Medieval Bronze

The construction of the "Duomo" began in 1064 by the architect Busketo, who set the model for the distinctive Pisan Romanesque style of architecture. When the construction of this cathedral started, Pisa was on a height of political (and financial) power. Pisa was an important commercial centre controlling large parts of the Mediterranean merchant fleet and navy. In 1017 Pisa had militarily supported the Sardinian "Giudicati" (regional kings) to defeat Saracen troops in the north of Sardinia. Between 1030 and 1035, Pisa defeated rival towns in Sicily. In 1051–1052 Jacopo Ciurini conquered Corsica. In 1063 Giovanni Orlando took Palermo from the Saracen. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of the cathedral. The bronze doors of the cathedral´s Porta San Ranieri survived the fire, that severely damaged the cathedral in 1595. The doors were sculpted by Bonanus of Pisa around 1180.

The construction of the "Duomo" began in 1064 by the architect Busketo, who set the model for the distinctive Pisan Romanesque style of architecture. When the construction of this cathedral started, Pisa was on a height of political (and financial) power. Pisa was an important commercial centre controlling large parts of the Mediterranean merchant fleet and navy. In 1017 Pisa had militarily supported the Sardinian "Giudicati" (regional kings) to defeat Saracen troops in the north of Sardinia. Between 1030 and 1035, Pisa defeated rival towns in Sicily. In 1051–1052 Jacopo Ciurini conquered Corsica. In 1063 Giovanni Orlando took Palermo from the Saracen. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of the cathedral. The bronze doors of the cathedral´s Porta San Ranieri survived the fire, that severely damaged the cathedral in 1595. The doors were sculpted by Bonanus of Pisa around 1180.

The construction of the "Duomo" began in 1064 by the architect Busketo, who set the model for the distinctive Pisan Romanesque style of architecture. When the construction of this cathedral started, Pisa was on a height of political (and financial) power. Pisa was an important commercial centre controlling large parts of the Mediterranean merchant fleet and navy. In 1017 Pisa had militarily supported the Sardinian "Giudicati" (regional kings) to defeat Saracen troops in the north of Sardinia. Between 1030 and 1035, Pisa defeated rival towns in Sicily. In 1051–1052 Jacopo Ciurini conquered Corsica. In 1063 Giovanni Orlando took Palermo from the Saracen. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of the cathedral. The bronze doors of the cathedral´s Porta San Ranieri survived the fire, that severely damaged the cathedral in 1595. The doors were sculpted by Bonanus of Pisa around 1180.

The construction of the "Duomo" began in 1064 by the architect Busketo, who set the model for the distinctive Pisan Romanesque style of architecture. When the construction of this cathedral started, Pisa was on a height of political (and financial) power. Pisa was an important commercial centre controlling large parts of the Mediterranean merchant fleet and navy. In 1017 Pisa had militarily supported the Sardinian "Giudicati" (regional kings) to defeat Saracen troops in the north of Sardinia. Between 1030 and 1035, Pisa defeated rival towns in Sicily. In 1051–1052 Jacopo Ciurini conquered Corsica. In 1063 Giovanni Orlando took Palermo from the Saracen. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of the cathedral. The bronze doors of the cathedral´s Porta San Ranieri survived the fire, that severely damaged the cathedral in 1595. The doors (see previous uploads) were sculpted by Bonanus of Pisa around 1180. Here is a detail: The "Annunciation to the shepherds". Below the shepherds, the midwives prepare the "First Bath", watched by Mary and Joseph. The inscription reads NATIVITAS DEI.

The construction of the "Duomo" began in 1064 by the architect Busketo, who set the model for the distinctive Pisan Romanesque style of architecture. When the construction of this cathedral started, Pisa was on a height of political (and financial) power. Pisa was an important commercial centre controlling large parts of the Mediterranean merchant fleet and navy. In 1017 Pisa had militarily supported the Sardinian "Giudicati" (regional kings) to defeat Saracen troops in the north of Sardinia. Between 1030 and 1035, Pisa defeated rival towns in Sicily. In 1051–1052 Jacopo Ciurini conquered Corsica. In 1063 Giovanni Orlando took Palermo from the Saracen. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of the cathedral. The bronze doors of the cathedral´s Porta San Ranieri survived the fire, that severely damaged the cathedral in 1595. The doors (see previous uploads) were sculpted by Bonanus of Pisa around 1180. Here is a detail: The Magi approaching Bethlehem. Below them scenes from the Garden of Eden.

The construction of the "Duomo" began in 1064 by the architect Busketo, who set the model for the distinctive Pisan Romanesque style of architecture. When the construction of this cathedral started, Pisa was on a height of political (and financial) power. Pisa was an important commercial centre controlling large parts of the Mediterranean merchant fleet and navy. In 1017 Pisa had militarily supported the Sardinian "Giudicati" (regional kings) to defeat Saracen troops in the north of Sardinia. Between 1030 and 1035, Pisa defeated rival towns in Sicily. In 1051–1052 Jacopo Ciurini conquered Corsica. In 1063 Giovanni Orlando took Palermo from the Saracen. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of the cathedral. The bronze doors of the cathedral´s Porta San Ranieri survived the fire, that severely damaged the cathedral in 1595. The doors (see previous uploads) were sculpted by Bonanus of Pisa around 1180. Here is a detail: Herod ("ERODI") and the "Massacre of the Innocents".

On top of the Cathedral´s apse is a replica of this sculpture. This is the original "Pisa Griffin". It is in Pisa since medieval times. It is of Islamic origin. It is 1.07m high - and the largest medieval Islamic metal sculpture known. It was probably casted in Spain (Al-Andaluz) within the 11th century. There is even an Islamic inscription in Kufic letters around the griffin´s breast. The griffin was probably a trophy piece, brought to Pisa during the many wars against the Saracens during the 11th century.

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. The bronze door, I had seen outside is a replica. This is the original created by Barisano da Trani around 1185. Barisano de Trani, a master of the art of bronze casting, was probably influenced by Byzantine and Arab artists. He created moulds to create the panels, and then fastened the panels on a wooden frame. Every panel told a story - and many stories got lost..

Louis the Pious (aka "Louis I the Fair)", King of Aquitaine, the only surviving adult son of Charlemagne, had a castle here. When in 898, the monks of Saint-Maixent (Poitou) fled the norman invasion, they found shelter in that castle. With them they had carried the relics of Saint-Leger and Saint Maixent, being probably the most valuable possesion they had. The castle was given to the monks by Louis´son, opponent and successor Lothair and transformed into a monastery. Between the 10th and the 13th century, the very large abbey church was erected. Through the pilgrimage to the valuable relics, that were on display here, the abbey got pretty important in medieval times. Times changed over the centuries. In 1744 "Abbe Sade", uncle of the Marquis de Sade got this abbey as a prebendary. The abbey was financially ruined. Already in 1768, years before the Revolution, the abbey was given up and old buildings were used as a hospital. Here is one of the two lion-heads from the doors. The wooden doors had been covered by red dyed leather. I do not think that this is still the original leather. The inscription around the plate reads "ADEST PORTA PER QUAM JUSTI REDEUNT AD PATRIAM" (This is the door through which the righteous ones return home).

Charlemagne founded, during the Saxon Wars, the diocese of Bremen. In 787 Saint Willehad became the first Bishop. He erected the first (wooden) church here in 789. Three years later Saxons attacked Bremen and burned down its timber cathedral. The "new" cathedral, erected by Willehad´s successors burnt down with many buildings around in 1041, due to arson. The cathedral was rebuilt as a pillared basilica. A (still existing) crypt was built under the west part of the nave. The archbishop even brought craftsmen from Lombardy to embellish the cathedral. This may have been expensive, so he tried to be pennywise, by tearing down parts of the fortification and using the stones for the cathedral. This was not wise, as it lead to the return of the Saxons, sacking Bremen and the cathedral in 1064. The cathedral again was rebuilt probably within the 12th century, the lower storeys of the western façade and towers are constructed in Romanesque style. Continuing the construction over the next centuries, the styles changed. What is seen today is largely the result of a reconstruction of the 19th century, after the citizens had decided to restore the cathedral to its medieval glory. The cathedral was reopend in 1901. The former catholic cathedral belongs to the Bremian Evangelical Church. The baptismal font was created around 1230 using the technique of lost-wax casting ("cire perdue"), like the baptismal fonts in Hildesheim and Liege. The volume of the font is one "oxhoft" (similar to "hogshead", "hhd"), what today is 227,4 liters. Four lion-riders support the font, that has a diametre of 95cm.

Charlemagne founded, during the Saxon Wars, the diocese of Bremen. In 787 Saint Willehad became the first Bishop. He erected the first (wooden) church here in 789. Three years later Saxons attacked Bremen and burned down its timber cathedral. The "new" cathedral, erected by Willehad´s successors burnt down with many buildings around in 1041, due to arson. The cathedral was rebuilt as a pillared basilica. A (still existing) crypt was built under the west part of the nave. The archbishop even brought craftsmen from Lombardy to embellish the cathedral. This may have been expensive, so he tried to be pennywise, by tearing down parts of the fortification and using the stones for the cathedral. This was not wise, as it lead to the return of the Saxons, sacking Bremen and the cathedral in 1064. The cathedral again was rebuilt probably within the 12th century, the lower storeys of the western façade and towers are constructed in Romanesque style. Continuing the construction over the next centuries, the styles changed. What is seen today is largely the result of a reconstruction of the 19th century, after the citizens had decided to restore the cathedral to its medieval glory. The cathedral was reopend in 1901. The former catholic cathedral belongs to the Bremian Evangelical Church. The baptismal font was created around 1230 using the technique of lost-wax casting ("cire perdue"), like the baptismal fonts in Hildesheim and Liege. The volume of the font is one "oxhoft" (similar to "hogshead", "hhd"), what today is 227,4 liters. Four lion-riders support the font, that has a diametre of 95cm.

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 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 still 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). Here is the second of the medieval door-knockers in Brioude, often descibed in the literatur. I know, that in early times the rings were very important. In case a victim of persecution reached the door and and touched the ring had escaped from secular jurisdictation (by entering the clerical one). This was the handle to the sanctuary. I have seen a lot of medieval lions so far holding the ring. This is the first time, that I saw a monkey. Even B. Craplet describes this as a monkey! But it is not only that, there is another "sensation". Just over the monkey´s head is a signature! "GIRA(L)DUS ME FECIT". "Giraldus made me". Nothing is known about Giraldus, who, other than his collegue Gislebertus (of Autun), worked with metal. Around is engraved "ILLECEBRIS ORIS CAPTOS FALLAX TRA(H)IT ORBIS". - "The artful (devil) misleads the world with alluring lies." So the monkey here gave his face to the devil. The devil has a monkey face. Are all the apes and monkeys that roam through the romanesque Auvergne symbols of the evil? I do not think so, but this one, with his mesmerizing eyes - clearly is.

Cologne is the fourth-largest city in Germany - and one of the oldest. A Germanic tribe, the Ubii, had a settlement here, this was named by the Romans "Oppidum Ubiorum". In 50 AD, the Romans founded "Colonia Claudia Ara Agrippinensium", the city then became the provincial capital of "Germania Inferior". A city with such a history has -of course- many museums. One is the "Museum Schnütgen", devoted to medieval art. In 1906, the collection of Alexander Schnütgen, a theologian and passionate art collector, was donated to the city. Since 1956, the museum has occupied the Romanesque church of St. Cäcilien (1130-1160), that was once part of a monastery founded in 881. An annex was added in the 1950s, but even now only about 10% of all artefacts can be displayed as of course the collection has expanded since Schnütgen´s donation. www.museum-schnuetgen.de/Info Romanesque Bronze Figures of Christ on the Cross.

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. The bronze door, I had seen outside is a replica. This is the original created by Barisano da Trani around 1185. Barisano de Trani, a master of the art of bronze casting, was probably influenced by Byzantine and Arab artists. He created moulds to create the panels, and then fastened the panels on a wooden frame. Here are six of the panels.

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... From the portico, steps lead down to the grotto. Since centuries pilgrims have used these steps. Even now with electric light, it looks very mystic. All the walls are covered with names, carved in by the many pilgrims. Well known are the two doors of the grotto´s Romanesque portal, as they are the oldest such doors in Southern Italy. There is an inscription telling that they were created in Constantinople in 1076 on commission from a noble family from Amalfi, who donated it to the Sanctuary.

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... From the portico, steps lead down to the grotto. Since centuries pilgrims have used these steps. Even now with electric light, it looks very mystic. All the walls are covered with names, carved in by the many pilgrims. Well known are the two doors of the grotto´s Romanesque portal, as they are the oldest such doors in Southern Italy. There is an inscription telling that they were created in Constantinople in 1076 on commission from a noble family from Amalfi, who donated it to the Sanctuary. Here are some details of the doors.

Troia was probably founded by Greek settlers under the name of Aecae. The current Troia was founded as a fortified town in 1018 the by the Byzantine general Basil Boiannes. For long it was a stronghold against the Normans and got besieged by the emperors' Henry II and Frederick II, who destroyed the town in 1229. He did not touch the "Concattedrale della Beata Vergine Maria Assunta in Cielo", erected in the first quarter of the 12th century where a Byzantine church formerly stood, that was apparently constructed largely from the remains of Roman buildings. The Concattedrale di Troia, once the seat of the Bishops of Troia, now a co-cathedral in the diocese of Lucera-Troia, is reckoned a masterpiece of Apulian Romanesque architecture. In particular, it is noted for the bronze doors of the main portal, created by Oderisio da Benevento in niello technique. For Ursula Mende ("Die Bronzetüren des Mittelalters") these are medieval masterpieces. Some parts were added during a restoration in 1573. The inscription on the four panels below reads An[n]o ab incarnatio[n]e/d[omi]ni n[o]stri Ie[s]v Xr[ist]i mil[e]simo/centisimo nondecimo/indictione dvodecima Anno pontificat[us] d[omi]ni/Kalisti P[a]p[e] secvndi p[rimo]/ann[o] dvcat[us] W[ilelmi] Rocerii/clo[rio]si dvcis filii nono Willelmvs secvnd[us]/hui[us] Troiane sedis ep[i]s[copus]/erat svi an[no] XII has/portas fieri fecit DE PROPRIO ECCLESIAE AERARIO IPSAMQUE FABRICAM A FUNDAMENTIS FERE EXIT what translates to In the 1119th year from the incarnation of Our Lord Jesus Christ and in the twelfth indiction / In the first year of the pontificate of the Lord Pope Callixtus II / and the ninth year of the rule of Duke William son of Roger the Glorious / William the Second, who was bishop of the See of Troia, in his twelfth year caused these doors to be made / From his own wealth for the church and the fabric of the same to be raised almost from the foundations.

Troia was probably founded by Greek settlers under the name of Aecae. The current Troia was founded as a fortified town in 1018 the by the Byzantine general Basil Boiannes. For long it was a stronghold against the Normans and got besieged by the emperors Henry II and Frederick II, who destroyed the town in 1229. He did not touch the "Concattedrale della Beata Vergine Maria Assunta in Cielo", erected in the first quarter of the 12th century where a Byzantine church formerly stood, that was apparently constructed largely from the remains of Roman buildings. The Concattedrale di Troia, once the seat of the Bishops of Troia, now a co-cathedral in the diocese of Lucera-Troia, is reckoned a masterpiece of Apulian Romanesque architecture. In particularly it is noted for the bronze doors of the main portal, created by Oderisio da Benevento in niello technique. For Ursula Mende ("Die Bronzetüren des Mittelalters") these are medieval masterpieces. Some parts were added during a restauration in 1573. The inscription on the four panels below reads An[n]o ab incarnatio[n]e/d[omi]ni n[o]stri Ie[s]v Xr[ist]i mil[e]simo/centisimo nondecimo/indictione dvodecima Anno pontificat[us] d[omi]ni/Kalisti P[a]p[e] secvndi p[rimo]/ann[o] dvcat[us] W[ilelmi] Rocerii/clo[rio]si dvcis filii nono Willelmvs secvnd[us]/hui[us] Troiane sedis ep[i]s[copus]/erat svi an[no] XII has/portas fieri fecit DE PROPRIO ECCLESIAE AERARIO IPSAMQUE FABRICAM A FUNDAMENTIS FERE EXIT what translates to In the 1119th year from the incarnation of Our Lord Jesus Christ and in the twelfth indiction / In the first year of the pontificate of the Lord Pope Callixtus II / and the ninth year of the rule of Duke William son of Roger the Glorious / William the Second, who was bishop of the See of Troia, in his twelfth year caused these doors to be made / From his own wealth for the church and the fabric of the same to be raised almost from the foundations.