At the western gate, a deep barrel vault shelters the Tympanum of the Last Judgment, one of the masterpieces of Romanesque sculpture from the first half of the 12th century.
It was probably made under the governance of Abbot Boniface, head of the monastery between 1107 and 1125, and by a sculptor who had already worked on the Cathedral of Santiago de Compostela.
With dimensions of 6.70m wide on 3.60m high, it shelters at least one hundred and twenty four figures, in a relatively good state of conservation.
For the visitor reaching the church square, the tympanum set at 3.50m high remains readable, despite the crowding of figures and the diversity of the represented scenes. In fact, all is set around the central figure of Christ out-of proportion with the others, so he attracts all the attention. On his left, "hell seems the image of Paradise in negative (set on his right), an anti-heaven. In this case, all is order, limpidity and peace, contemplation and love, when in the other it is violence, compulsive agitation and fright." (Marcel Durliat)
The contrasting gesture of Christ (right hand raised welcoming the elected, left one lowered pointing out Hell to the cursed) gives this figure the appearance of a conductor directing a great show in full progress since more than eight centuries, just above the church square. Christ sits on the throne in an almond-shaped glory sparkled by stars and edged by five rows of festoons representing the clouds.
The elongated face expressing the severity of the King-Judge is even more striking when seen from his profile. His garments, tunic and coat are high-cut to reveal the wound probably painted originally and caused by the spear.
The elected multitude is in motion towards Christ, under the guidance of Mary followed by Saint Peter holding the Paradise keys and behind them other figures without halo.
In fact, the "Master of the Tympanum" was bold enough to insert in this triumphant procession figures issued from the history of the local monastery: the hermit Dadon, founder of the abbey followed by an abbot holding his crook (probably Begon) leading by the hand the Emperor Charlemagne, legendary benefactor of the monastery but who also had many things to repent for.
The two monks behind him, one holding a diptych, the other a reliquary resting on a precious cloth are presenting evidences for a defence, proofs of the imperial generosity towards Saint-Foy treasure.
The sculptor knew how to strongly contrast the celestial peace with the violent chaos and confusion of Hell. Set on the centre of the right lintel, mimicking Abraham's position, Satan presides over the extraordinary torturing of Hell.
Satan has his feet resting on the belly of a condemned lying in the flames, apparently the sloth. On each side, a hideous crowd of devils obviously enjoys the virulent punishments inflicted on the authors of mortal sins.
A devil is dragging out the tongue of a small figure, to show Calumny or Slander.
A hunched-back devil grabs the harp of another soul, while tearing off his tongue with a hook. This poor musician and singer probably represent the minstrel, the public entertainer as a symbol of vanity for the pleasures of the world.
A man is barbecued above open flames by two devilish creatures, one with a hare like head. Could it be interpreted as the torture of the poacher? Or should we simply see a representation of Hell, the inverted world where the hunter becomes the victim of his own prey?
In the representation of Hell, all is arranged in order to frighten the illiterate, the big majority of the population in these times, as is revealed by the quotation engraved on the lintel base:
O PECCATORES TRANSMUTETIS NISI MORES
JUDICIUM DURUM VOBIS SCITOTE FUTURUM
"O sinners, change your laws for you might face a cruel judgment"
As if to strike the mind, vivid colours highlighted the sculptures. Some important remains are still visible with a dominating blue for Paradise and red for Hell.
The tympanum applies to all. One can easily imagine the pilgrims standing on the church square trying to decipher the scenes one by one. As a matter of fact, church art was the only art available to be contemplated by the multitude. Conques' tympanum spoke directly to the people's mind.