Martin M. Miles' photos with the keyword: Goegging

The former parish church St. Andreas in Bad Goegging has a very winding and interesting history. This is the second church here. The predecessing one was built once over the basin of a Roman thermal bath, used by the Roman troops for recreation. There is a speculation, that Christians lived here already during the late Roman times. It is proven that this place was a Christian center during the time of the early missionaries. Only about 12kms north is Weltenburg Abbey, the oldest Bavarian monastery founded by iro-scottish monks in 617 - and there may have been connections to Goegging. The northern portal of St. Andreas is so elaborate, that this church must have been important during the 12th century. The entrance is flanked by two small lions, guarding the door. The portal so outstanding, it has been connected to the "Magistri Comacini" from Northern Italy, but the style seen here is rather rough. The Lombardic master masons mostly carved in a more elegant, softer style (eg Koenigslutter). There are many "interpretations" of all the different icons found here. There are 14 framed reliefs in Bad Goegging. Peter Leuschner ("Romanische Kirchen in Bayern") refers to late Dr. J. Reichart, an archeologist from nearby Ingolstadt, who divided them in to three groups. Following Dr. Reichart, seven carvings illustrate the seven deadly sins, three depicts scene from the Old and four scenes of the New Testament. I am not completely sure about these interpretations. On the left side of the semicircle of the tympanum - and so parallel to the resurraction-frame (just seen) is this lady holding a censer. As only angels (or altar boys) swing censers, this person is probably an angel. The angel wears a very large brooch.

The former parish church St. Andreas in Bad Goegging has a very winding and interesting history. This is the second church here. The predecessing one was built once over the basin of a Roman thermal bath, used by the Roman troops for recreation. There is a speculation, that Christians lived here already during the late Roman times. It is proven that this place was a Christian center during the time of the early missionaries. Only about 12kms north is Weltenburg Abbey, the oldest Bavarian monastery founded by iro-scottish monks in 617 - and there may have been connections to Goegging. The northern portal of St. Andreas is so elaborate, that this church must have been important during the 12th century. The entrance is flanked by two small lions, guarding the door. The portal so outstanding, it has been connected to the "Magistri Comacini" from Northern Italy, but the style seen here is rather rough. The Lombardic master masons mostly carved in a more elegant, softer style (eg Koenigslutter). There are many "interpretations" of all the different icons found here. There are 14 framed reliefs in Bad Goegging. Peter Leuschner ("Romanische Kirchen in Bayern") refers to late Dr. J. Reichart, an archeologist from nearby Ingolstadt, who divided them in to three groups. Following Dr. Reichart, seven carvings illustrate the seven deadly sins, three depicts scene from the Old and four scenes of the New Testament. I am not completely sure about these interpretations. In case, the crucifcation frame just seen connects to the "Pilate-frame" on the left side of the portal and these two carvings illustrate the Passion of Christ, then this frame can only be seen as the resurrection of Jesus. Jesus (nimbus) is holding up the cross. His finger points down to the crucification. This carving is the largest of all - and it is placed "over" the crucification.

The former parish church St. Andreas in Bad Goegging has a very winding and interesting history. This is the second church here. The predecessing one was built once over the basin of a Roman thermal bath, used by the Roman troops for recreation. There is a speculation, that Christians lived here already during the late Roman times. It is proven that this place was a Christian center during the time of the early missionaries. Only about 12kms north is Weltenburg Abbey, the oldest Bavarian monastery founded by iro-scottish monks in 617 - and there may have been connections to Goegging. The northern portal of St. Andreas is so elaborate, that this church must have been important during the 12th century. The entrance is flanked by two small lions, guarding the door. The portal so outstanding, it has been connected to the "Magistri Comacini" from Northern Italy, but the style seen here is rather rough. The Lombardic master masons mostly carved in a more elegant, softer style (eg Koenigslutter). There are many "interpretations" of all the different icons found here. There are 14 framed reliefs in Bad Goegging. Peter Leuschner ("Romanische Kirchen in Bayern") refers to late Dr. J. Reichart, an archeologist from nearby Ingolstadt, who divided them in to three groups. Following Dr. Reichart, seven carvings illustrate the seven deadly sins, three depicts scene from the Old and four scenes of the New Testament. I am not completely sure about these interpretations. This is the carvings just over the lion´s head on the right side of the portal. Just like the carving on the left side it has two frames. The right one depicts a mermaid (or is it a siren?), while the left one has a person with a bulbous nose. The person looks like a dwarf, but the hood my be part of a monk´s habit.

The former parish church St. Andreas in Bad Goegging has a very winding and interesting history. This is the second church here. The predecessing one was built once over the basin of a Roman thermal bath, used by the Roman troops for recreation. There is a speculation, that Christians lived here already during the late Roman times. It is proven that this place was a Christian center during the time of the early missionaries. Only about 12kms north is Weltenburg Abbey, the oldest Bavarian monastery founded by iro-scottish monks in 617 - and there may have been connections to Goegging. The northern portal of St. Andreas is so elaborate, that this church must have been important during the 12th century. The entrance is flanked by two small lions, guarding the door. The portal so outstanding, it has been connected to the "Magistri Comacini" from Northern Italy, but the style seen here is rather rough. The Lombardic master masons mostly carved in a more elegant, softer style (eg Koenigslutter). There are many "interpretations" of all the different icons found here. The tympanum is carved in a style, that fits to "Magistri Comacini". It clearly differs from the carvings around the portal. Christ as a Pantocrator and eschatological judge, holds book. Christ is flanked by two angels, who both bow down below the semicircle and hold objects. The corners of their mouths are turned down. This is a very disapproving expression. The corbels below the tympanum depict (not to see from here) St. Johannes (John) and St. Andreas (Andrew).

The former parish church St. Andreas in Bad Goegging has a very winding and interesting history. This is the second church here. The predecessing one was built once over the basin of a Roman thermal bath, used by the Roman troops for recreation. There is a speculation, that Christians lived here already during the late Roman times. It is proven that this place was a Christian center during the time of the early missionaries. Only about 12kms north is Weltenburg Abbey, the oldest Bavarian monastery founded by iro-scottish monks in 617 - and there may have been connections to Goegging. The northern portal of St. Andreas is so elaborate, that this church must have been important during the 12th century. The entrance is flanked by two small lions, guarding the door. The portal so outstanding, it has been connected to the "Magistri Comacini" from Northern Italy, but the style seen here is rather rough. The Lombardic master masons mostly carved in a more elegant, softer style (eg Koenigslutter). There are many "interpretations" of all the different icons found here. There are 14 framed reliefs in Bad Goegging. Peter Leuschner ("Romanische Kirchen in Bayern") refers to late Dr. J. Reichart, an archeologist from nearby Ingolstadt, who divided them in to three groups. Following Dr. Reichart, seven carvings illustrate the seven deadly sins, three depicts scene from the Old and four scenes of the New Testament. I am not completely sure about these interpretations. What looks like two well dressed arm wrestlers on first sight. might be - following Dr. Reichart´s interpretation - Melchizedek handing over bread and wine to Abraham. Genesis 14, 18ff Then Melchizedek king of Salem brought out bread and wine. He was priest of God Most High, and he blessed Abram, saying, “Blessed be Abram by God Most High, Creator of heaven and earth. And praise be to God Most High, who delivered your enemies into your hand.”

The former parish church St. Andreas in Bad Goegging has a very winding and interesting history. This is the second church here. The predecessing one was built once over the basin of a Roman thermal bath, used by the Roman troops for recreation. There is a speculation, that Christians lived here already during the late Roman times. It is proven that this place was a Christian center during the time of the early missionaries. Only about 12kms north is Weltenburg Abbey, the oldest Bavarian monastery founded by iro-scottish monks in 617 - and there may have been connections to Goegging. The northern portal of St. Andreas is so elaborate, that this church must have been important during the 12th century. The entrance is flanked by two small lions, guarding the door. The portal so outstanding, it has been connected to the "Magistri Comacini" from Northern Italy, but the style seen here is rather rough. The Lombardic master masons mostly carved in a more elegant, softer style (eg Koenigslutter). There are many "interpretations" of all the different icons found here. There are 14 framed reliefs in Bad Goegging. Peter Leuschner ("Romanische Kirchen in Bayern") refers to late Dr. J. Reichart, an archeologist from nearby Ingolstadt, who divided them in to three groups. Following Dr. Reichart, seven carvings illustrate the seven deadly sins, three depicts scene from the Old and four scenes of the New Testament. I am not completely sure about these interpretations. A large frame, very roughly carved, from the right side of the portal. Following Dr. Reichart´s interpretation this depicts Genesis 22:13 "And Abraham lifted up his eyes, and looked, and behold, behind him a ram caught in the thicket by his horns." The animal seen is a ram, but why should Abraham be in such a position. He does not even have feet. I have the impression, that the person on the right is not Abraham, but the angle, who is just placing/pushing the ram "in the thicket". As angels can fly - there are no feet.

The former parish church St. Andreas in Bad Goegging has a very winding and interesting history. This is the second church here. The predecessing one was built once over the basin of a Roman thermal bath, used by the Roman troops for recreation. There is a speculation, that Christians lived here already during the late Roman times. It is proven that this place was a Christian center during the time of the early missionaries. Only about 12kms north is Weltenburg Abbey, the oldest Bavarian monastery founded by iro-scottish monks in 617 - and there may have been connections to Goegging. The northern portal of St. Andreas is so elaborate, that this church must have been important during the 12th century. The entrance is flanked by two small lions, guarding the door. The portal so outstanding, it has been connected to the "Magistri Comacini" from Northern Italy, but the style seen here is rather rough. The Lombardic master masons mostly carved in a more elegant, softer style (eg Koenigslutter). There are many "interpretations" of all the different icons found here. There are 14 framed reliefs in Bad Goegging. Peter Leuschner ("Romanische Kirchen in Bayern") refers to late Dr. J. Reichart, an archeologist from nearby Ingolstadt, who divided them in to three groups. Following Dr. Reichart, seven carvings illustrate the seven deadly sins, three depicts scene from the Old and four scenes of the New Testament. I am not completely sure about these interpretations. This is the left side of the portal.

The former parish church St. Andreas in Bad Goegging has a very winding and interesting history. This is the second church here. The predecessing one was built once over the basin of a Roman thermal bath, used by the Roman troops for recreation. There is a speculation, that Christians lived here already during the late Roman times. It is proven that this place was a Christian center during the time of the early missionaries. Only about 12kms north is Weltenburg Abbey, the oldest Bavarian monastery founded by iro-scottish monks in 617 - and there may have been connections to Goegging. The northern portal of St. Andreas is so elaborate, that this church must have been important during the 12th century. The entrance is flanked by two small lions, guarding the door. The portal so outstanding, it has been connected to the "Magistri Comacini" from Northern Italy, but the style seen here is rather rough. The Lombardic master masons mostly carved in a more elegant, softer style (eg Koenigslutter). There are many "interpretations" of all the different icons found here. There are 14 framed reliefs in Bad Goegging. Peter Leuschner ("Romanische Kirchen in Bayern") refers to late Dr. J. Reichart, an archeologist from nearby Ingolstadt, who divided them in to three groups. Following Dr. Reichart, seven carvings illustrate the seven deadly sins, three depicts scene from the Old and four scenes of the New Testament. I am not completely sure about these interpretations. This is the carvings just over the lion´s head on the right side of the portal. Just like the carving on the left side it has two frames. The right one depicts a mermaid (or is it a siren?), while the left one has a person with a bulbous nose. The person looks like a dwarf, but the hood my be part of a monk´s habit.

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 at the large gate as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"), while the reliefs at the smaller entrance, stand for "hubris". This is an undisputed icon. Here is Alexander the Great going up to heaven in a basket, powered by two griffins. He controls them by holding up two roasted puppies impaled on sticks which he twirls to make the creatures dirigible. For Koeninger this is "hubris" even of the greated dignities, as flying is not for mortal humans. Julianna Lees has published a very interesting article, titled "Representations of the Fantastical Adventures of Alexander the Great in Romanesque and pre-Romanesque Art": www.green-man-of-cercles.org/articles/alexander.pdf

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 at the large gate as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"), while the reliefs at the smaller entrance, stand for "hubris". The center over the small entrance. Under a clumsy lion is the only competely "clear" and undisputed relief. I will upload a close up of this carving 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. 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 at the large gate as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"), while the reliefs at the smaller entrance, stand for "hubris". A monk - greeting out of a bathtube. The monk (tonsur!) stands in vat / barrel (not a bathtube). He may be pressing wine, wine is still produced around Remagen. The monk may be in a blessing gesture or he is holding a glass. Koeninger writes, that it was not uncommon in the area to baptize using wine instead of water (hubris), other see Noah or an icon for the month october.

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 at the large gate as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"), while the reliefs at the smaller entrance, stand for "hubris". A mounted hunter - blowing the horn. The mounted hunter blows the horn, giving a signal to the other hunters. He is accompanied by his dog (a dachshound?). Koeninger sees another hubris, as the noble hunter often destroyed the fields of the peasants. Some authors have identified Nimrod here, but the scene may stand as well for the month of November.

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"). I have uploaded the details of the large portal, but left of this is a small one, just for pedestrians. This may follow a different "iconographic program", in case, there is one at all.

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"). In the right is another dragon, similar to that one guarding the left side of the portal. The dragon has a curly tail - and wings. The artist had the nice idea, to add a little extra spice to the scene, as the dragon´s head has broken through the frame.

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 right lion was to be seen already on the last uploaded shot. The lion has a twin brother (around the corner). I am not sure, what they are biting into. A snake?

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").