Martin M. Miles' photos with the keyword: entombment

With more than 200.000 inhabitants Rostock is the largest city in the state of Mecklenburg-Western Pomerania. Small Slavic settlements existed already in the 8th century. A settlement named Roztok was founded in the 11th century by Polabian Slavs. This town was burnt down by troops of the Danish king Valdemar I in 1161. Afterwards the place was settled by German traders. After 1226 Rostock became the seat of the Lordship of Rostock. In the 1250s the city became a member of the Hanseatic League. In the 14th century, it was a powerful seaport town with 12,000 inhabitants and the largest city in Mecklenburg. Ships for cruising the Baltic Sea were constructed in Rostock. Until the last Hansa Convention in 1669, Rostock took a leading role in the Baltic Sea behind Lübeck. - The museum, founded mid 19th century, is hosted in the "Kloster zum Heiligen Kreuz", that got finally dissolved in 1920. The conversion into a museum began already in 1976, but the restoration of the buildings remained incomplete until 1997. The winged Nonnenaltar (nun's altar) was created in the early 16th century. Its former location was in the church's nuns' gallery, thus the name. The wings show depictions from the legend of the finding of the cross by Empress Helena. The entombment of Jesus and Christ's descent into hell. Both details of the predella.

Saint-Mihiel had a parish church already in the 10th century. The Romanesque structure got renovated and rebuilt in the 13th and enlarged in the 16th century. During the French Revolution, the church was used as a hospital, but got re-consecrated in 1802. Soon plans were made, to broaden the road passing the church, so in 1823 the old belltower, one aisle and the side chapel were demolished. Renaissance sculptor Ligier Richier, a genius of his time, was born in Saint-Mihiel around 1500. One of his major works is the "Mise au Tombeau". The grid, that saves it frim nosy tourists, - and the blue light make it difficult to take a decent photo. It is a fantastic sculpture. Ligier Richier, who had unsuccessfully petitioned the Duke of Lorraine to allow him to practice in the reformed Protestant religion, completed this "entombment", before he left Lorraine and moved to Geneva, where he was free to follow this religion.

Saint-Mihiel had a parish church already in the 10th century. The Romanesque structure got renovated and rebuilt in the 13th and enlarged in the 16th century. During the French Revolution, the church was used as a hospital, but got re-consecrated in 1802. Soon plans were made, to broaden the road passing the church, so in 1823 the old belltower, one aisle and the side chapel were demolished. Renaissance sculptor Ligier Richier, a genius of his time, was born in Saint-Mihiel around 1500. One of his major works is the "Mise au Tombeau". The iron grid, that saves it from nosy tourists, - and the blue light make it difficult to take a decent photo. It is a fantastic sculpture. Ligier Richier, who had unsuccessfully petitioned the Duke of Lorraine to allow him to practice in the reformed Protestant religion, completed this "entombment", before he left Lorraine and moved to Geneva, where he was free to follow this religion.

Saint-Mihiel had a parish church already in the 10th century. The Romanesque structure got renovated and rebuilt in the 13th and enlarged in the 16th century. During the French Revolution, the church was used as a hospital, but got re-consecrated in 1802. Soon plans were made, to broaden the road passing the church, so in 1823 the old belltower, one aisle and the side chapel were demolished. Renaissance sculptor Ligier Richier, a genius of his time, was born in Saint-Mihiel around 1500. One of his major works, the "Mise au Tombeau" (Christ being placed in the tomb) is here, seen behind the metal grid. Ligier Richier, who had unsuccessfully petitioned the Duke of Lorraine to allow him to practice in the reformed Protestant religion, completed this "entombment", before he left Lorraine and moved to Geneva, where he was free to follow this religion.

The town of Chaource (pop. 1100) is known for the Chaource cheese and the church dedicated to Saint-Jean-Baptiste. The choir was part of a church built within the 14th century, but from 1531 on the old nave got teared down and was replaced by nave and aisles seen here. Steps lead down to the "Chapelle du Sépulcre", where the famous entombment is placed. The "mise au tombeau" was created by an unidentified sculptor, known under the name "Maitre de Chaource" around 1515. Scholars are still discussing the identity of the Master, but - just like the much older "Maître de Cabestany" -, the name may stand for a studio or a workshop. There are more than a hundred of carvings in this typical, very realistic style in the Champagne area, attributed to him. Mary Magdalene created by the "Maitre de Chaource".

The town of Chaource (pop. 1100) is known for the Chaource cheese and the church dedicated to Saint-Jean-Baptiste. The choir was part of a church built within the 14th century, but from 1531 on the old nave got teared down and was replaced by nave and aisles seen here. Steps lead down to the "Chapelle du Sépulcre", where the famous entombment is placed. The "mise au tombeau" was created by an unidentified sculptor, known under the name "Maitre de Chaource" around 1515. Scholars are still discussing the identity of the Master, but - just like the much older "Maître de Cabestany" -, the name may stand for a studio or a workshop. There are more than a hundred of carvings in this typical, very realistic style in the Champagne area, attributed to him. A detail of the entombment: Saint John created by the "Maitre de Chaource".

The town of Chaource (pop. 1100) is known for the Chaource cheese and the church dedicated to Saint-Jean-Baptiste. The choir was part of a church built within the 14th century, but from 1531 on the old nave got teared down and was replaced by nave and aisles seen here. Steps lead down to the "Chapelle du Sépulcre", where this entombment is placed. The "mise au tombeau" was created by an unidentified sculptor, known under the name "Maitre de Chaource" around 1515. Scholars are still discussing the identity of the Master, but - just like the much older "Maître de Cabestany" -, the name may stand for a studio or a workshop. There are more than a hundred of carvings in this typical, very realistic style in the Champagne area, attributed to him. Fltr: Nicodemus, Virgin Mary, Saint John, Mary Salome, Mary Magdalene, Mary of Clopas and Joseph of Arimathea.