starting in the 18th century the Pont du Gard became a tourist destination. Today it is one of France's most popular tourist attractions with about 1.4 million visitors per year, who all take photos... For centuries, Pont du Gard was a huge, unattended structure, so it is no surprise, that it is covered by graffiti. Most date from the 19th century, when tourists came here, and "left" names and dates. More guild-symbols (maybe!), just like the three hammers (previous upload), here is another hammer (left). In the center is a hammer and two compasses. "Hammer and compass" was the guild symbol of bricklayers. It could as well be a Masonic symbol. The graffito is too old to stand for the national emblem of "East Germany" (GDR). In medieval times the "journeymen" had to travel - and learn for years, before they were allowed to settle down. Some such guilds still exist. "Die Freien Vogtländer" is a German guild www.freie-vogtlaender.eu/de/ This guild is a member of the "Conféderation Compagnonnages Europäische Gesellenzünfte" cceg.eu/?lang=en

Pont du Gard is a Roman aqueduct that crosses the Gardon River. It is one of the best preserved aqueducts and part of the Nîmes aqueduct, a 50-kilometre system built in the first century AD to carry water from a spring at Uzès to Nîmes, a Roman colony named Nemausus. After the Roman Empire collapsed, the aqueduct fell into disuse. The Pont du Gard remained largely intact, due to the importance of its secondary function. It was used as a toll bridge, so for centuries the local lords and bishops were responsible for its upkeep. Starting in the 18th century the Pont du Gard became a tourist destination. Today it is one of France's most popular tourist attractions with about 1.4 million visitors per year, who all take photos... For centuries, Pont du Gard was a huge, unattended structure, so it is no surprise, that it is covered by graffiti. Most date from the 19th century, when tourists came here, and "left" names and dates. Here are three, that may have been carved by travelling smiths or roofers, as both guilds used a hammer as their symbol. In medieval times the "journeymen" had to travel - and learn for years, before they were allowed to settle down. Some such guilds still exist. "Die Freien Vogtländer" is a German guild www.freie-vogtlaender.eu/de/ This guild is a member of the "Conféderation Compagnonnages Europäische Gesellenzünfte" cceg.eu/?lang=en

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

In 915 Aymar de Bourbon, ancestor of the House of Bourbon, gave land in Souvigny to the Cluny Abbey for the construction of a monastery. At that time the "Abbaye de Cluny" was just 5 years old, as it had been founded 910 by William I, Duke of Aquitaine, (aka "William the Pious"). Souvigny was one of the first priories, dependent from the Cluny Abbey, so it was known later as "one of the five eldest daughters of Cluny". Cluny developed into the most powerful abbey in the Middle Ages, when the Cluniac Reforms changed the monastic life in Europe. German historian Dr. Joachim Wollasch ("Cluny, Licht der Welt"), estimates that in its haydays, more than 10.000 monks were parts of this network´, that stretched all over Europe. The pelerinage to Santiago de Compostella was one of the great "themes", developed and strongly supported by Cluny. The priory in Souvigny, located about 130kms west of Cluny, was such an important convent, that two of the powerful abbots of Cluny, Majolus (+ 994) and Odilo (+ 1049) died here. Their graves were a place of pilgrimage site soon after. To cope with the growing number of pilgrims, the priory´s church got enlarged already within the 10th century. Mayeul (= Majolus) was the 4th, Odilon (= Odilo) was the 5th abbot of the Abbey of Cluny. Odilo "invented" and established the "All Souls' Day" (2. November), that was adopted in the whole Western church. The church, probably built after the model of Cluny III, with five aisles structure and two transepts, crumbled, when the times got tougher in the next centuries. A renovation was done in the 15th century, but the interior structure is still "clearly" Romanesque. It got recently renovated. In 1793 French revolutionaries raged here with furor, destroyed the tombs and beheaded the sculptures, they believed to be connected to the Pope, Abbots or Bourbons. They did not touch (most of) the capitals. Another workshop has created this capital (see previous uploads), that for me is very mysterious. The person in the center is flanked by people holding tools. I can see a spindle (?), two hammers and a scale.

A previous church at this place was once part of the castle, erected by the Earls of Bourbon on a rocky headland overhanging a meander of the Bouble. In 937 Odo of Cluny, who was the second abbot in Cluny, added this place as a priory to the cluniac sphere. The still existing romanesque church of the "Abbaye Saint-Vincent de Chantelle", was built within the 12th century. Monastic life declined later and after the French Revolution was sold. Mid 19th century it was "bought back" by the abbey of Pradines. Since 1890 ist is a monastery again. The nuns living and working here, produce herbal cosmetics - and sell the worldwide. www.benedictines-chantelle.com/ Within the "public" area of the nave are some interesting carvings. A man, having an unproportional large head and very short legs, is holding tools. There is a kind of hammer in his right and a chisel (?) in his left hand. Two more items are hanging down from his belt. Angle meters? The carving is a bit rough, not very delicate. Probably nor carved by one of the masters, that worked within the Auvergne. But - in case the tools are identified correctly, this probably is a stone sculptor showing his tools. And in case this is right, then this capital may be counted as very early self-portrait! Sorry for the bad quality of the photo.

The village Saint-Bertrand-de-Comminges, named after a bishop of the once existing diocese here,was just like neighbouring Valcabrère once part of a large Roman settlement, that may have had about 30.000 inhabitants. In the early 5th century the Vandals sacked the city, in 585 merovingian troops razed the site, that probably had the bishopric seat already at that time. Saint Bertrand of Comminges (1073–1123) restored and fortified the town. He commissioned the erection of the cathedral. Saint Bertrand´s tomb was a center of regional pilgrimage already before he got canonized around 1220. Pope Clement V, who had once been Bishop of this diocese, strongly promoted the pilgrimage, so that soon after the Romanesque church was to small for the many "pelerins". Between 1304 and 1352 the major part of old nave got demolished to make room for a new, larger Gothic nave. In 1586, during the Wars of Religion, the cathedral was looted and severely damaged by the Huguenot troops. It took the next centuries to restore and repair. Saint-Bertrand´s relics were hidden during the Huguenot raids and are meanwhile back in the cathedral. The walls of the apse are covered small crosses, carved into the wall be pelerins. Often then they took home the grit and used it as a medicine. One person carved in this hammer, not knowing Pete Seeger, who was born many centuries later.

Compared to the gorgeous churches in the neighbouring villages Rioux and Rétaud the single nave church Saint-Quentin in Chermignac seems very humble. The archivolts of the portal have some nice details. Here is a bearded blacksmith with sledge hammer and tongs. Such an apron (from leather) is still worn by blacksmiths today.

The parish church of the small village Rots was a dependency of the abbey Abbaye Saint-Ouen de Rouen, founded by the merovingian nobility in the 7th century, in medieval times. The nave dates back to the 12th century, while the Gothic transept and the choir are younger. The structure of church, situated in the center of the graveyard, suffered severely by a "reconstruction" of the late 19th century, when large parts were just rebuilt, and the devastation during the Battle of Normandy (1944), when the church was hit by shells. The sides of the Romanesque is flanked by blind arches, what is pretty unique and has many carvings. Here is one of them. On the right side is a bishop (or abbot) in a blessing (or greeting) gesture. To the left were two persons once. One with a long braid (?) is still complete, while only the feet and an arm holding a hammer are left from the second. The scene may be connected to the martyrdom of Saint Quentin.

"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 have uploaded a "total overview" earlier and will now focus on some details. The archivolts around the large tympanum, depicting the "Last Judgement" are densely populated with dancers, workers, priests and mythical creatures. Here is a butcher, holding an axe and ready to slaughter the small pig down at his feet. That was my first thought. But - is that an axe used for slaughtering? Why does the piggy have a kind of hammer? Another tool is at the "butcher´s" belt. I am not sure, this may be an illustration of a story that got lost (at least for me). Maybe about a builder and his little helper.

Saint-Pierre was the church of one of the largest Augustinian abbeys in the Poitou, that was founded in 991 by Audéarde, the wife of viscount Herbert I of Thouars. The monastery was on one of the "chemins" of the Via Turonensis, so when the number of pilgrims increased, the Canons Regular of St. Augustine had this large church erected in two construction phases from the 12th century on. This church is very long and has a wide ambulatory. It could surely host large groups of pilgrims. When the era of the pilgrimage ended, the abbey declined and impoverished during the Hundred Years' War. Most conventual buildings were destroyed in the Wars of Religion. The abbey church now serves the parish. I like the idea, that this carving may be a kind of self-portrait. Two of the craftsmen, who built this great church, proudly show their tools.

Geoffroy III de Pons, Richard Lionheart´s vasall, fortified the town of Pons, placed on a limestone plateau over the valley, during the 12th century. In 1160 Geoffroy founded the "hôpital des pèlerins", outside the walls of the town, as an older one was too small to host the growing numbers of pilgrims following the "Via Turonensis" on their way to Santiago de Compostella. The Knight Templars led the Hopital in the beginning. After 1312 the Bishop of Saintes took over the responsiblity. After the Hundred Years' War and the Wars of Religion the pilgrimage had come to an end. So since the 16th century the Order of St. John of Jerusalem (Knights of Malta) used the buildings as a local hospital, that was closed during the French Revolution. Many places aside the old pilgrimage routes have medieval graffiti. The sandstone walls around the portal of the old hôpital des pèlerins are covered with carved graffiti. There is a hammer. It seems to be a slate hammer, roofers still use today.