CAPITALS AND THE ANNUNCIATION ENSEMBLE

The abbey-church Romanesque capitals, numbering around 250, are mainly installed within the church, at the base of the half-centered arches of the ambulatory, the nave and the transept, at the level of tribunes and even at the beginning of the barrel vault, at the base of the arch-bands.

Nowadays well documented and analyzed for their style by Art historians, these pictures cut in stone allow a better understanding of the evolution of the building site, which proceeded from the east to the west. Many sculptors' workshops followed one another or collaborated at the same time, using either red sandstone or limestone.

Right after the interlacing design, a period of figurative motifs and Corinthian-inspired style with angular large leaves, emerged within the capitals. These first sculpted supports can be observed mainly around the apse, from the choir to the ambulatory.

In the tribunes, on the choir and transept level, the capital baskets are ruled by bare leaves. From the end of the 11^th century to the first years of the 12^th, the sculpture of capitals entered its full expansion, under the governance of Abbot Begon and his workshop, the Auvergnate workshop and with pieces realized by the Tympanum master. Some of the most beautiful masterpieces can be found in number, in the tribunes, at the nave level. Profane scenes and, on a lesser degree, religious ones are executed in an exceptionally brilliant manner. In a few cases, the iconography was probably taken from contemporary epic accounts. They diversified more and spread their decor on the abacus, with billet mouldings and foliage networks. They became alive with the most popular figures of the fantastic bestiaries.

The first campaigns of work, under the guidance of abbots Odolric and Etienne II, in the last part of the 11^th century, left one of the most important known ensemble of capitals with interlacing designs, like the one in Sant Pere of Rodes in Catalogna. They count around thirty in total, all cut in red sandstone, set inside the transept minor apses, around the apse and at the northern gate. The interlacing design is a specific motif composed of flat ribbons, mostly made of three threads, crossing each other or forming a knot. Ribbons pass alternately on top of others, like in basketry work, before ending with a palmette.

The four interlaced and palmette capitals, from the northern crossing entrance, are classified among the most spectacular ornamented works from Romanesque times, because of the quality of their style. Years later, this style disappeared completely to the benefit of the classic Corinthian capitals, interpreted by rows of stacked leaves, beveled and slightly detached from the basket at their tip. These leaves are often smooth and empty of all sculpture, looking unfinished.

The first experiments in the representation of the human figure, still with an interlacing background, can be found in the ambulatory. They are preparing for the coming of the figurative capital, which is the result of a fully developed Romanesque sculpture. As we can see in the southern crossing, the "cycle of Saint Peter" occupies three capitals, including the scene of the arrest, the delivery and the crucifixion of the apostles' prince, portrayed head down. On the capital separating the two right choir bays, on the south side, Isaac's sacrifice is set on a location usually reserved for the announcing of Christ on the Cross, next to the master altar.

One of the last capitals, located on the fourth pilaster of the nave, on the north side, is dedicated to the judgment of Saint-Foy, victim of persecution by the emperor Diocletian. Six figures line around the basket, at regular intervals, with their feet resting on the astragal. On the right side, a cross carrying angel rests his hand on Saint-Foy's shoulder, as if to comfort her. A man is catching the saintly girl by the arm, leading her, apparently by force, to stand in front of pro-consul Dacian. On the opposite side, he seats on a throne and is passing the sword to the executioner, the instrument for the beheading. Left of the basket, Dacian's devilish spirit is set as if opposing the guardian angel, depicted as a hideous devil holding a snake in both hands. This expressive figure, created in a well defined manner, was already the forerunner of the tympanum of the Last Judgment.

In Conques, the most important ensemble of capitals is the one inherited from the early 12^th century sculptors, in the tribunes, on top of the side aisles. When one perceives the amount of ornamented capital baskets, animal motives, spreading even to the abacuses, or the human figure, the genius, talent and imagination of these sculptors appears beyond limit. Except for the capital of the Annunciation, all the figurative capitals depict profane themes, among which some might come from epic accounts, such as the Song of Roland. Nevertheless, a doubt persists as they cannot be related to a specific episode from the same epic story. This profane influence can be seen in the northern gallery, in front of the ivory horn blowers, twin figures used for the purpose of symmetry and separated by a palmette. The keen eye of the artist can be revealed here in the treatment of the hand gesture, positioned on the hip. Facing this scene, in the southern gallery, a duel takes place between two men at arms. Protected by their shields, they are fighting in full gear, one with a short sword, the other with a spear. Victory seems to smile on the last one, as he is piercing his opponent's shield, at chest level. All the military gear is sharply detailed. Not far from this scene, two horsemen are facing each other in a bloody combat.

The sculpted group of the Annunciation is displayed, at about eight meters high, on the northern wall of the transept. Set under a decorated archway, this traditional scene is composed of the archangel Gabriel, identified by an engraved inscription on his banner. He is bowing slightly towards Mary in respect and is addressing her. She is busy spinning wool and is handing her distaff to a young maid standing behind her, on the right, a wool-ball in her hand. However, all is not serenity in Mary's attitude, as she is expressing her consent and submission with her hand wide-open in front of her chest.

We are looking at a well-used method of representation where all the actors are expressing their attributed role through their gesture or attitude. The figures are no more static. The normally solemn setting of the Annunciation to Mary is here lightened by the familiar presence of the maid, with the wool-ball and distaff. The representation of Mary, spinning wool, is proof that the artist took his inspiration from the apocryphal Gospel of James.

Statues of prophets are erected on each side of this high-relief, in angles of the walls. There, Isaiah stands on the left and John the Baptist on the right. The first one is holding a shaft, ending with a three-leafed bouquet, as an evocation of the Tree of Jesse and, in his other hand, a phylactery where can be read the Annunciation prophecy: "and there shall come forth out of the stem of Jesse". Opposite, John the Baptist stands, wearing his garment of camel hair or sheepskin (melote), his right hand stretched towards the Heavens, a book wide open with the inscription "John says: Behold the lamb of God".

Such a location for a masterpiece is surprising, as it doesn't emphasize the figures, lighted from the back they are not visible despite their dimensions (almost real size) and seem almost exiled. This is why the general opinion has to accept the analysis of the Art historians, who consider that this sculpture was first intended to be set at the western gate.

On its artistic point of view, the very high quality of these sculptures is surprising for the treatment of the prophets' bodies, stretched out in a quite unusual way for Conques sculpture. The intense spirituality depicted in Mary's face contrasts with the crafty expression of her young maid, while Isaiah's mask-looking face, with its sharp relief and stunning piercing eyes leads us beyond the real world.