The Fogg Museum has on exhibition in Warburg Hall 11 French Romanseque capitals of the twelfth century. They show in incomparable fashion the pure aesthetic excellence of this most significant phase of mediaeval sculpture and are perhaps unequalled as examples of twelfth century sculpture at its purest and best.

The abbey of Moutier-Saint-Jean from which these capitals originated was in the department of Cote-d'Or in the valley of the Recome, a few miles above Semur. Little now remains of this church, originally built by the Abbott Bernard II who was elected Abbott in 1109, and died in 1133. Since the size and architectural forms of the capitals indicate that they supported heavy transverse ribs, they must therefore have been carved before 1133.

The nine capitals decorated with pure design show that combination of strength and delicacy, that supreme skill in execution, which is characteristic of the best Burgundian work of the twelfth century. In the figured capitals, however, the interest is even more intense. A brief discussion of the iconography or subjects depicted will be of interest.

The capital to the right of the large Madonna and Child statue, represents on its principal face the angel appearing to Zacharias. The priest of the course of Abia is officiating at an altar covered with a cloth. In his right hand he holds a censer, in the left a book, but both objects are now much broken. Gabriel, with arms, stands before him. On the left face of the capital, Elizabeth, accompanied by a handmaiden or possibly a youth, is represented. On the right face, a genre scene representing the life about a mediaeval church is carved. The bell-ringer is hard at work pulling the cord of the bell under the tower. However, the bell-rope seems not to be attached to any bell, but rather to the hair of a demon perched on the summit of the tower. A cowled personage is seated beside the demon on the roof holding what may be a tile in his hands, while over his shoulder appears a cutting hammer, the stock implement of the mediaeval mason. The connection of this scene to the others is rather obscure, but it must be remembered that no elaborate designs or plans were drawn for the detail of the mediaeval building: each sculpture was given free scope.

The Journey to Emmaus is carved on the front face of the capital to the left of the Madonna and Child statue. Christ is here seen holding the Resurrection Cross as he meets the two disciples who carry pilgrim's staffs. The Resurrection Cross has been badly damaged. Above on either side hover angels of extraordinary beauty. The one to the left rises from a foliage design on the left face, and the one on the right from the walls of a village, perhaps Emmaus, depicted on the right face of the capital. Three windows are in the wall of Emmaus, out of which lean various figures, while the city gate is represented by a small door locked with the key above.