| Murals
| | In the early Middle Ages the Majestas Domini motif dominated. In the High Middle Ages various Madonna motifs became common and at the same time the suffering and death of the Christ figure became prominent. Mary´s comfort against the suffering, death and the verdict were stressed. Common Mary motifs were Mary with the Christ child, Mary at the cross, the dead Christ in Mary´s lap (pietà) and the crowning of Mary. |
In the early Middle Ages Roman murals the Majestas Domini-motif dominates with Christ residing as the heavenly king. In the course of the 13th century it shifts to other main motifs. Around 1225-1250 there are examples of the Majestas motif changing into the Chair of Grace, where the Lord sits with the tormented Jesus in an emotional embrace.
The depiction of the suffering Christ, which is also present in the motif Smertensmanden (man of pain), usher in a different perception of religion, where the emotions and intensity play a larger part. They move away from the early medieval dogmatic perception of Christ, where Jesus rules as the heavenly king and the masculine virtues dominate.
The Propitiation | 
The Man of Pain |
The Mary Cult
An emotional development is also evident in a number of varied Mary-motifs. The Virgin Mary in the shape of the Madonna with the Child plays an important part in the early Middle Ages, but in connection with the increasing Mary worship a number of new motifs emerge. Birkerød Church in North Zealand has examples of large parts of this picture programme.
The Mary worship can also be seen as an expression of a wider foundation for Christianity, but also as a product of the movement of the reform monasteries. The Cistercians monk Bernard of Clairveaux advocates an elevation of the Mary figure. With the entry of the mendicant friars in the 13th century the movement towards a more emotional religious practising is reinforced. The monastery movement also seems to contribute to this.
The Apocalyptic Madonna |
The Heavenly Coronation of Mary
The motif The Heavenly Coronation of Mary emerges around 1250 in Zealand and Scania, for instance in Birkerød, Bavelse, Skibby and Bjäresjö churches. Perhaps it is due to the closeness to the spiritual centre in Lund.
In the motif we see Christ, who crowns Mary and thus promotes her to an elevated position at his side. With this a four-unity is established.
The relationship between Mary and Jesus, between mother and son, heavenly bride and groom, emerges as the ideal expression of a spiritual love relationship. That, which was once one and separate is united in higher unity. There is also a parallel to the courteous love ideal, as it is expressed in the minstrel poetry of the Middle Ages, where the knight turns his love to an elevated object, which he cannot reach.
The crowning of Mary | 
The Crowning of Mary |
Maria Miscordia
Mary also appears in another part as the merciful, Mary Miscordia, with the archangel Michael, the soul weigher. Mary carries the protective cloak, which holds the naked souls, who await judgment. Mary´s part as protector and the mediator of mercy is evident.
Mary with the protective cloak is another version of the Judgment motif. To the left in this picture is a detailed depiction of the consequences of the judgment. Naked sinners are ridden by devils. Behind Mary there is a bishop and St. Laurentius with the grill, perhaps hint about his attachment to the cathedral in Lund, which had St. Laurentius as the patron saint.
Maria Misericordia |
Judgment Day Scenes
The Judgment Day motif is also connected to Christ in a new version, where the crucified and resurrected Jesus sit in state on heaven´s arch as the World Judge with the sword of justice and the lily of grace from his mouth, surrounded by angels, who hold the suffering objects: The cross and three spikes and on the other side rod, scourge and hammer.
Judgment Day scenes are depicted in many murals and are perhaps the most dominant motif in the murals. Most detailed in Østerlars Church in Bornholm in a motif, which is the culmination of a 19 metres long frieze around the middle pillar of the church. The motif has up to 150 depicted souls. Here again it is Christ as the world judge with the sword of justice and punishment, who looks at a lot of chained souls, who are dragged towards the mouth of Hell.
The Mouth of Hell | 
Lost Souls | 
Judgment Day Motif | 
The Soul Weigher | 
Judgment Day Motif |
The Wheel of Fortune
In continuation of the Judgment Day scenes There is also the eternal admonition of imminent death and judgment, the Memento Mori motif. It is seen in the typical representation of the wheel of fortune, depicted in Birkerød Church in a new version, which shows three kings in three life phases with the subtext : renabo: I will reign, regno, I reign and regnavi, I have reigned.
With the plague and times of crisis around the middle of the 14th century, it is not strange that death (memento mori) and doom come to play an central part. All in all the struggle between good and bad comes to play a prominent part. Devils swarm the murals and also play a part in connection with Judgment Day, purgatory and the mouth of Hell. Fear of judgment was especially present and has been spelled out in pictures, talk and in writing, as in Bernard of Clairveaux hymn sermons.
The Wheel of Fortune |
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