Abbey of Sant'Antimo

40 – Brother Giovanni continues to speak, “The sculptures at Sant’Antimo denote a particularly high level of artistic quality, not only in relation to Sienese architecture, but also to that of the rest of Tuscany. And this notwithstanding the fact that they contain motifs habitually found in the Roman world (foliage – Mediterranean influence; geometric forms - Irish influence; biblical or mythological animals - Byzantine influence). This confirms the extraordinary talent of the masters who worked for this imposing enterprise. The refined geometric and vegetal motifs, so precise in design and with intaglios so clear cut, denote a matrix which is to be found at Auvergne (Languedoc). The other capitals in the ambulatory, however, denote Lombard characteristics. It is therefore possible that two workshops, one French, and the other Lombard (Pavia) worked at Sant’Antimo. It may also be presumed that the work had been accomplished by a single group of workers who had stayed at Auvergne. (Link).

41 – “Now fix your gaze on the majestic figure of Christ above the altar. It is of polychrome wood and dates back to the 13th century, reflecting a French influence (more exactly from Burgundy). It may well be that the execution of this work had been assigned to a sculptor – monk or layman – who stopped here for as much time as was necessary to realise this masterpiece. We know that the same sculptor executed the crucifix of Abbadia San Salvatore on Monte Amiata, prior to that of Sant’Antimo. Do you see - the Christ is standing upright on the cross, the head slightly bent towards the right, the eyes open (once coloured), with the arms almost horizontal, in order to embrace the world, and you also. The knees are a little bent. The feet appear to be slightly detached from the altar, because after having formed a total union with the altar during the Eucharist, now the Body begins to ascend to heaven, to attain to that glory assigned him from all eternity. He suffers no more. He has risen and lives forever. In this instant the artist has fixed him.”

42 – In silence he contemplates the face of the Christ. Then goes on to say, “Now I want to show you another artistic jewel, a masterpiece of medieval sculpture - the capital of Daniel in the lion’s den, a work of the master of Cabestany, a real genius.”
We move towards the second column from the main portal, placed along the southern side. Not to be struck by the inventive style, the artistic quality, and scenic impact of the capital at the top of this column, is impossible. As I admire the sculpture, my guide explains, “Travertine was used for the capital, and alabaster for the abacus, and it is surmounted on a pillar of a more recent period. On one side, we see Daniel in the attitude of prayer amongst the hungry lions; on the other side, the lions devouring his accusers…”
At this point, the brother takes out a little Bible from his pocket, and reads as follows: ‘The accusers threw Daniel into a den where the lions were kept, where he spent six whole days. Seven lions were there in the den, and each day two human bodies were given them as food, and two sheep; but now they were kept unfed, so that Daniel might be their prey. Far away, in Judea, the prophet Habacuc had made a broth, and while crumbling bread into the bowl, was carrying it to the reapers on the farm. When suddenly the angel of the Lord said to him, “Take the dinner thou hast with thee to Babylon, and give it to Daniel; he is in the lion’s den.” “Lord,” said Habacuc, “I was never yet in Babylon, and know nothing of any lion’s den there.” Upon which the angel of the Lord caught at his head and lifted him by the hair of it; then by the force of his impulse, set him down in Babylon, close to the den. So Habacuc cried out, “Daniel! Servant of God! The Lord has sent thee thy dinner; come and take it.” And Daniel said, “Thou would’st not forget me O God, would’st not forsake such as love thee.” So he rose and ate, while the angel of the Lord brought Habacuc, all at once, back to his home. When the seventh day came, the king went out to mourn for Daniel; and now reaching the den and looking in, he saw Daniel seated amongst the lions. And at that the king cried aloud, “How great thou art o Lord, thou who art Daniel’s God! And no other God exists if not you! And he took him out of the lion’s den, and shut up there, instead, the men who had conspired to ruin him; and in a moment, as he watched, the lions devoured them.’

43 – The brother then goes on to say, “The master of Cabestany, certainly well acquainted with Holy Scripture, described this story taken from the book of the prophet Daniel (c. 14) on the lower section of the capital (bell). Sculptured in a semi-sitting position, Daniel is surrounded by five lions licking his feet.”
“But who are the two figures to the right of Daniel? The capital is very high, and I’m not able to see so well up there.”
“The figure with a beard, is Habacuc, while the other is the angel holding him by the hair. Habacuc is offering some food wrapped up in a precious cloth. If we move to the other side of the capital, we find the rest of the scene; in fact, here we see two lions devouring Daniel’s accusers, sculptured rather surprisingly in a fetal position.”
“Do pardon me, but why did the story of Daniel have to be represented? It’s so terrifying! What could be the meaning of this?”
“Francesco, as already explained, the Christian culture of the Middle Ages abounds in symbolism, which can also enrich spiritual life. Saint Augustine, in a comment on the psalm 132, draws a comparison between three types of men in the church, and three personages of the Old Testament – Noah represents the priests, Job the laymen, and Daniel the monks. To tell the story of Daniel means thus to instruct and admonish the monks at Sant’Antimo, and all the pilgrims in transit at the abbey. Saint Jerome offers another key of interpretation in a commentary on the story of Daniel, creating a parallelism between the figure of the Prophet and that of Christ. In the same way as Daniel, who had been accused unjustly, and thrown into the lion’s den - symbol of hell with the devils – came out victorious on account of his faith in the living God, so too Christ, the Just One without sin, accused by his enemies, nailed to the cross, and laid in the tomb, rises on the third day, to overcome death forever. ‘Praise to thee, Lord, thou hast taken me under thine protection, and baulked my enemies of their will; I cried out to the Lord my God (raised hand of Daniel) and thou did’st grant me recovery. So did’st thou bring me back, Lord, from the place of shadows, rescue me from the edge of the grave.’ This versicle from the psalm 29, expresses the hailing cry of Christ, the Son, in thankfulness towards the Father, on the morning of the resurrection.”
“I begin to understand.”

44 – “The master of Cabestany also tried to apply an allegorical interpretation to the narrative. On the abacus (upper section of the capital), monsters, dragons and lions biting their tails and tearing each other to pieces are depicted. These horrible, ferocious beasts symbolise death and the devil defeated by the risen Christ. The two birds biting the serpent, assume a similar sense - life winning over death. On the opposite side of the abacus, fruit and flowers are being sapped by little treacherous coiling serpents, to signify that during the life of everyone who believes in the risen Christ, many mortal dangers lie insidiously hidden.”
Brother Giovanni looks at the capital, and then at the twin lancet window above the presbytery. “Do you know what I saw last year during the spring period? During the month of April the sunrays pass through the twin lancet window and light up the capital for a few minutes. This leads us to think that in constructing this church they may well have left, as yet, another symbolic sign – the symbol of the resurrection lit up during that month when Easter is generally celebrated. This capital could deliberately have been collocated, therefore, in this position.”

45 – “And this isn’t all,” my friend explains, “because also two other casts belonging to the master Cabestany exist. The first work consists of a base for the large paschal candle. The original is to be found in the Museum of Sacred Art at San Casciano in the Val di Pesa, near Florence. The artistic column came from the church of San Giovanni in Sugana, one of the many churches which were subject to the abbey of Sant’Antimo. One is led to believe that this work, originally executed for the abbey, had, for some unknown motive, landed up in this tiny country church. Sculptured in marble from the Montagnola quarry (near Siena), the column depicts the cycle of Christ’s infancy (Annunciation, Nativity, news to shepherds, bath of child). On a trunk 70 cm high and with a diameter of 28 cm, ten figures, six animals, and a star have been sculptured! Do you realise what an exceptional technical ability this sculptor possessed? This is the unquestionable style of Cabestany!”
“But why sculpture nativity scenes on the base for a candle used at Easter?”
“A very interesting question, Francesco. The reason is as simple as it is profound. From time immemorial the baptismal rite is connected to Easter. Water is an essential item for Baptism; it purifies and regenerates. For medieval Christians, the water that had touched the pure and holy infant, Jesus, when immersed in the basin, represented the purifying of all water used for baptising. The symbology on the base used for the Paschal candle is strictly related to that of the Daniel capital. By virtue of the baptismal water, one is re-born to a new life, to continue along the way that leads to the resurrection. The pilgrimage made by us a little while ago is thus again evoked. Starting from the little north-side door at the Baptismal Fount, which signs a new life in Christ, the itinerary finishes on the opposite side, at he capital of Cabestany – to consign an extreme certainty - the resurrection of the flesh.” (Link).

46 – Brother Giovanni turns towards the statue of the Virgin behind him, and continues, “On the 11th May, the patron feast-day, the people of Castelnuovo dell’Abate carry in procession a copy of the Virgin of Sant’Antimo. It’s a wooden statue of the 13th century (Umbrian school). The Virgin is sitting on a well- decorated throne, and holds the child Jesus on her knees. A portrayal of this type was frequent in the Middle Ages, when the Virgin was venerated as the ‘seat of wisdom.’ The date on which this statue arrived at Sant’Antimo, is unknown, but she is cited in 1655 as a ‘powerful Protectress’ of the inhabitants of the region. Still most venerated, the Virgin of Sant’Antimo protects the abbey and its children from many dangers, and grants them many favours. Two other works belonging to the abbey, are currently in the museum of Montalcino: a crucifix from the 11th or 12th century painted in distemper, and a Bible from the 12th-13th century.”

47 – Once again we move towards the exit. On the inner side of the façade I notice some vestiges of plaster. Before I could ask a question, the brother explains, “This plaster suggests that the walls of the church may well have been partially decorated with frescoes, following the custom of the epoch.”
He then places his hand on a sculptured lion next to the portal, and continues, “These lions are in travertine, and one of them, as can be seen, is still perfectly preserved. Some art critics would ascribe it to Cabasteny, even if it does not seem to be the style of the master. The lion carries a base on its back which serves to sustain a column; it is a column-bearing lion, which, together with the other, unfortunately severely damaged, was destined to stand on the outside, next to the portal.”