Martin M. Miles' photos with the keyword: atlant

The original settlement of Matera lies in two canyons carved by the Gravina River. This area, the Sassi di Matera, is a complex of cave dwellings carved into the ancient river canyon. The settlement is divided into the districts of Sasso Barisano and Sasso Caveoso. The cave settlements in the area are an exceptional example in the Mediterranean area. Inhabited since the Neolithic Age, Matera can be considered one of the oldest cities in the world. According to Greek, Roman, Langobard and Byzantine history, which Matera shares with all of southern Italy, Saracens devastated the place in 938. It came under Norman rule in 1043, became a royal seat and thus achieved considerable wealth. This bloom continued under the subsequent regiments of the Staufer and Anjou, in 1270 the cathedral of Matera was completed. Already by the late 1800s, Matera's cave dwellings became noted for intractable poverty, poor sanitation, meager working conditions, and rampant disease. In 1948, when the city was hit by malaria, 15,000 people lived in 3,300 rooms. From the 1950s on the residents were relocated to newly built apartment blocks. Since the Sassi are now a museum town, tourism is also becoming increasingly important. Known as la città sotterranea ("the underground city"), the Sassi and the park of the Rupestrian Churches were named a UNESCO World Heritage Site in 1993. In 2019, Matera was declared a European Capital of Culture. Today Matera has a population of about 60.000, who live in the city "above" the sassi. The Matera Cathedral (Cattedrale della Madonna della Bruna e di Sant'Eustachio) was built on the highest point between the two sassi, on the site of the ancient Church of Saint Eustace. The erection in Apulian Romanesque style started in 1230 at the behest of Emperor Frederick II of Swabia, Holy Roman Emperor and Count of Matera. A few years earlier Pope Innocent III had raised Matera to the rank of archdiocese in union with Acerenza. It was completed in 1270. Unlike the interior which has undergone several transformations over time, the exterior retains its original form almost intact. The two atlants are on their knees and groan since centuries under the pillars weight.

Bitonto, today a city of a population of about 55000, was probably founded by Greek settlers. Traces of a city wall dating to the 5th and 4th century BC were found. Legends tell that the name Bitonto is connected to an Illyrian king named Botone. Later "Civitas Butuntinenses" became a self-governing Roman municipium, A Paleochristian basilica existed very early. During the 9th century, Bitonto successfully withstood a Saracen raid but got destroyed by Byzantine troops in 975. The Normans took over Apulia. In the 11th and 12th century. Under the rule of the Normans of Roger II of Sicily, William I of Sicily (aka William the Wicked) and William II of Sicily (aka William the Good), the city prospered and got new walls. In 1227, Bitonto was the scene of ex-communication of Frederick II accused by pope Gregory IX of having come to terms with the sultan al-Malik al-Kamil. - The Bitonto Cathedral, dedicated to San Valentino, was erected 1175/1200 in the centre of the city. The construction was probably influenced by the "Basilica of San Nicola" in Bari and was done in the typical "Apulian Romanesque" style. It is proven that the bishopric existed in 1089, though the crypt of the cathedral has remains of a 5th-century church. - The marble ambo, a combined pulpit and lectern, a masterpiece of medieval Apulian stone carving. Originally the ambo was placed on the right side of the nave but during the Baroque alteration of the church, the ambo was dismantled in the 17th century. Most, but not all parts of the ambo survived, in 1720 the ambo was assembled again at the place, where it is now. A large eagle is supported by a human caryatid. On the small pillars, left and right are the symbols of two evangelists. At the bottom a long inscription, what is the signature of the artist (or the leader of the studio). HOC OPUS FECIT NICOLAUS SACERDOS ET MAGISTER ANNO MILLESIMO DUCENTESIMO VICESIMO NON I(N)DICTIONIS SECUNDE = This work was done by priest and master Nicolaus in 1229.

Bitonto, today a city of a population of about 55000, was probably founded by Greek settlers. Traces of a city wall dating to the 5th and 4th century BC were found. Legends tell that the name Bitonto is connected to an Illyrian king named Botone. Later "Civitas Butuntinenses" became a self-governing Roman municipium, A Paleochristian basilica existed very early. During the 9th century, Bitonto successfully withstood a Saracen raid but got destroyed by Byzantine troops in 975. The Normans took over Apulia. In the 11th and 12th century. Under the rule of the Normans of Roger II of Sicily, William I of Sicily (aka William the Wicked) and William II of Sicily (aka William the Good), the city prospered and got new walls. In 1227, Bitonto was the scene of ex-communication of Frederick II accused by pope Gregory IX of having come to terms with the sultan al-Malik al-Kamil. - The Bitonto Cathedral, dedicated to San Valentino, was erected 1175/1200 in the centre of the city. The construction was probably influenced by the "Basilica of San Nicola" in Bari and was done in the typical "Apulian Romanesque" style. It is proven that the bishopric existed in 1089, though the crypt of the cathedral has remains of a 5th-century church. - The marble ambo, a combined pulpit and lectern, a masterpiece of medieval Apulian stone carving. Originally the ambo was placed on the right side of the nave but during the Baroque alteration of the church, the ambo was dismantled in the 17th century. Most, but not all parts of the ambo survived, in 1720 the ambo was assembled again at the place, where it is now. A large eagle is supported by a human caryatid. The eagle has lost some of the coloured beads, that once adorned it. On the small pillars, left and right, are the symbols of the four evangelists. Here visible are only two of them. Note the large inscription "NICOLAUS MAGISTER", as this is a signature.

The construction of the "Église Saints-Pierre-et-Paul" started around 1150. The basilica-style church has the classical layout of a latin cross and is known for the carvings. Size and the quality of some of them are really breathtaking. There are different artistic styles here. I seems like four master-carvers were given a chance, to show their talents and so they used this as a showcase. Here a really fat, bearded, naked atlas. He looks bored and is uncomfortably pressed into a corner, holding the weight of the vault. He is in a very unergonomic body posture, but if he would not press the knees together - he would for sure fall down to the ground - and burst. Please compare this carving to an atlas from Sélestat (Schlettstadt), only 30kms south - and have in mind, that both corbels are about the same age (+/-30 years). www.flickr.com/photos/martin-m-miles/5365376432/ Sorry for the bad quality of the photo..

The construction of the "Église Saints-Pierre-et-Paul" started around 1150. The basilica-style church has the classical layout of a latin cross and is known for the carvings. Size and the quality of some of them are really breathtaking. There are different artistic styles here. I seems like four master-carvers were given a chance, to show their talents and so they used this as a showcase. Another corbel, depicting another overweighted man. This time only there is only the head, a carved caricature. Maybe a medieval burlesque. The guy seems to be so fat, that is tongue has not enough room inside the mouth, his ears are similar to pig´s ears, his eyes are bulged out - and his flabby chin is endless. His hair is nicely curled, he probably used greasy hair-gel... He for sure is not everybody´s darling: He was called "Piggy" by his fellow men, a nickname probably used already in early times. I am sure he suffered from high blood pressure Sorry for the bad quality of the photo..

The construction of the "Église Saints-Pierre-et-Paul" started around 1150. The basilica-style church has the classical layout of a latin cross and is known for the carvings. Size and the quality of some of them are really breathtaking. There are different artistic styles here. I seems like four master-carvers were given a chance, to show their talents and so they used this as a showcase. Another corbel - depicting the face of a nicely combed woman. The face is framed by two small braids. She is obviously very suprised and amused (maybe meeting "Piggy" - seen of the last photo last photo - high up there) and so has raised her eyebrows and shows a small smile. If she would have a hand - she would probably take the cobweb off her face. Sorry for the bad quality of the photo..

Milan is the city capital of the Lombardy and the second most populous city in Italy after Rome. Known during Roman times as "Mediolanum" it was the place, where in 313 Constantine I and Licinius met and "signed" the "Edict of Milan", giving Christianity a legal status within the Roman empire. At the end of the Roman empire Milan was besieged by the Visigoths in 402, looted by the Huns in 452, and taken by the Ostrogoths in 539. Only 30 years later is belonged to the Kingdom of the Lombards, until in 774 Charlemagne defeated the Langobards and added Milan to the Carolingian empire. During Barbarossa´s (Frederik I) "Italian Campaigns" Milan was taken and destroyed to a great extent. The "Basilica of Sant'Ambrogio" is much older and was not destroyed by Barbarossa´s troops. It is one of the most ancient churches in Milan, built by St. Ambrose in 379–386, outside the city of Milan on the site of a cemetery, where the martyrs of the Roman persecutions had been buried. The first name of the church was "Basilica Martyrum". Ambrose, born into a noble family about 340 in (present-day) Trier (Germany), was governor of Liguria and Emilia for two years before he became the Bishop of Milan in 374 by popular acclamation. He was a staunch opponent of Arianism. Only very few traces of the first church can still be found, as in the centuries after its construction, the basilica underwent numerous restorations and reconstructions. The current Romanesque church, mostly built in brickwork, was begun around 1080. In 789, a Benedictine monastery was established here. The canons of the basilica, however, retained their own community. So two separate communities shared the basilica. In the 11th century, the canons adopted orders and became Canons Regular. From then on two separate monastic orders following different rules lived in the basilica. The canons were in the northern building, the cloister of the canons, while the monks were in the two southern buildings. The two towers symbolize the division in the basilica. The 9th century Torre dei Monaci ("Tower of the Monks") tower was used by the monks. However, the canons did not have a bell tower and were not allowed to ring bells until they finished the Canons' bell tower in the 12th Century. This tower got two additional levels in 1889. In 1943 the basilica got severely damaged by bombings. It took a decade to rebuilt and reconstruct the church. The ambo stands on the left side of the nave. From here the monks and canons read the Gospel. The ambo, supported by nine slender ancient columns, was built over a 4th century sarcophagus, known as "Stilicho's Sepulchre", between 1130 and 1143. When the roof of the basilica collapsed in 1196, the ambo got severely damaged, but it got rebuilt already in 1201. There are so many details all around the ambo.. The atlant (= telamon), surrounded by lions is attributed to the second master (or workshop), who worked here, named "Maestro del Telamone". The style is more complex and sculptural.

In the center of Modena, where the Duomo di Modena (aka "Cattedrale di Santa Maria Assunta e San Geminiano") is placed, churches have existed since the 5th century. After the burial site of Modena's patron Saint Geminianus, a former bishop (+397), was dicovered here, the existing cathedral seemed to small. The first stone laying for the cathedral of today took place in May 1099, strongly supported by Matilde di Canossa (aka "Matilda of Tuscany"). First architect was Master Lanfranco, descibed as "maestro ingenio clarus [...] doctus et aptus". The Duomo di Modena was consecrated in 1184, but the building process continued. It was finally completed in 1322. The interior of the Duomo is divided into one nave and two aisles, the interior length is 63 metres. The presbyterium is risen, below is a crypt. Between the central nave and the presbyterium/crypt is a large structure with a marble parapet. It was created by Anselmo da Campione portraying the Passion of Christ. Part of this impressive parapet is a pulpit. Below this are the atlantes, supporting it since more than 700 years. Anselmo da Campione, who came (like Lanfranco) from the area near the Lake Como, worked here with his workshop. These experienced specialists, known as "Maestri Campionesi" worked here over many decades. One of them was Anselmo´s grandson Arrigo da Campione.

In the center of Modena, where the Duomo di Modena (aka "Cattedrale di Santa Maria Assunta e San Geminiano") is placed, churches have existed since the 5th century. After the burial site of Modena's patron Saint Geminianus, a former bishop (+397), was dicovered here, the existing cathedral seemed to small. The first stone laying for the cathedral of today took place in May 1099, strongly supported by Matilde di Canossa (aka "Matilda of Tuscany"). First architect was Master Lanfranco, descibed as "maestro ingenio clarus [...] doctus et aptus". The Duomo di Modena was consecrated in 1184, but the building process continued. It was finally completed in 1322. The interior of the Duomo is divided into one nave and two aisles, the interior length is 63 metres. The presbyterium is risen, below is a crypt. Between the central nave and the presbyterium/crypt is a large structure with a marble parapet. It was created by Anselmo da Campione portraying the Passion of Christ. Part of this impressive parapet is this pulpit with the symbols of the evangelists. The pillars below the pulpit are based on lions and atlantes. Anselmo da Campione, who came (like Lanfranco) from the area near the Lake Como, worked here with his workshop. These experienced specialists, known as "Maestri Campionesi" worked here over many decades. One of them was Anselmo´s grandson Arrigo da Campione.

The construction of the Cattedrale di San Giorgio began in the early 12th century, when the city was taken by Matilda of Tuscany (aka "Matilde di Canossa"). When the new cathedral was consecrated in 1135 it was not completed at all. It was - and still is - located in the center of the city. The lower part of the facade is Romanesque was probably built in the first half of the 11th century. The building process was continued a century later in Gothic style. A "renovation" of the Ferrara Cathedral done in the early 18th century resulted in a demolition. Only the facade and the outer walls survived. The the medieval interior and the apses, that once existed are lost. Upto the "renovation" the cathedral had a Romanesque southern portal. It got destroyed, but some parts from that portal like this griffin survived - and now guard the main facade together with the two portal lions who carry atlantes on the back - and so support the narthex. The portal is attributed to Master Niccolò (aka "Nicholaus"), who (or his workshop) worked as well in Verona (San Zeno) and Piacenza (Cathedral).

Mozac Abbey is one of the oldest monasteries in the Auvergne, dating back into Merovingian times. A legend tells that it was founded by Calminius (later Saint Calmin). He must have been pretty important and well off, as his name is connected to the foundations of three abbeys. He introduced the benedictian rules to the area, and brought (from Rome)a relic of Saint Peter and (from Agen) a relic of Saint Caprasius to Mozac. He got buried in the crypt of this church together with his wife Saint Namadie. Within the 9th century relics of Saint Austremonius, the first bishop of Clermont were transferred to Mozac, so already before Santiago de Compostella was on the map, this was a place of pilgrimage. In 1095 Mozac abbey got affiliated to Cluny, but was important enough, to have Hugue of Semur, nephew of Hugue of Cluny here as abbot. He was followed by Eustachius, brother of Petrus Venerabilis. Three churches could be traced here by archeologists, what can be seen today is "Mozac 3", a great church built within the first half of the 12th century. As most of "Mozac 3" got destroyed by a number earthquakes between 1437 and 1490. Actually only ruins can be seen. Apses, choir, ambulatory, radial chapels, transept and clerestorys were beyond repair, when the early reconstruction started - in gothic style. Most pillars and capitals of "Mozac 3" are still in place (in situ). Some of the carvings here are so "perfect", that they seem to be much younger, even baroque, but all are - 12th century - romanesque. - There are three capitals, that are not "in situ" any longer. They are placed on the ground, so the detailled carvings are easily visible. These capitals are carved on all four sites. This capital is known as "The Atlantes", but actually they do not carry any weight. They are on the knees, holding pine-cones. The four men, who are clearly individuals, form a kind of festoon all around the capital.

The former church of a priory, built from local limestone 1150/1170, got remodelled quite often over the centuries. This was done not only by architects, but as well by clerics. The church was dedicated to St. Genesius first, then to St. Limin, followed by Saint-Martin. Within the 19th century the dedication changed to Saint-Bonnet and just some decades ago to Saint-Bénilde, a saint born in Thuret in 1805. Aymon Gilbert Mallay, the architect of the diocese, "over" restaurated the church in 1864. Bernard Craplet ("Auvergne romane") still laments this neo-romanesque impact. This church actually has very interesting carvings, but the title "Le Vezelay de la Limagne", that I found on a local leaflet, is way too ambitious. This capital from the western portal is very "normal", compared to others in Thuret. It depicts family Atlas! Two atlantes - with their very supportive kids. The artistic style is just a little simple but not really special.

The first church ever built here, was near the sea, where Saint Guirec, a missionary from Wales, went ashore in the 6th century. The parish church seen here was erected little inland, on a hill ("Perros" - "Pen-roz") and was dedicated to Saint Guirec. Within the 11th century, the first pilgrims on their way to Santiago passed through and so Saint-Jaques was added. Five bays of the 11th century the nave still exist. The eastern 6 bays and the choir were added in Gothic style later. The old, Romanesque nave is flanked by massive, granite pillars. Some of them have strange, rough carvings. Near the entrance is this baptismal font, probably dating back to the 12th century. Three men hold it. Two of them hold their arms up like atlants, while the third one, seen here, holds the large font like a barrel.

The first church ever built here, was near the sea, where Saint Guirec, a missionary from Wales, went ashore in the 6th century. The parish church seen here was erected little inland, on a hill ("Perros" - "Pen-roz") and was dedicated to Saint Guirec. Within the 11th century, the first pilgrims on their way to Santiago passed through and so Saint-Jaques was added. Five bays of the 11th century the nave still exist. The eastern 6 bays and the choir were added in Gothic style later. The old, Romanesque nave is flanked by massive, granite pillars. Some of them have strange, rough carvings. Near the entrance is this baptismal font, probably dating back to the 12th century. Three men hold it. They all have a strange anatomy, as they are obviously able to turn the head completely. The two seen here hold the baptismal font like atlants.

Legends tell, that Saint Junien has lived here as a hermit for 40 years. After Junien´s death (540) Bishop Roric from nearby Limoges had an oratorium built over the tomb. The oratorium soon was a place of pilgrimage and got enlarged over the next decades Gregory of Tours was impressed, when he visited the place in 593. This church got lost within the 9th century. Two centuries later a collegiate church got erected. It got consecrated by Raynaud, Bishop of Périgueux in 1100. The church got altered and enlarged a couple of times, but the collegiate lost the importance it had during the time of pilgrimage. It existed though upto the French Revolution, when it got looted. After that the church was used as "Temple of Reason", a prison and (like many churches) as a storage room for explosive saltpetre. The structure must have been in bad condition, as the crossing tower collapsed in 1816. It it got rebuilt from wood on a smaller scale. The collegiate church got restaurated in the second half of the 19th century, but in 1922 the wooden tower collapsed and caused lots of damage. Many capitals seen from nave and choir depict atlants in different poses. Here is on of them.

The former Abbey Church in the village of Saint-Jouin-de-Marnes, that now serves the parish, has a total length of 72,30 meters and all of the 600 people living in Saint-Jouin-de-Marnes would easily find a chair inside. The church is a gem of poitevin architecture. When Prosper Mérimée visited Saint-Jouin-de-Marnes mid 19th century, the church were in a very bad state. Photograps taken some decades later show, that the facade was ruined. Prosper Mérimée efforts started a reconstruction and renovation process. The first renovation, that finally saved the church, was undertaken from 1889 to 1920. Different workshops created the carvings in the Abbey Church, built in only about 40 years. Most carvings are rough, compared to the style and virtuosity that was common in the Poitou-Charentes a century later. Here are atlants and lions. The history of the abbey dates back to the 4th century, when Jovinus (French "Jouin") in 342 founded a small oratory near a place named Ensio. Not much is known about Jovinus. He may have been borne in a wealthy family. It is believed, that his was brother of Saint Maximin, the first Bishop of Treves. The oratory developed into a monastery over the next decades, that was the second monastery existing in France, just after Saint-Martin-de-Ligugé, founded by St. Martin of Tours himself in 361. During the 7th century, the bishop of Nantes, Felix, asked Martin de Vertou to christianise the area. This mission led him to Ension where he imposed Saint Benoit’s rule. The small monastery was never threatend by the Normanic raids, as it was far away from large rivers. So it could offer refuge to the monks of "Saint Martin de Vertou", who left their monastery and brought the relics of their founding Saint, in 843. The erection of the Abbey Church took place between 1095 and 1130, when an old Roman road, known under the name of "Saint Hilaire’s Way" was followed by pilgrims on their way to Santiago. At that time the road was one of the many that belonged all to the "Via Turonensis". During the 100 Years´War and during the Wars of Religion the monastery got attacked and plundered. The Battle of Moncontour between the Catholic armee and the Huguenots was fought in 1569 only about 5kms west. Monastic life was ended by the French Revolution in 1789. The Abbey was sold as national property. The church serves as a parish church since 1795. Parts of the former conventual buildings now belong to a privatly owned farm, next to the church.

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, most of them probably from the last building period (1160/1200). Most are carved from a soft stone, so, depending from the place, some are very weathered, while others are still in a nearly perfect condition. Here are four corbels. From left to right - a cute little ram, next a horrifying scene centered around a human skull. A bundle of snakes have entered the skull through mouth, nose and ears. Two of the snakes are coming out through the eyes! The rear parts of the snakes are broken off, so that the snake entering the ear looks like a large earplug. - Next to the right a little atlant, totally unimpressed by that bloodcurdling scene to his side. He is doing his job. Perfectly! - Beside him an ape or a monkey. Some years ago (before I owned a digital camera), I was so impressed by the distinctiveness of this "image", that my interest in "medieval apes and monkeys" started right here.

The parish church Sainte Croix in Gannat is the result of a very long and complex history. Two apses and some parts of the transept date back to the 12th century. The three rows of the nave and the side aisles were built during the 13th century. From the 14th to the 16th century ten (!) chapels were adjoined without any specific architectural order. This nicely coloured capital from the transept is probably one of the oldest inside the church. Depicted are two atlants at the corners, moaning under the heavy load (see the open mouth) - and a gymnast in the center just starting his skilled performance on a horiziontal bar. Or is the person just a very short weightlifter?