San Miguel de Lillo

, Also called San Miguel de Lillo, San Miguel de Lino, is a pre-Romanesque, the Archangel Michael consecrated palace chapel at the foot of Monte Naranco, 3 km northwest of Oviedo, capital of the Spanish region of Asturias. It was in the middle of the 9th century under the Asturian King Ramiro I ( 842-850 ) - such as Santa María del Naranco - built as part of a palace complex. 1985 both buildings were added along with Santa Cristina de Lena as Monumentos de Oviedo y del Reino de Asturias ( Monuments of Oviedo and the Kingdom of Asturias ) in the list of UNESCO World Heritage monuments, 1998 to the Church of San Julián de los Prados, the Cámara Santa has been extended to the Cathedral of San Salvador of Oviedo and the well house La Foncalada in Oviedo.

History

The San Miguel de Lillo church was originally consecrated in 848 Mary, as appears from a dedicatory inscription on the altar plate ( Mensa ) in the Archaeological Museum of Asturias ( Archaeological Museum of Asturias ) is kept in Oviedo. It identifies as the builder and the date of the consecration of the ninth day of the Kalends of July, the Spanish era 886, which corresponds to June 23, 848 BC. Ramiro and his wife Paterna Chronicles of the 9th century emphasized the beauty and perfection of the Church, no other tantamount throughout Spain. As an architectural novelty they mention that columns were used instead of pillars and that the rooms did not have wooden ceilings, but were vaulted and indeed with stone and not with bricks. After the church in the 12th or 13th century had been badly damaged by a landslide, now a third of the formerly three-aisled building is only obtained, namely a western porch with the entrance portal and the first bay of the nave. Or conversions of the following centuries altered the building. In the mid-19th century were made first restoration measures.

Architecture

The outer walls of the church of broken stone and bricks were originally plastered well. They are divided by fluted buttresses. In the western porch is located on the first floor of a gallery, which could be separated by a curtain. A wooden panel, in which the curtain is attached, still present in place. All parts of the room wearing a barrel vault. The longitudinal ton of the 11 -meter-high central nave resting on arcades with excessive arches and massive, 3.60 -meter-high columns with 60 cm diameter. The aisles are covered with transverse barrel vaults, which, as they do not exert any pressure on north and south walls, large window openings allow there.

Window

Striking are the many window openings, of which four have received their original transennae. Special attention deserves a 1.80 m high and 90 cm wide arched windows, the filling is made from monolithic limestone. It is surrounded by a double tow band, and divided into two areas. The lower part consists of a triple arcade with ornate spiral column shafts and Corinthian capitals. In the upper part there are interwoven circles.

Sculptural decoration

The columns have Pyramidenstumpfkapitelle with Taubandleisten and geometric patterns. The unusually large column bases are machined from one piece of limestone and have a side length of 80 cm. Taubänder form triple arcades under which people are presented with books in hands, which are interpreted as the four Evangelists with their symbols. The two 1.80 -meter-high relief slabs of limestone to the Portallaibungen of receipt date from the period of the Church. They are divided into three fields and surrounded by a frame of tow band and flower petals. The upper and lower scene depicts a seated Roman consul, who is accompanied by two court officials. He holds in his left hand and a scepter in his right hand a mappa, a cloth that has been thrown to mark the opening of the games of the circus in the arena. The middle scene shows an acrobat balancing with your hands on a bar, a lion and a man with a whip. As a model for this relief panels a Byzantine Elfenbeindiptychon from the year 506, it is assumed that represents the Consul Aerobindus and circus scenes, and of which a copy is in the Hermitage in St. Petersburg and one in the Cluny Museum in Paris. Cornices and arch profiles are designed as Taubänder that Empor arches are decorated with rosettes or hash Friesen, where petals and sun gears are enrolled.

Murals

From the time when the church are remains of wall paintings have received especially in the south aisle, where a seated figure and a lute player can be seen.

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