Martin M. Miles' photos with the keyword: Daniel in the lions' den

Legends tell, that in 490, 492 and 493 the archangel Michael appeared to a shepherd and a bishop in front of a grotto. Archangel Michael instructing them to convert that cave into a Christian church. This grotto became the site of many pilgrimages since the early Middle Ages. It is said, that this is the oldest shrine in Western Europe When the Lombards successfully conquered southern Italy end of the 6th century, King Grimoald in 662 passed on the region to his son, Romuald I, who renovated the sanctuary and encouraged its use as a pilgrimage site. It got very popular for pilgrims on their way to Jerusalem and as well for pilgrims who had followed the Via Francigena to Rome and then continued to the grotto. Many Popes have been here, but as well Bridget of Sweden, Bernard of Clairvaux, Thomas Aquinas, Matilda of Tuscany, Otto III... Only about 100 meters south of the sanctuary is a complex of (once) three interconnected and partially nested buildings. The apse of the Church of San Pietro, the Church of Santa Maria Maggiore and the "Tomba di Rotari" (aka "San Giovanni Battista in Tomba"). It was believed, that this was the mausoleum of the Lombardian King Rothari, but that was a misinterpretation. The consent now, is, that the 12th structure was a baptistery, dedicated to John the Baptist. There are some nice capitals inside the baptistery. Here is the "Daniel in the lions' den" - a "Master of Beasts".

Christianity had reached Trier early and so since Roman times monks had lived here. In 977 the monks adopted the Rule of St. Benedict. The Benedictian Abbey was named after St. Eucharius, as the relics of St. Eucharius and St. Valerius, the first Bishops of Trier, were kept here. During the demolition work of the predecessing church a tomb containing the relics of Apostle Matthias (St. Mathew) were discovered! Legends arose, that there were sent to the monastery by Empress Helena, mother of the Roman Emperor Constantine the Great, who had lived in Trier. The monastery´s name was changed to "Abtei St. Matthias" immediately and this was a center of pilgrimage from then on. Though "perfectly" placed to the North of Europe it never gained the importance of Santiago de Compostela (about 1800 kms southwest) or Rome (1200 kms south). There are still pilgrims today, heading to this church, offering the only grave of an Apostle north of the Alps. When I started to walk to Santiago, I started exactly here. The abbey existed upto 1794, when the last monks left it. The abbey got secularised and sold to a local entrepeneur. In the 1920s monks returned to St. Matthias. Today the church is used as an abbey- and a parish church. St. Matthias, seen today is the result of many renovations and rebuildings over the centuries, but it is still a Romanesque structure. One of the capitals of the western facade depicts Daniel in the lions' den DANIEL PROPHETA) and Habakuk being airlifted to the den by an angel (ABACUL) bringing food. Apocrypha 14 "Now the prophet Habakkuk was in Judea. He had boiled pottage and had broken bread into a bowl, and was going into the field to take it to the reapers. But the angel of the Lord said to Habakkuk, "Take the dinner which you have to Babylon, to Daniel, in the lions' den." Habakkuk said, "Sir, I have never seen Babylon, and I know nothing about the den." Then the angel of the Lord took him by the crown of his head, and lifted him by his hair and set him down in Babylon, right over the den, with the rushing sound of the wind itself."

Parma, part of the Holy Roman Empire since Charlemagne´s times, was locally ruled by its bishops. During the long Investiture Controversy, Parma was (mostly) member of the Imperial party ("Ghibellini"). Two of Parma´s bishops even became antipopes: Càdalo as Honorius II and Guibert as Clement III. An almost independent commune was created around 1140. After the Peace of Constance confirmed the Italian communes' rights of self-governance in 1183, quarrels with the neighbouring communes (eg Piacenza and Cremona) developed over the trading lines along the Po river. When in 1248 Papist families ("Guelphs") gained control over the city, Emperor Frederick II (aka "Stupor Mundi") besieged Parma with no success. This were the circumstances, when in 1196 the City Council of Parma commissioned the building of the Battistero di San Giovanni to Benedetto Antelami. In 1216 the second tier was completed. The work stopped under a temporary roof. It continued in 1249 and the octagon, located next to the cathedral, was finally completed in 1270. The interior of the baptistery contains sixteen arches, forming alcoves each containing a painted scene. All these are 13th and 14th century frescoes. The dome is like an umbrella - sixteen rays come out of the center of the ceiling. Each corresponds to an arch below. Below the large triangular frescoes are tiers with carvings, sculptures and even more frescoes. Inbetween are columns and capitals. Here is Habakkuk delivering food to hungry Daniel in the lions' den. Daniel 14:33-36 "Now the prophet Habakkuk was in Judea; he had made a stew and had broken bread into a bowl, and was going into the field to take it to the reapers. But the angel of the Lord said to Habakkuk, "Take the food that you have to Babylon, to Daniel, in the lions’ den." Habakkuk said, "Sir, I have never seen Babylon, and I know nothing about the den." Then the angel of the Lord took him by the crown of his head and carried him by his hair; with the speed of the wind, he set him down in Babylon, right over the den."

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. A detail of the facade, carved by Benedetto Antelami and/or his workshop. Apostle Simon (the Zealot) Simon shows the pilgrim the way to Rome. He looks somehow "stiff", compared to "Daniel in the lions' den" just below him.

The museum, located just behind the Cathedral, is not large, but hosts a tremendous collection. Part of the museum is the bishop´s private chapel, built end of the 5th century and dedicated to Sant'Andrea. The famous "Throne of Maximian" (= "Cattedra di Massimiano"), carved from ivory ~ 550, is on display and many other delicate works of art. Unfortunately to take photos here is - not allowed. So I could take only very few, before getting a warning The same reliquary (6th c.) seen on the previous upload. "Daniel in the lions' den". To the right is Habakkuk, bringing the food.

It is proven, that the Abbazia di Sant'Antimo existed since Carolingian times. Legends (of course) know, that it was Charlemagne himself, who founded the abbey when he had left Rome, following the Via Francigana northward. The earliest document relating to the abbey is a land grant of Charlemagne´s son Louis the Pious from 813. One year after the 1117 Verona earthquake, that destroyed so many buildings in Northern Italy, the erection of the church of today started. At that time the a powerful abbey was one of the largest landowners in the area. The decline started in 1212, when, after a decade of hostility, an agreement stated that the abbey had to hand over a quarter of its territories to Siena, including Montalcino. With the rise of the Dominican and the Franciscan Order, the Benedictines lost more influence. In 1462 Pope Pius II surpressed the abbey (just like Abbadia Ardenga, see previous uploads), annexed what ever was left - and handed it over to the Bishop of of Montalcino-Pienza, who was Pius' nephew. The church is about 43 metres long. The church is often compared to Saint-Étienne in Vignory (consecrated ~ 1050 /Burgundy /~ 1000 kms northwest). The influence of French architects and artists, maybe connected to Cluny, is undisputed. There are many sculpted capitals along the nave. This one, depictig "Daniel in the lions' den", is best known, as it is attributed the the "Master of Cabvestany", whose The artistic style is very dynamic and creativ. The faces have almond eyes, a sharp nose, great ears and a triangular shape. The fingers of the hands are long, sometimes perspective.. ... The "Maître de Cabestany" ("Master of Cabestany") is known under this name since the 1930s when a tympanum and other carvings were found in Cabestany (near Perpignan). The carving had been used as "building materials" inside a wall of the local cementery. Research started and so far more than 120 carvings of these origins, all carved within the second half of the 12th century, are known. The carvings are spread over an area between the Tuscany in Italy, Southern France - and Catalonia in Spain. This led to the theory, that the "Maître de Cabestany" may not be a single master-carver, but a studio, where carvers learned this style. Meanwhile there is a museum in Cabestany, to is dedicated to these works of art - and their creator(s). www.maitre-de-cabestany.com/

It is proven, that the Abbazia di Sant'Antimo existed since Carolingian times. Legends (of course) know, that it was Charlemagne himself, who founded the abbey when he had left Rome, following the Via Francigana northward. The earliest document relating to the abbey is a land grant of Charlemagne´s son Louis the Pious from 813. One year after the 1117 Verona earthquake, that destroyed so many buildings in Northern Italy, the erection of the church of today started. At that time the a powerful abbey was one of the largest landowners in the area. The decline started in 1212, when, after a decade of hostility, an agreement stated that the abbey had to hand over a quarter of its territories to Siena, including Montalcino. With the rise of the Dominican and the Franciscan Order, the Benedictines lost more influence. In 1462 Pope Pius II surpressed the abbey (just like Abbadia Ardenga, see previous uploads), annexed what ever was left - and handed it over to the Bishop of of Montalcino-Pienza, who was Pius' nephew. The church is about 43 metres long. The church is often compared to Saint-Étienne in Vignory (consecrated ~ 1050 /Burgundy /~ 1000 kms northwest). The influence of French architects and artists, maybe connected to Cluny, is undisputed. There are many sculpted capitals along the nave. This one, depictig "Daniel in the lions' den", is best known, as it is attributed the the "Master of Cabvestany", whose The artistic style is very dynamic and creativ. The faces have almond eyes, a sharp nose, great ears and a triangular shape. The fingers of the hands are long, sometimes perspective.. ... The "Maître de Cabestany" ("Master of Cabestany") is known under this name since the 1930s when a tympanum and other carvings were found in Cabestany (near Perpignan). The carving had been used as "building materials" inside a wall of the local cementery. Research started and so far more than 120 carvings of these origins, all carved within the second half of the 12th century, are known. The carvings are spread over an area between the Tuscany in Italy, Southern France - and Catalonia in Spain. This led to the theory, that the "Maître de Cabestany" may not be a single master-carver, but a studio, where carvers learned this style. Meanwhile there is a museum in Cabestany, to is dedicated to these works of art - and their creator(s) www.maitre-de-cabestany.com/

It is proven, that the Abbazia di Sant'Antimo existed since Carolingian times. Legends (of course) know, that it was Charlemagne himself, who founded the abbey when he had left Rome, following the Via Francigana northward. The earliest document relating to the abbey is a land grant of Charlemagne´s son Louis the Pious from 813. One year after the 1117 Verona earthquake, that destroyed so many buildings in Northern Italy, the erection of the church of today started. At that time the a powerful abbey was one of the largest landowners in the area. The decline started in 1212, when, after a decade of hostility, an agreement stated that the abbey had to hand over a quarter of its territories to Siena, including Montalcino. With the rise of the Dominican and the Franciscan Order, the Benedictines lost more influence. In 1462 Pope Pius II surpressed the abbey (just like Abbadia Ardenga, see previous uploads), annexed what ever was left - and handed it over to the Bishop of of Montalcino-Pienza, who was Pius' nephew. The church is about 43 metres long. The church is often compared to Saint-Étienne in Vignory (consecrated ~ 1050 /Burgundy /~ 1000 kms northwest). The influence of French architects and artists, maybe connected to Cluny, is undisputed. There are many sculpted capitals along the nave. This one, depictig "Daniel in the lions' den", is best known, as it is attributed the the "Master of Cabvestany", whose The artistic style is very dynamic and creativ. The faces have almond eyes, a sharp nose, great ears and a triangular shape. The fingers of the hands are long, sometimes perspective.. ... The "Maître de Cabestany" ("Master of Cabestany") is known under this name since the 1930s when a tympanum and other carvings were found in Cabestany (near Perpignan). The carving had been used as "building materials" inside a wall of the local cementery. Research started and so far more than 120 carvings of these origins, all carved within the second half of the 12th century, are known. The carvings are spread over an area between the Tuscany in Italy, Southern France - and Catalonia in Spain. This led to the theory, that the "Maître de Cabestany" may not be a single master-carver, but a studio, where carvers learned this style. Meanwhile there is a museum in Cabestany, to is dedicated to these works of art - and their creator(s) www.maitre-de-cabestany.com/

It is proven, that the Abbazia di Sant'Antimo existed since Carolingian times. Legends (of course) know, that it was Charlemagne himself, who founded the abbey when he had left Rome, following the Via Francigana northward. The earliest document relating to the abbey is a land grant of Charlemagne´s son Louis the Pious from 813. One year after the 1117 Verona earthquake, that destroyed so many buildings in Northern Italy, the erection of the church of today started. At that time the a powerful abbey was one of the largest landowners in the area. The decline started in 1212, when, after a decade of hostility, an agreement stated that the abbey had to hand over a quarter of its territories to Siena, including Montalcino. With the rise of the Dominican and the Franciscan Order, the Benedictines lost more influence. In 1462 Pope Pius II surpressed the abbey (just like Abbadia Ardenga, see previous uploads), annexed what ever was left - and handed it over to the Bishop of of Montalcino-Pienza, who was Pius' nephew. The church is about 43 metres long. The church is often compared to Saint-Étienne in Vignory (consecrated ~ 1050 /Burgundy /~ 1000 kms northwest). The influence of French architects and artists, maybe connected to Cluny, is undisputed. There are many sculpted capitals along the nave. This one, depictig "Daniel in the lions' den", is best known, as it is attributed the the "Master of Cabvestany", whose The artistic style is very dynamic and creativ. The faces have almond eyes, a sharp nose, great ears and a triangular shape. The fingers of the hands are long, sometimes perspective.. ... The "Maître de Cabestany" ("Master of Cabestany") is known under this name since the 1930s when a tympanum and other carvings were found in Cabestany (near Perpignan). The carving had been used as "building materials" inside a wall of the local cementery. Research started and so far more than 120 carvings of these origins, all carved within the second half of the 12th century, are known. The carvings are spread over an area between the Tuscany in Italy, Southern France - and Catalonia in Spain. This led to the theory, that the "Maître de Cabestany" may not be a single master-carver, but a studio, where carvers learned this style. Meanwhile there is a museum in Cabestany, to is dedicated to these works of art - and their creator(s). www.maitre-de-cabestany.com/

The church was erected over an older structure, likely once an ancient Roman Temple. It was probably consecrated in 1175, as there is an inscription with this date over the portal. Santa Maria Impensole has a nave an two aisles, subdivided by rounded stone arches with capital with allegorical figures. This capital could well depict Daniel in the lions' den, but the lions seem very aggressive. Maybe this is a martyr before being teared apart and devoured by the lions.

The former church of a priory, built 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. In the 19th century the dedication changed to Saint-Bonnet and some decades ago to Saint-Bénilde, a saint born in Thuret in 1805 under the name Pierre Romançon. There are interesting carvings here. Ever since the art history discovered them as specific works of art, they have been a subject in the literature. B. Craplet ("Auvergne roman", 1992) describes the carvings just as "unskilled". He in general disagrees with Z. Swiechowski ("Sculpture Romane D'auvergne", 1973), who sees this as the work of "naive folk art". A. Gybal ("L´Auvergne, berceau de l´artroman", 1958) describes a specific "Thuret-style" being a totally simplified work of art. Only to be found here. For him, the implification is the result of the artists inspiration. He makes totally clear, that this is not "folk art" ("l`art populaire"), but the result of artistic work of very skilled monks ("moines tres cultives"). According to the literature this capital depicts "Daniel in the lions' den". I am not really sure. It does not have the "common" composition, where Daniel "holds" the lions. In the center is a person standing in the gesture of praying, "protected" by two angels (the right one is lost) from two animals (only one can be seen from this pov). This carving does not have that minimalistic approach just seen at "Adam and Eve". Bernard Craplet wrote "Is there a hidden message within the unskilled sculptures? This is probably not the case. Neither here nor somewhere else." Sorry for the bad quality of the photo.

Notre-Dame la Grande, a former collegiate church, was completed within the 11th century. The church replaced an older one, known since the 9th century. It got enlarged by two spans (and a fantastic facade) within the first half of the 12th century, but the largest part of the nave is 11th century. The church was restored mid 19th century. Following the fashion, the columns and the vaults got painted with polychrome "byzantine" motifs. Some of the capitals got painted as well. Here is a Master of Beasts. Could be Daniel in the lions' den, but what is Daniel holding? Or somebody holding four large dogs on leashes. The the object the person is holding are the handles of the leashes then.

The parish church in Saujon is a sober structure, erected 1679. Since 1912 the nave hosts four Romanesque capitals that once were part of a church dedicated to Saint Martin, that got "lost" during the French Revolution. The capitals are masterly carved. Following the informations provided in Saujon, this capital depicts Daniel in the lions' den. It differs from the many "Masters of Beasts" I saw so far, as Daniel here sits in a mandorla.