Medieval Luxuriae

A convent under the patronage of St. Peter was founded in Blesle within the 9th century by Ermengarde d’Auvergne, the mother of Guillaume le Pieux, who founded Cluny in 910. The construction of St. Piere (now a parish church) started end of 11th century. Within a hunderd years, most of the church was built, only the south portal, the tower and parts of the apse were done in the 14th century. "L'église Saint-Pierre" is remarkable for it´s interesting layout and the richness of romanesque carvings inside and outside. Here one of the capitals outside the apse. A carving of "Luxuria", standing for lust, one of the "Seven Deadly Sins". Luxuria is mostly carved, breastfeeding two snakes. Here it is a snake and large frog. The frog itself is a symbol of vanity and lust. Both animals have obviously "excaped" from the two male figures on the side. The leftone holding a round object (tambourine?), the rightone wearing a kind of necklace, maybe a form of moneybag. Note that the Luxuria´s legs are lost, only the two feet and a part of a tigh (next to the frog) survived the times.

A church existed here before the Moors conquest the iberian peninsula. This church was converted into a mosque in 717. The Franks reconquered Girona in 785 under Charlemagne, and the church was reconsecrated in 908. Bishop Roger (son of Roger I of Carcassonne) started a reconstruction in 1015. A new church and a cloister were built in romanesque style until 1064. The two towers were completed in 1117. The cloister was completed already 1064 and most parts are still in the original condition. Like the cloister of Sant Pere de Galligants (less than 500 meters north), the arches of the four galleries are supported by twin columns. But - this cloister is about one century older. Here is a different style of carving, actually here are more than just one artistic style. There are very different themes and topics themes depicted here. Scenes from the bible, dignitaries, people at work, hunting scenes, birds... Similar to Elne (now France, once Northern Catalonia), here are some magnificent friezes. Here is a smaller one, depicting a scene from the scary center of hell. Two Luxuriae on the left (first time that I see two in one "frame"), flames lick the the lower body of the left one. A large vessel on the fire in the center, where three sinners get boiled. Two horned evil devils flank the vessel - well I am not really sure, but I have the impression they are - raping two sinners. The horned devil to the right feeds a larte mythic bird.

A church existed here before the Moors conquest the iberian peninsula. This church was converted into a mosque in 717. The Franks reconquered Girona in 785 under Charlemagne, and the church was reconsecrated in 908. Bishop Roger (son of Roger I of Carcassonne) started a reconstruction in 1015. A new church and a cloister were built in romanesque style until 1064. The two towers were completed in 1117. The cloister was completed already 1064 and most parts are still in the original condition. Like the cloister of Sant Pere de Galligants (less than 500 meters north), the arches of the four galleries are supported by twin columns. But - this cloister is about one century older. Here is a different style of carving, actually here are more than just one artistic style. There are very different themes and topics themes depicted here. Scenes from the bible, dignitaries, people at work, hunting scenes, birds... I know, that the quality of this shot is just awful, but as it is not allowed to take photos, I did not have time... A Luxuria beside playing twins with curly hair. The twins look pretty "baroque". Or is the left tiwn stabbing his brother?

.. inside the church are some fascinating capitals. One of them shows "Luxuria", feeding the snakes.

Hugh of Cluny (aka "Hugh the Great", "Saint Hugh", "Hugh of Semur"), abbot of Cluny, was born in this little village (one of the "Plus beaux villages de France") in May 1024. Hugh had the third abbey church at Cluny (aka Cluny III) built, the largest structure in Europe for centuries. He as well had Paray-le-Monial built, he founded Charité-sur-Loire, he was the godfather of Emperor Henry IV (see "Goslar) and an important mediator in the Investiture Controversy. And Hugh had the former collegiate church Saint-Hilaire, a basilica on a "cluniacensic blueprint" built in his home-village. The construction started of the church 1120/1130. Here is the "complete couple" on that capital. This is the impression given, after having piously contemplated over the life of Saint Hillary, seen on the masterly carved lintel.

Hugh of Cluny (aka "Hugh the Great", "Saint Hugh", "Hugh of Semur"), abbot of Cluny, was born in this little village (one of the "Plus beaux villages de France") in May 1024. Hugh had the third abbey church at Cluny (aka Cluny III) built, the largest structure in Europe for centuries. He as well had Paray-le-Monial built, he founded Charité-sur-Loire, he was the godfather of Emperor Henry IV (see "Goslar) and an important mediator in the Investiture Controversy. And Hugh had the former collegiate church Saint-Hilaire, a basilica on a "cluniacensic blueprint" built in his home-village. The construction started of the church 1120/1130. To the right of the lintel, that tells a story out of the life of Saint Hillary, is this capital. A Luxuria with a snake and a toad. I have seen a couple of Luxurias over the time, but this one has, compared to others, a strange face. Either, she wears a cap - and these are hair hanging down, or she has a beard, or a combination out of these two. Or these are all wrinkels, standing as a symbol for an "old" and or "ugly" face. Luxuria is not alone, there is somebody around the corner. Seen on the next shot.

The Basilica Saint-Julien in Brioude was a collegiate church constructed between 1060 - 1200. The architectoral structure is influenced by great romanesque churches like "Notre-Dame-Du-Port" in Clermont-Ferrand (70kms north) or "Saint-Austremoine" in Issoire (30kms north), planned and constructed within the same century. Three or four very skilled architects worked here over the century, all witrh a different touch. So Saint-Julien is really special, as it differs from the other great churches of the Auvergne. Brioude was a center of pilgrimage very early, as already within the 4th century a "martyrion" existed over the grave of St. Julien. This building was replaced by an early basilica, financed by Victorius, a "comes" (count), installed by the Visigothic king Eurich after he had seized the Auvergne. Gregory of Tours (538-594 visited and described it, when he about a pilgrimage to Saint-Julien undertaken yearly from Avernis (= Clermont-Ferrand) to Brioude. Within the 10th century William I, Duke of Aquitaine, (aka "Guillaume Le Pieux" - "William the Pious") funded the building of a larger church here. He got buried in this church in 917. Around 1060, works on the church seen today started with the narthex. It took about 140 years, to complete it - and was a stopover at that time for many pilgrims to Santiago, only two days (60kms) away from Le Puy (Via Podensis). Near the apses and all around are many carved corbels and capitals, most of them probably from the last building period (1160/1200). Compared to the carvings, seen inside Sait-Julien, these works are small. Most are carved from a soft stone, so, depending from the place, some are very weathered like this Luxuria. Luxurias, holding snakes and/or toads on their breasts and so standing for sinful lust, can often be seen in the Auvergne.

Charlieu Abbey, founded already in 872 was dedicated to Saint Fortunatus, who like Saint Hilary, whom we met in Semur-en-Brionnais, was bishop of Poitiers (600/610). In 932 the abbey was annexed by Cluny, one of the first acquisitions of Cluny, that was founded 910. Pope Urban II consecrated the new church here in 1094. This has been already the third church here. The narthex was added 1130. The layout of the church is similar to that one of the priory church in Anzy-le-Duc (25kms to the north). Both churches have architectural "roots" in Cluny II, that got demolished in 1088 to make room for Cluny III. The Benedictine community went through the centuries, the village Charlieu prospered. Times got harder for the monks in the 18th century. In September 1792 a Revolutionary mob broke into the abbey - and burnt all records. In 1795 the church was sold as a quarry for building materials. The eastern side of the church is gone since then. Of the church only the narthex and the westernmost bay still exist - as ruins. Some parts of the monastery, like the cloister, were reconstructed. Next to the entrance gate of the narthex (left side) is a Luxuria. As this sculpture was in easy reach, not much is left. She obviously wore a kind of elegant bathrobe with a girdle around her waist. On her right arm are the leftovers of the snake, while the toad on the left is pretty intact.

The construction of the late-romanesque hall-church started around 1230. It was dedicated to "St. Lambertus", what is a connection the "Engelbert III von der Mark", a regional noble, who was bishop in Liege, where martyr St. Lambert (aka "Lambert of Maastricht" had been a bishop as well. Engelbert, who later was bishop in Cologne, had a great influence in the area. After the Reformation, the parish converted to Protestantism, but the church was still "St. Lambertus" for a long time. Later, in very sober times, the name was changed to "Evangelische Hauptkirche" (= "Protestant Main Church"). In 1953 a new name was introduced - and since then this is the "Christuskirche". A capital of the late romanesque southern portal. This is the very left capital on the right side of the portal. Unfortunately it is very weathered. Not many details are left. On very first sight, I was sure to see a typical Luxuria, a medieval symbol of lust ("voluptas"), an so a kind of icon for one of "The Seven Deadly Sins". Luxurias can be found often in France (eg Moissac, Blessle, Vienne..), but not in Westphalia. Then I tended to a "Master of the Beasts", what can be found in the area (Balve). Later I returned to Luxuria... The person in the center is a woman. Baids hang down to the shoulders. It is hard to see the arms. I had the impression, that the left arm (her right) goes up - ends in a huge fist, holding the beast, but then I would expect, to see the same/similar on the other side. This is not the case. Two beasts are hanging down the sidewards. Luxurias are mostly connected with suckling snakes or toads. Here are two (ugly, fat) lizard like creatures (salamanders?), that either are just being breastfed (the breasts are lost) or bite into the stomach. The person either wears a kind of skirt - or stands ontop of a small brick-built structure (tower, chimney). Too many details are missing, but - at this moment - I think this is a Luxuria, what would be pretty special for the area.

One of the (59!) romanesque capitals in the cathedral St. Maurice, carved late 12th century shows this "Luxuria". The symbol of one of the seven deadly sins (greed, lust, gluttony) shows a woman breastfeeding animals (mostly snakes). Often she is acompanied by a devil. Here the artists mixed both figures together (see the three horns on her head). And this Luxuria (whose joints seem to be very flexibel), is very symetric. Even the two snakes (note their faces) form similar spirals on both sides. The face is pretty wide - and her look seems frozen or petrified. Here are some more Luxurias: www.flickr.com/photos/martin-m-miles/4748346861/ www.flickr.com/photos/martin-m-miles/4744005302/ www.flickr.com/photos/martin-m-miles/4515805864/

The cloister of Saint-Trophime forms a rectangle 28m x 25m. The eastern and northern sides were built in romanesque style 1160 - 1180. Shortly after that all constructions came to halt, due to an economic decline of Arles. New orders like the Trinitarians and the Knights Templar had settled in Arles - and caused competition. It took more than a century to restart the building process, so the southern and western sides were built erected during the 14th and 15th century in gothic style. Sofar I uploaded carvings describing themes from the bible, but there is more to see, like this damaged Luxuria. It is noticeably, that the carvings of the cloister are much more damaged, than the carvings of the western facade. There must be a reason, that Luxurias and mermaids never get spared from vandalism.

A convent under the patronage of St. Peter was founded in Blesle within the 9th century by Ermengarde d’Auvergne, the mother of Guillaume le Pieux, who founded Cluny on 910. The construction of St. Piere (now a parish church) started end of 11th century. Within a hunderd years, most of the church was built, only the south portal, the tower and parts of the apse were done in the 14th century. "L'église Saint-Pierre" is remarkable for it´s interesting layout and the richness of romanesque carvings inside and outside. One of the capitals shows this - strange - person. This could be - a "Master of the Beasts" eg. "Daniel in the Lions Den" - or a "Luxuria", breastfeeding two lions (instead of the ordinary snakes). I would be grateful, if you can give me a hint.

The church of the former Priory Saint-Pierre-et-Saint-Benoît is now the parish church of the village. When I visited Perrecy-les-Forges in April 2011 I had the impression, that the church and the museum were locked since years. Charles Martel, grandfather of Charlemagne and leader of the frankish armee in the Battle of Tours (732), gave the Perrecey estate to his brother Childebrand as a gift to thank him for defeating the Sarascens in the valleys of the Rhone and the Saône in 732. Childebrands heirs bequeated it to the abbey of Saint-Benoît-sur-Loire. First monks settled here 880/885. Some parts of the westwork may date back to the 9th century. 1020/1030 a romanesque basilica was constructed here. 1120/1130 the large narthex was added, which is - a unique masterpiece. This capital in the narthex depicts a "Luxuria", sitting/standing in a barrel/bathtube. I have the impression, she is sitting in a bathtube, hands cover her knees. - Compared to the warriors and angels seen here (and all the foliage around), the carving of the Luxuria and the two snakes seems a bit "rough". Even taking in account, that somebody took the effort to destroy her face.

This was an important place already in pre-Roman times, known to Strabo as the city of "Orgialla". A bishopric existed already in 527, when the Bishop of Urgell attended a council in Toledo. The bishopric here was (and still) is an important one, even the name "La Seu d'Urgell" translates to See of Urgell, and still today the Bishop of Urgell is co-prince of Andorra (The other co-prince is the French president. We will "meet" Mr. Hollande later). The Cathedral of Santa Maria dates back to the 12th century. It had three predecessors. One of these older cathedrals was consecrated in 839 by Bishop Sisebut in the presence of Sunifred I, father of Wilfred the Hairy (aka Guifré el Pilós), whome we had met so often in Catalonia. Bishop Otto of Urgell (1095-1122) initiated the present cathedral, planned and built by the architect (a term unknown in that time) "Raimundus Lambardus", but the building remained unfinished for quite a while, due to fights between the diocese and the Count Roger I of Foix, who prefered the Albingensian "heresy". In 1195 La Seu d'Urgell was sieged and looted - and at that time the present cathedral was used as a fortress. Of course over the next centuries many parts were added and remodelled. Josep Puig i Cadafalch, actually an architect connected to the "Modernista", led the reconstruction of the whole complex from 1918 on. The northern portal of the Cathedral of Santa Maria is "just" a side door, but it has some extraordenary capitals. Here are the three capitals of the right side. There is (left) a mixture of mermaid - and luxuria. First time that I found these two icons combined. I will upload a better shot of this lady next. At first I had the impression, that the person in the center might be a wildman or woodwose, as the object is is holding looks like a club, but he is too well dressed. He might rather be a warrior. To the right is a person leaning over some foliage . while two persons stand behind him, looking over his shoulders.

A Benedictian monastery was founded by Hiberno-Scottish monks in Regensburg already around 1070. Soon after, the convent moved to a place just outside the city walls and in started to erect first buildings. The first church, consecrated in 1120, was of such a poor workmanship, that the convent decided to tear it down (except one apse and the flanking towers) and restart the process. The church of today was completed before 1200. It is one of the most important Romanesque structures in Bavaria. The abbey was a hub for the Irish/Scottish mission to central Europe. Daughter establishments of St. Jakob were founded in Vienna (1155), Erfurt (1136), Wuerzburg (1138), Nuremberg (1140), Constance (1142), Eichstaett (1148), Memmingen (1178), Kiev (!) (late 12th century) and Kelheim (13th century). WHile the first monks and abbots were Irish, the Scottish period started after the Reformation with Scottish abbot Ninian Vincet (1577-1592). A century later Scottish priests were educated here to do missionary work back in Scotland. Abbot Benedikt Aburthnot (1737-1820) could avoid the secularisation in 1802 by making clear, that the monastery was a Scottish (not at all Bavarian!) national treasure. It took upto 1814 to incorporate the Scottish monastery into the Bavarian sovereignty. Monastic life finally ended here in 1862, when the buildings were taken over by the bishop, who 10 years later founded a still existing seminary here. The northern portal ("Schottenportal") is one of the most important (and largest) Romanesque works of art in Germany. It occupies a third of the church´s northern wall and is divided into thirds both horizontally and vertically, plus a small frieze that tops the central arch (the vertical center). While most authors reckon, that Irish masters created this portal, Marcel Durliat sees parallels to works in Northern Italy, created by the Comacine masters ("Magistri Comacini"). He even connects this portal to the carvings in Linden and Remagen. The interpretation of such a large and cryptic portal has been controversial since the beginning, what means the 19th century, as only since then Romanesque carvings were seen as works of art (mostly). There was even a theory claiming that such a carving could not have been done during the 12th/13th century, and that it probably was added to the church later. The time of origin is not disputed any longer, but the meaning of figures and symbols. Richard Strobel ("Romanik in Altbayern") has no hard facts, but found out, that left (eastern) side stands for the "Good", while the right side stands for the "Evil". This meanwhile is undisputed. If the figures on the left stand for virtues, the figures on the right side stand for vices. This is a close up of the only woman on the right side, just seen. She holds two snakes - and is widely interpreted as a Luxuria, a symbol of evil lust. I have seen quite a couple Luxurias [ www.flickr.com/photos/martin-m-miles/sets/721576304409392... ]. All of them were nude, breastfeeding snakes or toads. This figure holds snakes, but is fully dressed - and has (like all others here) a very stoic facial expression.

The monastery "Abbatia ad Lacum" was founded in 1093 on the shores of a lake (lacum). It was a priory of Affligem Abbey (Belgium) first, but since 1138 was an independent Benedictian abbey. The erection of the monastery, following the "Sankt Galler Klosterplan" ("Plan of Saint Gall") started, when the first monks settled here. To complete the church took more than 200 years. Even after the consecration, many parts were added or altered. The abbey was an intellectual hub in the 12th/13th century, but like many other convents declined later. It joined the Bursfelde Congregation, a reform movement originating from the Bursfelde Abbey in the valley of the Weser river. The monastery existed upto the secularisation. The buildings and all the abbey´s possessions became property of the French state. The inventary was auctioned. After the Congress of Vienna the ownership of the empty buildings went to the Prussian State, who sold it. Within the 1860s it was acquired by the "Society of Jesus". The "Kulturkampf", a row between the Prussian government and the Roman Catholic administration, ended that episode and in 1992 the Benedictines returned. They could do with the support of Wilhelm II, as the church itself was still owned by the Prussian state. Since then many restaurations and renovations have taken place, to "purify" the buildings - and "recreate" the Romanesque style. In case the previous upload depicted in deed "Okeanos", then, following the theory, this Lady should be "Gaia", the great mother of all. I do not see the mythical couple. While I saw a bearded gentleman in the pose of a "Master of the Beasts", this sculpture reminds me on many breastfeeding Luxuriae I have seen so far. The snakes are different here, as they have human heads and seem to end in foliage.

This church, in the center of an old graveyard, dates back to the 12th century. The apse is dated ca. 1130. The portal, seen here was created 1150/1160. The church got modified a couple of times over the century - and restored within the 19th century. Léo Drouyn, regional artist, collegue of Viollet-le-Duc and rediscoverer of the Romanesque art, described these arches as the "most beautiful pieces of Romanesque sculpture within the department". Two structures have surely influenced the masters, working in Castelviel. These are the former abbeys "Saint-Maurice de Blasimon" and "La Sauve-Majeure", both not far away. This portal is carved in a typical style, found in the Gironde, the Saintonge and the Poitou, carved from a soft, white (unfortunately weathering) stone. There is no tympanum, but many archivolts and capitals. This capital depicts a Luxuria, feeding the snakes.

This church, in the center of an old graveyard, dates back to the 12th century. The apse is dated ca. 1130. The portal, seen here was created 1150/1160. The church got modified a couple of times over the century - and restored within the 19th century. Léo Drouyn, regional artist, collegue of Viollet-le-Duc and rediscoverer of the Romanesque art, described these arches as the "most beautiful pieces of Romanesque sculpture within the department". Two structures have surely influenced the masters, working in Castelviel. These are the former abbeys "Saint-Maurice de Blasimon" and "La Sauve-Majeure", both not far away. This portal is carved in a typical style, found in the Gironde, the Saintonge, the Charente and the Poitou, carved from a soft, white (unfortunately weathering) stone. There is no tympanum, but many archivolts and capitals. This is the same capital, as seen before. It has three Luxuriae, not one. Two are seen from this pov. To "repeat" and icon and so creating a string is very typical for this artistic style. Though a string of three icons is pretty short..