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Capitéis românicos do portal principal da Igreja de São Vicente, em Zamora, datados entre os séculos XII e XIII, são um exemplo notável da escultura arquitetónica da época. Com motivos vegetalistas e figuras zoomórficas, estes capitéis refletem a rica iconografia românica, desempenhando funções decorativas e simbólicas. Esculpidos em calcário, integram-se no portal concebido como Porta do Céu, um espaço de transição e proteção que concentra programas escultórios com valor apotropaico e narrativo. A igreja insere-se no contexto do românico zamorano, caracterizado pelo uso extensivo da pedra e pela escultura decorativa nos portais e capitéis, marcando o auge construtivo da cidade durante a repovoação cristã no reinado de Afonso VII, e apresentando cenas figurativas com animais e figuras humanas que frequentemente transmitem mensagens morais ou religiosas.

Romanesque capitals of the main portal of the Church of San Vicente in Zamora, dating from between the 12th and 13th centuries, are an outstanding example of the architectural sculpture of the period. With plant motifs and zoomorphic figures, these capitals reflect the rich Romanesque iconography, performing decorative and symbolic functions. Carved in limestone, they are part of the portal conceived as the Gate of Heaven, a space of transition and protection that concentrates sculptural programs with apotropaic and narrative value. The church is part of the context of the Zamoran Romanesque, characterized by the extensive use of stone and decorative sculpture on the portals and capitals, marking the city's constructive peak during the Christian repopulation in the reign of Afonso VII, and featuring figurative scenes with animals and human figures that often convey moral or religious messages.

9th century Anglo-Scandinavian Brompton cross shaft known as The Cock Shaft depicting carvings of a cock, symbolic of the watchfulness in the story of St Peter's denial of Christ.
Beneath these is depicted a strange, typically Saxon, zoomorphic figure of grotesque beetle men locked in combat, with cone-like heads and legs like those of a horse
The head of this cross is kept at Durham Cathederal

Saxon design carved into stone on the outside wall of St. Thomas' Church, Brompton, N. Yorkshire.

The front face of the cockshaft shows two weird beetle-like men locked in combat and above these, two birds, which scholars interpret as symbolising cock crow and Peter's denial of Christ. It's hard to believe there's not something pagan going on here...

After the fall of the Danish Kingdom in 954 AD, the Brompton Basics Range fell out of favour as a Luxury Range became all the rage - Saxons couldn't get enough of plaited and cabled wheel-head crosses - this one's a bit transitional - later the discs in the fillets joining the arms of the cross became fully-perforated, like the ones you see in Ireland

Christ and His disciples having their Last Supper before the crucifixion. This beautiful reredos was made in cast-aluminium by G.C. Pace.

Another Saxon design - these stones appear on the South and East wall of St. Thomas'

Make do and mend, Newby Hall style

Curiously, this wheel-head cross has 3 Valknutr, or 'death-knots' (associated with the cult of Odin) arranged in a triangular shield Motifs associated with these include Valkyries, bears, the hanged-man and Ragnorok. St. Oswald's, Lythe

Angel on the back face of this cockshaft - oldest one in St. Thomas' Church, Brompton, N. Yorks - around ninth century. Making these brown freestone crosses was a good little earner here. This is only a stump - the head was nicked by the Bishops of Durham. There are twined vines and a figure holding a book on the side faces.