During the course of time, the universally enthusiastic descriptions of the Treasure have used admiring words such as "rare" and "remarkable", "splendid" and "marvelous", "astonishing", "fascinating", "mysterious" or even "enigmatic" and finally, for sure, "unique".

The Treasure of Conques is composed of many reliquaries with the famous Majesty of Saint Foy as its masterpiece, an unique example of reliquary statuary from the first millennium. This treasure stands as one of the greatest medieval goldsmith's works of art in Europe and the sole in France to display so many elements from the High Middle Ages. It is a witness of the worship and devotion of relics. These precious holy bodies were at the source of an abbey's development and prosperity. At that time, each sanctuary welcomed crowds of pilgrims, sharing similar fervor, in the hope of receiving Earth benefits and rewards in Heaven. What is even more astonishing is the continuous reverence of the religious relics, still as strong today.

This word of reverence not only brings to mind the material and artistic richness of gold and silver coatings decorated with filigree, antique stones, cut gem stones, pearls and enamels, above all, it stands for the religious importance given to the contents of these carefully decorated caskets.

During the French Revolution, the Treasure of Conques could have been confiscated and its various pieces melted down, as was the case for the majority of other treasures. Indeed, money was needed to finance the war and to save the "endangered nation". This inestimable heritage was saved because of the courage and crafty actions of Conques' residents, who hid the reliquary caskets in their houses and gardens, and returned them later on.

Still appointed to the cult, although they became property of the commune in 1905, these artifacts are still regularly used in the Catholic liturgy. They didn't become museum pieces, despite the fact that they are classified Historical Monuments since 1895. This is the evidence of their great heritage value and it justifies the measures taken to give access to as many people as possible who wish to admire them.

Kept in the abbey-church until 1875, the Treasure was installed in a specifically constructed south wing of the cloister, in 1911. The display was totally rethought in 1953-1955 and during the year 2002, the objects were regrouped into a chronological and thematic order.

Saint Foy in Majesty

The Majesty of Saint Foy, crowned and sitting on a throne, is displayed in a rotunda. By its structure, it could remind one of a pagan temple as well as a church apse. Raised inside, on several steps, it gives the concept of a "throne room". Saint Foy is draped around with dark red velvet, a strong color, which evokes the blood of the martyrdom and the triumph of the faith.

This piece of art dating from the 9th to the 10^th century and charged with an exceptional historical and artistic interest, shelters a sacred relic: the top of Saint Foy's skull. Saint Foy was an adolescent Christian martyred in Agen in 303 A.D., and whose remains were brought to Conques in a "furtive transfer", in 866.

In all aspects, it stands as an astonishing work of art (its antiquity, making, style and symbolism). The Majesty of Saint Foy has caused much debate among the theologians and historians. The modeling is quite surprising. The body is disproportionate (large head, hands and feet). The facial expression is severe and haughty (large blue eyes and chin held high). The gleaming gold, the gems and the enamels give an odd feeling, which often leads one to think that this reliquary is something more like an idol. In reality, it is an icon, the figure of a saint, in which the divine light is mirrored in her face, as it is drawn towards the High Heaven. It shows Saint Foy triumphant over death and interceding for the pilgrims who pray to her. Such has always been the Catholic doctrine in the cult of holy pictures and relics.

Crudely carved from yew wood, the statue stops at the neck, on which is fitted the hollow head of gold, cut from an antique bust (4^th-5^th century). The covering of gold, engraved with small flowers (9th century) has been embellished over time. The oldest pieces are the bands around the collar, the sleeves and the robe edge (10th century). They comprise numerous intaglios carved with pagan motifs. The crown is adorned with cloisonné-enamel in gold (10^th century). The throne of gilded silver has similar Pre-Romanesque bands, but the balls of rock crystal are Gothic in style. The arms and hands were refashioned during the 16th century and their original position is unknown.

A named "after Charlemagne"

As said in the legend, Charlemagne, founder of many abbeys, sent a reliquary in the shape of a letter to all of them. Conques received the letter A, ranking it first among the chosen "monasteries". This tradition is taken from the Chronicle of Conques written at the time of the making of the reliquary. In fact, an inscription indicates that Abbot Bégon III (1087-1107) ordered its creation. With it, he was certainly recognizing a very ancient tradition. On the back side, a marvelous composition can be admired, an ensemble of filigree and enameled settings encircling an intaglio on a carnelian, representing a winged Victoria writing on a shield. 

Reliquary named "after Pepin"

Re-modeled on several occasions, this small reliquary has a collection of 9^th-11^th century pieces, with additions made during the 12^th, 13^th and 16^th centuries. Some of the most precious artifacts are the translucent red or green enamels, on a gilded background, dating from Carolingian times. On the reverse side are other opaque enamels, blue, white and red, with bird wings in cloisonné. They date from the 11^th century. It is also worth noting the abundance of filigree and the arcades mounted with bands of gems, not forgetting the antique carnelian intaglio representing Apollo. 

Portable altar from Abbot Begon

On the porphyry plaque edges, a long silver-engraved inscription embellished with niello, indicates the precise date on which Pons, bishop of Barbastro (Spain), gave this altar to Abbot Bégon III. It shelters relics of the Cross and the tomb of Christ. The busts of Christ, the Virgin Mary, Saint Foy, nineteen other saints, apostles, evangelists and martyrs appear engraved on the sides. 

Saint Foy's portable altar

This object doesn't bear Begon's name, but has always been attributed to his workshop (c.1100). It probably comes from a Gospel book binding, which Bégon III ordered for Conques and later on transformed into a portable altar. The alabaster plaque and the embossed gilded-plate band date from the 14^th century. It is decorated with ten figures set on copper-cloisonné enameled medallions. A new and original technique of setting was used here, by placing the plaques one on top of the other. The style of faces and halos are quite similar to the 11^th century Aquitaine art. 

Begon's "Lantern"

The Latin inscription, made of large readable letters encircling the base of the roof of this small structure (in truth, not a lantern) tells us that Abbot Begon III (1087-1107) ordered this art piece. This reliquary, with its shape of an ancient mausoleum, is decorated with figurative medallions exalting the triumph of Christ over Evil and Death (divine Majesties). The most beautiful is the one representing David victorious over the lion. It is also the most recent (second half of 12^th century). 

Reliquary from Pope Pascal II

The inscription set at the base indicates that Abbot Begon ordered this work of art and that Pope Pascal II sent relics from Christ and some saints, from Rome, in 1100. Quite apart from the pieces from other eras, the beautiful scene of the Crucifixion testifies to the high artistic level obtained by Conques workshop. 

Reliquary casket "from Abbot Boniface"

Discovered in 1875, during a demolition of wall, which had been built around the choir, at the end of the 16^th century, this casket was restored in 1878 by Poussielgue-Rusand, who made some medallions to replace the missing ones..

This wooden chest covered with silver studded leather is adorned with thirty-one enameled medallions dating from the era of Abbot Boniface (c. 1110-1130). It can be precisely dated by the inscription engraved on one medallion set in the middle of the lid. The coffer contains many large bones of Saint Foy. The decoration of griffins and birds is as remarkable as the technique employed, champlevé enamels on gilded copper. This is a work of major importance in the history of medieval enameling, allowing it to be dated and to localize the passing from one technique to another, cloisonné to champlevé.

Hexagonal reliquary

This composition made of elements from different times dates from the 7^th to the 12^th century. One can admire the rectangles of Merovingian cloisonné gold plate on the sides of the central jewel, which is bordered with a cloisonné circle, from the same period. All around, plates of silver inlaid with niello-work date back to the end of the 8th century or beginning of the 9^th century. The base border made of large cabochons dates from the end of the 9^th century. 

Pentagonal reliquary

This reliquary is a later composition (16^th century) made with fragments of gold and silver from various periods (7^th-13^th centuries). The oldest parts are the cloisonné plates (7^th century) and the gilded silver pieces surrounded with embossed foliage (9^th century). 

Virgin Mary on Majesty with child

On the shoulders of the Virgin Mary, the enameled escutcheons carry a coat of arms, yet to be identified. One can distinguish in the folds of the clothes the hallmark of a goldsmith, perhaps from Flagnac, from the end of the 13^th century. 

Triptych reliquary

This reliquary is a threefold panel, from the second half of the 13^th century, with numerous individually set reliquaries, inscribed with saints' names. The ones of Saint Géraud of Aurillac and Saint Priest (or Projet) of Clermont-Ferrand can be seen. 

Saint George's arm-reliquary

This "Saint George" was a monk from Conques, who became Lodeve bishop in 877. His right arm is mentioned on a list of relics, established in the 17^th century. The hand adopts the blessing gesture, according to the western manner. Christ on the Cross is represented in a Gothic style, at the bottom of the sleeve (end of 13^th century to early 14^th century). 

Small statue of Saint Foy

Entirely covered in silver and partly gilded, this piece of art has the advantage of being well documented. It carries the hallmarks of the goldsmith Pierre Frechrieu and of the town of Villefranche-de-Rouergue. In addition, the written contracts for this statue are preserved in the Departmental Archives, allowing us to know precisely the quantities of silver used and the deadlines and the conditions set for the creation of this reliquary. The style is similar to the beautiful sculptures of the late Gothic Rouergue and Albi region, particularly for the delicate charm found in characters such as the Annunciation of Inières (Aveyron). Saint Foy was martyred as a young girl and this icon symbolizes her youth (long flowing hair), her virginity (the crown), her torture and her death (the grill and the double-edged sword). The large palm-leaf held in her left hand signifies her martyrdom. 

Procession cross

A splendid piece of art from the end of the Middle Ages, this cross was made by Pierre Frechrieu, a goldsmith from Villefranche-de-Rouergue, famous from 1493 until his death in 1512. On the back of the cross, a graceful silhouette of the young Saint Foy with long curly hair stands in place of the Virgin Mary.

The knot of the cross displays eight figures of apostles, standing under a Gothic canopy. At the base of the upright supporting Christ's figure, a cavity had been placed and contains the relics of the Cross.

Book of Miracles of Saint Foy

Written on parchment and dating from the 11^th century, it was partially composed by Bernard, a school master at Angers cathedral, in 1013, on his return journey from Conques. He describes the Pre-Romanesque church, the Majesty and other reliquaries, and tells of the numerous miracles related to the cult of the relics, which justified the religious reverence of the Majesty, as an icon. 

Saint Foy's belt

Made of red silk with gold brocade, decorated with raised designs of small flowers and crossed hands in gilded silver, it dates from the end of the Middle Ages, more probably from the 16^th century. It bears witness to the traditional devotion to the saint of Conques, to whom women pray for a safe and happy pregnancy. The Christian name Foy is still given in thanks for this blessing. 

The Treasure displays other religious artifacts of lesser artistic interest, but which have great importance for the history of Conques, after the period of Romanesque magnificence: reliquary-busts, a carved copper cross, incense-burners, a copper host box, pewter burettes, a lead plaque, seal matrices, manuscripts, etc.