Martin M. Miles' photos with the keyword: Alexander

Venice (ital. Venezia) is one of the most important tourist destinations worldwide with about 30 million visitors each year. I have already uploaded dozens of shots from previous visits, so I´ll try to cut down the number of uploads this time. A legend in the "Alexander romance" has Alexander the Great, wishing to see the whole world from above. To do this he harnessed two large birds or griffins with a seat for him between them. To entice them to keep flying higher he placed meat (some say "roasted puppies") on two skewers which he held above their heads

Trani may have been founded by Greek settlers, but the known history starts late. After the fall of the Western Roman Empire, it was dominated by Lombards, Byzantines, Saracens and again Byzantines. With the conquest of southern Italy by the Normans and after 50 days of siege by Robert Guiscard´s troops, Trani became part of the Norman Empire in 1073. Already under the Byzantines, Trani had become an important port for trade with the Orient. The heyday was in the time of the crusades in the 12th and 13th centuries, when crusaders and merchants mainly went to the Holy Land from Bari and Trani. It became an episcopal see in place of Canosa, destroyed by the Saracens. Frederick II promoted the Teutonic Knights and the Jewish community and built a massive castle. Under his rule, the city reached its highest point of wealth and prosperity. The construction of the "Cattedrale di Trani" began in 1099, over the earlier church of "Santa Maria della Scala", which went back to the 4th century. It is dedicated to "San Nicola Pellegrino". Bari had the relics of "Saint Nicholas of Myra". The Bishop of Trani could convince Pope Urban II to canonized a young pilgrim, who had died on his way to Jerusalem in Trani in 1094 from exhaustion. The new church was intended to house the relics of "Saint Nicholas the Pilgrim". Pina Belli d'Elia ("Puglia romanica") is sure, that this cathedral is the most important of all romanic buildings in Apulia. The building process started at the crypt. The "translatio corporis S. Nicolai ad novam Ecclediam" took place in 1142. As parts of the old church, dedicated to Virgin Mary, were maintained, the construction is pretty complex. The "Cattedrale di Trani" was completed around 1200, the construction of the campanile started by Nicolaus Sacerdos (see "Bitonto") and completed in the mid 14th century. In the 20th century the bell tower was in such a bad state, that it was completely dismantled and rebuilt in the 1950s to avoid it collapsing. Large areas of the cathedral´s floor have been covered by extensive mosaics in the 12th century. Only a few parts of these mosaics have survived the times. Here is "Rex Alexander". A legend in the Alexander romance had Alexander, wishing to see the whole world from above. To do this he harnessed two large birds (or Griffins) with a seat for him between them. To entice them to keep flying higher he placed meat (some say "roasted puppies") on two skewers which he held above their heads.

The first (carolingian) church here is named "Haito Muenster", as Bishop Haito ( as well abbot of the important Reichenau Abbey) had comissioned it. It was completed around 825. The foundations of these structure were reused, when the so called "Heinrich Muenster" was built just after 1000, sponsored and named after Emperor Heinrich II (Henry II) of the Ottonian dynasty. Already in 1019 this church got consecrated. The Muenster seen today is the third large church, erected 1180 - 1220/30. The late romanesque church had five towers, that all got destroyed (with most vaultings) in 1356 during the worst earthquake ever recorded in Central Europe. Modern seismologists estimate a magnitude of 7.1. The rebuilding of the Muenster was led by Johannes Parler, who at the same time was employed for building the Freiburg Muenster. So there are a lot of parallels between these two Muensters, only 70 kms apart. About 1500 the Muenster was finally completed in a combination of late romanesque and gothic style. The restauration process started about 400 years later. Pollution caused a lot of damage and meanwhile many of the carvings outside the church have been replaced by copies. So many of the details seen on the shots may be - copies. Looking east to the choir. Some art historians have compared the structure of the side walls with the CLUNY III. The interior differs surprisingly from the Freiburg Muenster. The Protestant Reformation in Switzerland differed from that one in Germany, as the Swiss Reformators (Huldrych Zwingli, John Calvin, Johannes Oekolampad..) had a way more radical approach, than their Lutherian collegues. During the 9th of February 1529 a group of about 200 people forced their way into this (at that time still catholic) church and in a kind of frenzy destroyed all reachable crucifixes, statues and altars, just everything what was connected to "idolatry" in their thinking. The same afternoon the iconoclasm extended to many other churches in Basel as well. I wonder, why the the fast and furious iconoclasts did not destroy the many works, done by the stone carvers in and outside the church. Obviously only "holy" objects had to burn. Here is one of the many capitals around the choir, unfortunately the light is a bit dim around the choir, so the photo is blurry (sorry!). This capital is one of the many parallels to Freiburg, as like in the Freiburg Muenster, here is Alexander the Great going up to heaven in a basket, powered by two griffins. Alexander controls the griffins by holding up two roasted puppies on sticks. The Alexander-theme is not "extremely" rare, but twice within 70kms cannot be just accidently.

The city of Freiburg was founded by the Dukes of Zaehringen in 1120. The town was located at a junction of old trade routes and already in 1200 the population had risen to 6000. This was, when under Bertold V the last duke of Zaehringen, the construction of the Freiburg Muenster cathedral began, replacing an older parish church. The blueprint of the church "Muenster Unserer Lieben Frau" was very ambitious, but Freiburg was a very prosperous place, as silver mining in the nearby Black Forrest was thriving. The building of the cathedral begun in the Romanesque style and was continued and completed 1513 for the most part as a Gothic cathedral. The cathedral is 116 meters long, 30 meters wide and the tower (seen here only under scaffolding) is 116 meters high. This tower (completed 1330) was one the highest in Germany during medieval times. The portal to the Nikolaus-chapel, part of the late romanesque transept has a couple of surprising carvings. Here is Alexander the Great going up to heaven in a basket, powered by two griffins. Alexander controls the griffins by holding up two roasted puppies on sticks.

This capital in the cathedral is totally different in style compared to the previous one, that I connected to Autun. This seems to be much older - and primitive. It depicts a "master of the beasts" - feeding two gigantic chimeras.

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. It may be, that the reliefs, seen here, are just single icons, that are not interconnected to a certain "iconographic program". This is claimed by Paul Clement (1938), Georg Dehio (1933) and Josef Minn (1942). In 1947 Albert M. Koeniger published the results of his research, interpreting the reliefs at the large gate as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"), while the reliefs at the smaller entrance, stand for "hubris". This is an undisputed icon. Here is Alexander the Great going up to heaven in a basket, powered by two griffins. He controls them by holding up two roasted puppies impaled on sticks which he twirls to make the creatures dirigible. For Koeninger this is "hubris" even of the greated dignities, as flying is not for mortal humans. Julianna Lees has published a very interesting article, titled "Representations of the Fantastical Adventures of Alexander the Great in Romanesque and pre-Romanesque Art": www.green-man-of-cercles.org/articles/alexander.pdf

One of the first printed records about this gate stated in 1859 "Of all old monuments in the Rhine valley, none as mysterious as the portal (...) near the church in Remagen". The Pfarrhoftor (= Gateway to the parish close) still is enigmatic. It may have been erected for a nearby monastery, that centered around an St. Apollinaris shrine, it may have been in deed a gate to a parish close. Actually it known since the 17th century, when parts of it were found, walled in between the rectory and the encircling wall. The parts were recovered and like pieces of a puzzle joined together. Though the cope stone was lost, the large arch was easy to reconstruct. Wether the smaller side portal originally was left or right is unclear. The 22 carved reliefs here have triggered more than a dozend different theories. I will quote some. The carving style was not appreciated by the art-historians. Already Wilhelm Bode ("Geschichte der Deutschen Plastik") wrote in 1887 that the carver was "without any artistic ambition". For me this portal has parallels in Linden and Goegging. All three portals are roughly carved - and enigmatic, blending christian, pagan and ancient icons. The only point, that is undisputed is, that the portal was erected in the second half of the 12th century. It may be, that the reliefs, seen here, are just single icons, that are not interconnected to a certain "iconographic program". This is claimed by Paul Clement (1938), Georg Dehio (1933) and Josef Minn (1942). In 1947 Albert M. Koeniger published the results of his research, interpreting the reliefs at the large gate as icons of eight (!) deadly sins as described by Bishop Burchard of Worms (965-1025), author of a canon law collection (aka "Decretum Burchardi"), while the reliefs at the smaller entrance, stand for "hubris". The center over the small entrance. Under a clumsy lion is the only competely "clear" and undisputed relief. I will upload a close up of this carving next.

In 1927, what is pretty recent, the city "Borgo San Donnino" changed it´s name to "Fidenza", as in Roman times it was known as "Fidentia Julia". The city was named and the Duomo inside the walls was dedicated to San Donnino di Fidenza (aka "Domninus of Fidenza"), who was martyred nearby in 291. Sigeric the Serious, Archbishop of Canterbury, made the pilgrimage to Rome following the Via Francigena around 990. His contemporary records of this journey still exist (and are source for the modern guide books). He reached "Sce Domnine" after 36 days, what is pretty fast for more than 1000kms. The erection of the Cattedrale di San Donnino started in the 11th century, the first consecration took place in 1106, though the building process continued. From around 1200 on Master Benedetto Antelami and his workshop worked here, not only as Master masons. Antelami may as well be the architect of the facade. Frederick Barbarossa had entrusted "Borgo San Donnino" to the Pallavicino family of Piacenza. In 1268 - after a siege - the city was conquered by the troops of Parma, who looted and burnt down it completely. All houses got destroyed at that time just the Duomo was saved, but it was not completed at that time. The building process came to a stop - and was never continued. Here is Alexander the Great going up to heaven in a basket, powered by two griffins. Alexander controls the griffins by holding up two roasted puppies on sticks. Julianna Lees has published a very interesting article, titled "Representations of the Fantastical Adventures of Alexander the Great in Romanesque and pre-Romanesque Art" on her website: www.green-man-of-cercles.org/articles/alexander.pdf