Martin M. Miles' photos with the keyword: atlas

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..

Sicily, the largest Mediterranean island, has a long history, that starts around 8000 BC, but later there were Phoenician, Carthaginian, Greek and Roman periods. After the Roman Empire had fallen apart the Vandals tried to take over the island but failed. Finally, the Ostrogoths took possession. Mid of the 6th century Sicily was conquered by troops of the Byzantine Empire. After the advent of Islam, Sicily got attacked by the Arab forces. Raids seeking loot continued until the mid-8th century. A Muslim army was sent to the island in 827 but met with much resistance. So it took a century to conquer it and even later revolts constantly occurred In 1038 the Byzantines invaded the island supported by Norman mercenaries, led by Roger. In 1072, after the siege of Palermo, most of Sicily was under Norman control. Roger´s son Roger II raised the status +of the island to a kingdom in 1130. During this period, the Kingdom of Sicily was prosperous and powerful, The court of Roger II became melting out of culture from Europe and the Middle East. This attracted scholars, scientists, artists, and artisans. Muslims, Jews, Greeks, Lombards, and Normans cooperated and created some extraordinary buildings. In 1186 the last descendant of Roger, Constance of Sicily married Emperor Henry VI, the second son of Barbarossa. So the crown of Sicily was passed on to the Hohenstaufen Dynasty. Frederick II, the only son of Constance, was crowned King of Sicily at the age of four in 1198. He became "Stupor Mundi", one of the greatest and most cultured men of the Middle Ages. - The "Valle dei Templi", located on a ridge, just south of Agrigento, is where the Greek had founded the polis "Akragas" in 532 BC. It developed into one of the most important ancient Greek cities in Sicily. This importance is still visible in a number of monumental temples, built in the 5th century BC along the southern wall of the city. Over centuries most buildings decayed and were often used as a quarry. Excavation and restoration began mid of the 18th century when general interest in Greek antiquity arouse. So the ancient sites were attracting attention - and visitors. Today the Archeological Park extends over 1300 hectares and is declared a UNESCO World Heritage Site since 1997. The greek polis developed in terraces and had a regular urban plan. In the 6th century BC, a massive defence wall, 12 kilometres long with 9 gates was built around Akragas. The city flourished but got destroyed by the Carthaginians in 406BC. Later it got "refounded" by Greek settlers, but played a role during the Punic wars, when the Carthaginians had a base here. In 210 BC the Romans conquered it and named it Agrigentum. The "Temple of Zeus", mentioned in ancient texts, was the largest Doric temple in the western Greek world. The ruins, visible today, are what survived of the destruction in ancient and modern times, when the stone blocks from the temple were used as building material. The roofs of the temple were omce supported by giant atlasses. One of them stretches on the ground now.

Since 365, when Saint Marcellin became the first bishop here, a cathedral existed in Embrun. Saint Gregory of Tours wrote about a "basilica mirabilis" built over the tombs of Saints Nazarius and Celsus. After the Lombards had sacked Embrun end of the 6th century, Charlemagne funded the erection of a new cathedral. In the 10th century the Sarazens raided the area - and again looted the town (and killed the bishop). The cathedral of today was built on foundations of Charlemagne´s basilica between 1170 and 1220. The northern, Romanesque portal / narthex named "Port Real" (or "Portal des Rois Mages") got its name, as in the 14th century the tympanum got covered by a frescoe depicting the Magi. The frescoe was destroyed during, when the church got severely damaged the French Wars of Religion, so by now the Romanesque tympanum is seen again. Here are the two crouching portal-lions. The left lion holds a lamb, the right one a child or small man. Note the skinny atlantes in the back. They remind me on sculptures in Morlaàs and Oloron-Sainte-Marie.

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.

Assisi is located on a steep slope (accessible via escalators) and a site of many a pilgrimage. Even in winter it can be very crowded - and a day before, we had to turn back, as all parking lots in the valley below were full. A day later, in heavy rain, we tried it again - and were in luck. This "Cattedrale di San Rufino" of today is the third church on this spot. They had been built over the tomb of Saint Rufinus, Bishop of Assisi, martyred in the 3rd century. The construction of the cathedral was started in 1134. When in 1228 Pope Gregory IX was in Assisi for the canonization of Saint Francis, he consecrated the high altar of the cathedral, that was finally completed in 1253. Of course during the long time of construction, the church was in use already. Saint Francis was baptized here in 1182, Saint Clare in 1193. The Romanesque façade of the Assisi-Cathedral is one of the richest in Umbria. There are three rose windows here. That one in the center - seen here - is the largest and the most ornate. The window is supported by three atlantes. They are standing on mythical beasts (on the left a griffin). In the four spandrels around the rose window are the four animal symbols of the four evangelists.

The first cathedral here was consecrated by St. Zeno around 380 AD. This was replaced by a larger building already two centuries later. An earthquake and/or fire destroyed that structure. The basilica that got rebuilt was destroyed by the earthquake in 1117, that wrecked so many buildings in Veneto and Lombardy. The present "Cattedrale Santa Maria Matricolare" was built in 1117-38, but many renovations were made later. Here is the left side of the cathedral´s side portal. A very sportive atlas holds the weight of the portico. Dragons fight on the left side.

Saint-Aulais-la-Chapelle, a village with a population of not even 300, hosts three Romanesque churches! One of these is Saint-Jaques in the tiny Hamlet of Conzac. Erected within the 12th century as a Cluniac priory church when pilgrims took a break here on their way to Santiago de Compostella. They still had about 1000 kms to walk from here. The priory and the church got severely damaged during the Wars of Religions. The church, once built on the blueprint of a Latin Cross, lost one arm of the transept, the facade and a large part of the nave. The nave got rebuilt, but now is shorter, that it was once. The Romanesque apse survived the times, so the corbels are still "in situ". Here is an atlas and a harp-player, who (open mouth!) may be as well a vocalist.

"Saint-Pierre d'Aulnay" is a church outside of Aulnay, in the center of an old graveyard. The setting has not changed for centuries. For the pilgrims of the 12th century this church was a major halt - and it still is for all the tourists... A predecessing church „Saint-Pierre-de-la-Tour“ had been here, that, when the pilgrimage to Santiago de Compostella got more and more popular, was obviously to small, as Aulnay was conveniently situated between Poitiers and Saintes on the Via Turonensis. A new, larger church was needed, so the place was handed over to the chapter of the cathedral in Poitiers. The canons then probably planned this church, that was erected from about 1130/1140 on. "Saint-Pierre d'Aulnay" is a gem of the "style saintongeais". For Peter Strafford ("Romanesque Churches Of France") this is "one of the best examples of late Romanesque architecture in what used to be Aquitaine". Saint-Pierre´s "South Porch" is what attracts busloads of tourists to stop in Aulnay. And they are right.The "South Porch" is mindblowing. There are way more than 140 different characters. Dozends of little atlasses stem the weight of the archivolts. Here are two of them. They are nicely dressed and talk, standing on tiptoe.

"Saint-Pierre d'Aulnay" is a church outside of Aulnay, in the center of an old graveyard. The setting has not changed for centuries. For the pilgrims of the 12th century this church was a major halt - and it still is for all the tourists... A predecessing church „Saint-Pierre-de-la-Tour“ had been here, that, when the pilgrimage to Santiago de Compostella got more and more popular, was obviously to small, as Aulnay was conveniently situated between Poitiers and Saintes on the Via Turonensis. A new, larger church was needed, so the place was handed over to the chapter of the cathedral in Poitiers. The canons then probably planned this church, that was erected from about 1130/1140 on. "Saint-Pierre d'Aulnay" is a gem of the "style saintongeais". For Peter Strafford ("Romanesque Churches Of France") this is "one of the best examples of late Romanesque architecture in what used to be Aquitaine". Saint-Pierre´s "South Porch" is what attracts busloads of tourists to stop in Aulnay. And they are right. This is not only breathtaking, like many carvings within the Saintonge, the "South Porch" is mindblowing. Nothing less than that, there are unbelievable details. There are more than 140 different characters. Dozends of little atlasses stem the second (24 male saints) and the third archivolt (31 "Elders of the Apocalypse"). artsymbol.wordpress.com/2012/01/23/video-aulnay-de-sainto...

"Saint-Pierre d'Aulnay" is a church outside of Aulnay, in the center of an old graveyard. The setting has not changed for centuries. For the pilgrims of the 12th century this church was a major halt - and it still is for all the tourists... A predecessing church „Saint-Pierre-de-la-Tour“ had been here, that, when the pilgrimage to Santiago de Compostella got more and more popular, was obviously to small, as Aulnay was conveniently situated between Poitiers and Saintes on the Via Turonensis. A new, larger church was needed, so the place was handed over to the chapter of the cathedral in Poitiers. The canons then probably planned this church, that was erected from about 1130/1140 on. "Saint-Pierre d'Aulnay" is a gem of the "style saintongeais". For Peter Strafford ("Romanesque Churches Of France") this is "one of the best examples of late Romanesque architecture in what used to be Aquitaine". Saint-Pierre´s "South Porch" is what attracts busloads of tourists to stop in Aulnay. And they are right. This is not only breathtaking, like many carvings within the Saintonge, the "South Porch" is mindblowing. Nothing less than that, there are unbelievable details. Here a close-up of the archivolts, populated by more than 140 different characters. Dozends of little atlasses stem the second (24 male saints) and the third archivolt (31 "Elders of the Apocalypse"). Here is artsymbol´s fantastic video: artsymbol.wordpress.com/2012/01/23/video-aulnay-de-sainto...

"Saint-Pierre d'Aulnay" is a church outside of Aulnay, in the center of an old graveyard. The setting has not changed for centuries. For the pilgrims of the 12th century this church was a major halt - and it still is for all the tourists... A predecessing church „Saint-Pierre-de-la-Tour“ had been here, that, when the pilgrimage to Santiago de Compostella got more and more popular, was obviously to small, as Aulnay was conveniently situated between Poitiers and Saintes on the Via Turonensis. A new, larger church was needed, so the place was handed over to the chapter of the cathedral in Poitiers. The canons then probably planned this church, that was erected from about 1130/1140 on. "Saint-Pierre d'Aulnay" is a gem of the "style saintongeais". For Peter Strafford ("Romanesque Churches Of France") this is "one of the best examples of late Romanesque architecture in what used to be Aquitaine". Having walked around the apse, - there is the "South Porch", for what Aulnay is famous for. It is not only breathtaking, like many carvings within the Saintonge, the "South Porch" is mindblowing. Nothing less than that, there are unbelievable details. Four large, semicircular archivolts, populated by more than 140 different characters. There are 31 "Elders of the Apocalypse", and below them 24 male saints. Here is artsymbol´s fantastic video: artsymbol.wordpress.com/2012/01/23/video-aulnay-de-sainto...

In 1080, when Morlaàs was in its heydays, the building of this church started by Centulle V, Viscount of Béarn, who had to make an atonement. Morlaàs developed to an important "étape" on the Via Tolosana at that time. As the church was dedicated to St. Foy there was a kind of "link" to Conques. Later the pilgrimage business declined, the viscounts had moved away, wars arose.... The church burnt down in 1520, got severely damaged in 1569. During the French Revolution the church turned to a "Temple of Reason". The restorations of the 19th century saved the structure. Viollet-le-Duc, the influential "Inspecteur général des Edifices Diocésains" led the restoration of the portal. At all places, where he worked (eg "Carcasonne", "Vézelay"), he "recreated" and creatively "completed", what is a method, that is disputed meanwhile. The condition of the portal is a result of this restoration. After the cleaning done in the last years and the installation of pigeon-defence-wires, the carvings are "mint". The large archivolt depicting the 24 elders of the Apocalypse, a common icon on Romanesque portals (Moissac, Chartres, Santiago de Compostela ..) is supported by two strong men on either side. Both men suffer - endure pain. They are probably Moors just like the two chained collegues under the trumeau, 3 meters below. This one is on the right side.

In 1080, when Morlaàs was in its heydays, the building of this church started by Centulle V, Viscount of Béarn, who had to make an atonement. Morlaàs developed to an important "étape" on the Via Tolosana at that time. As the church was dedicated to St. Foy there was a kind of "link" to Conques. Later the pilgrimage business declined, the viscounts had moved away, wars arose.... The church burnt down in 1520, got severely damaged in 1569. During the French Revolution the church turned to a "Temple of Reason". The restorations of the 19th century saved the structure. Viollet-le-Duc, the influential "Inspecteur général des Edifices Diocésains" led the restoration of the portal. At all places, where he worked (eg "Carcasonne", "Vézelay"), he "recreated" and creatively "completed", what is a method, that is disputed meanwhile. The condition of the portal is a result of this restoration. After the cleaning done in the last years and the installation of pigeon-defence-wires, the carvings are "mint". The large archivolt depicting the 24 elders of the Apocalypse, a common icon on Romanesque portals (Moissac, Chartres, Santiago de Compostela ..) is supported by two strong men on either side. They seem to suffer strongly (tongue protruding). These two are probably Moors just like the couple having the holding the center pillar, 3 meters below.. This one is on the left side.

The priory of Anzy-le-Duc was founded 876. When Hugues de Poitier, one of the founders, died here in the "odeur" of sanctity (930) the first pilgrims started to head for this place. The church (used as a parish church today, dedicated to the Assumption), was erected 1180 - 1230, when great numbers of pilgrims met here. The layout of the church is similar to the (ruined) church of nearby Charlieu: a basilica with a transept and five apses. During the Wars of Religion Huguenots destroyed the tomb of St. Hugh and in 1594 the church was set on fire. After the priory was dissolved in 1789 the church was sold and abandoned, before the villagers used it as a parish church in the early 19th century. The church in Anzy-le-Duc is known for it´s richness of carvings, and so it is probably the finest example of romanesque art in the Southern Burgundy. The carvings are remarkable for their workmanship, though they may differ in quality. Six different masters (or workshops) can be found, differing in style - and in themes and designs. Í will resist to upload all photos I took. I will upload some examples - from different angles. On both capitals seen before, the atlas figure and the contemplating, sad looking men on the corners are accompanied by apes (or monkeys). The animals seem to be pretty large, compared to the men. In 2000 German historian Matthias Hamann published two volumes titled "Die burgundische Prioratskirche von Anzy-le-Duc und die romanische Plastik im Brionnais", totalling more than 600 pages (and 599 pics). Here is an abstract in French and English: www.uni-muenster.de/Fruehmittelalter/Projekte/Cluny/BiblC...