ground plan is not the typical basilica of the Pre-Romanesque churches, but has three enclosures at the western end, the central one as an entrance vestibule and two side areas possibly to house parishioners or ecciesiastics. This entrance leads into a single nave with a wooden ceiling, covered by an interesting roof, the same length as the entrance enclosures. The nave adjoins two rectangular side areas, also with a wooden ceiling, whose use seems to associated with the liturgical rites of the period. this nave joined with the sanctuary by three semicircular brick arches, each of which leads into its corresponding chapel, of which only the main or central one is covered with a brick barrel vault, the other two with wooden ceilings. Above the main chapel is the "typical" chamber, only accessible from outside, through a trefoil window with the standard Pre-Romanesque features; central arch larger than the side ones, resting on two free-standing capitals with rope moulding, and the upper rectangle framed by simple moulding. Independent from the church structure, though close to its southern facade, stands the bell tower, on a rectangular ground plan. The Church of San Pedro de Nora is located beside the River Nora, about twelve kilometres from Oviedo. This church has the construction style established in Santullano: facing eastwards, vestibule separate from the main structure, basilica-type ground plan, central nave higher than the side aisles, with intersecting wooden roof and lit by Windows with stone lattice. The straight sanctuary is divided into three apses with barrel vaults. As a differentiating element, the apses were joined to each other through the dividing walls by semicircular-arched doors. Like all the churches from this period, there was a room over the apse, only accessible from outside through a trefoil window. The bell tower, separate from the church like in Santa Maria de Bendones, does not belong to the original construction, and stems from an initiative in the seventies by the architect and great restorer of Asturian Pre-Romanesque, Luis Menéndez Pidal y Alvarez. Third period (842 to 866) This period corresponds with the reigns of Ramiro I and Ordoño I. The first, son of Vermudo I, succeeded Alfonso II when he died without descendants, taking charge of a rapidly expanding kingdom. He was described by chroniclers as Virga justitiae (baton of justice) because he had to face two internal rebellions by noblemen and due to his enthusiasm