Romanesque style of architecture was prominent in many parts of Europe, including France during the 12th-century. Romanesque style integrated the magnificence of ancient Rome. A main component of the decoration of Romanesque churches was the capitals on columns. These were inspired by Roman arches and even taken from real ancient Roman ruins. Columns and capitals during this time were commonly decorated with a story. 

This early 12th-century capital with griffin carvings follows the development of Romanesque architecture in Bourges, France. This type of stone column carving was rare after the fall of the Roman Empire due to economic and political instability. The rise of Christianity led to much destruction of past sculptures, making this column uniquely rare and valuable. This column was originally located in the Church of Notre Dame de Montermoyen right outside Bourges. The sculptures related to this church were recognized for their high quality of detail, material, and style. The limestone material dates back to the period of 1100-1200 as few were dated from the church. The Romanesque design of the capital including the rough edges and smooth curves relates to a “Cleveland Capital” which is a similar design and material, situating this piece within the time period. 

Why was this capital made, and how was it used?

This capital was commissioned for the Notre-Dame de Montermoyen near Bourges, France. The church underwent rebuilding between 1100 to 1200, and it contained the capital depicted above as well as many others. The church itself was designed with a very short nave of two bays flanked by aisles, a modest transept and an extensive choir, with aisles terminated by flatwalls in the East (see generalized “Plan of a Cathedral” for reference).

As this capital is intricately carved on all four sides, it probably crowned one of the eight columnar shafts that divided the church. The capital would have been visible to many of the parishioners: imagine gazing upwards as you enter this ornate church and facing the striking scene of a man being torn limb from limb. The capital’s terrifying imagery, prominently displayed, served not just as decoration but could also evoke the fear of God in the onlooker, by displaying a soul in torment with its sins.  

How was this capital made?

The capital was carved from limestone extracted from a quarry; the material was chosen for its ability to hold its shape and allow the sculptor to create fine carvings. Limestone has long been used for decorative carving because of these qualities: see below.

With reference to the Worcester Art Museum’s capital, the sculptor began by carving a basic square shape into the capital, followed by more intricate details through the use of increasingly fine chisels, hammers, axes, points, and mallets.  The ornate design of the lion's mane and other details were rendered through the use of small chisels made of bronze.

Inspired by Romanesque bestiaries (books of real and mythical beasts), ornamental stonework was sculpted to emphasize certain figures through the interplay of light and shadows. This capital captures fine details and animal-like forms, reflecting the new sculptural expression of the Romanesque style in France. The artistic personification of evil is typical in Romanesque carving, and is vividly on view in this scene: a large monster (perhaps a simurgh, from Persian mythology) devours a human being head-first, its unnatural, gaping jaw and pointed teeth stretching to encompass the entire head. Below him, two lions bite the man’s legs, their paws restricting the monster’s victim. This scene is surrounded by other monsters.  We can imagine the capital in a larger space with other capitals, as suggested by the Worcester Art Museum’s Chapter House.

Who made this capital?

Although the identity of the sculptor who created this capital remains unknown, they were influenced by Christian and classical ideas. The form of the lions is a characteristic feature of the Christian Romanesque style found mainly in France, but the idea of decorated capitals on columns is a classical tradition with roots in Roman architecture. 

In the tradition of Romanesque masonry, sculptors enjoyed a lot of artistic independence. A Romanesque sculptor would have been trained in a local workshop under a master sculptor with his own unique artistic preferences, leading to distinctive personal variations. Most designs reflected a combination of the master’s instruction with the practical skill and imagination of the sculptor himself (see examples below). There was a pattern of “iconographical playfulness” in Romanesque sculpture. This may help in understanding why a Romanesque sculptor would design a capital showing an ambiguous, flesh-eating monster for a church. In many ways, the capital was a reflection of the sculptor’s own artistic imagination and interests. 

Where was this capital produced?

This capital was made to crown one of the columns in the Notre Dame de Montermoyen near the French city of Bourges. The church of Montermoyen was built on top of what was the former convent which was eventually transitioned into a house of Augustinian Canons. At the time of Notre-Dame de Montermoyen’s construction, Bourges thrived as the capital of the Viscounty of Bourges.Nestled in the marshy lowlands at the intersection of the Yèvre and Auron rivers, the city sat southeast of Orléans, its winding canals and waterways creating a natural barrier.

Where did this capital go?

This object, a detailed capital of a column, was originally found in the Church of Notre Dame de Montermoyen. The base of the column is sleek, while the top features intricate griffins. This design emphasizes both height and a connection to the divine. Many other Gothic churches and cathedrals from the same period showcase similar elements of verticality and ornate detail.

This object is now found in the Worcester Art Museum, which displays the gothic animals and humans devouring each other. This column being relocated to the WAM brings the history of the gothic development of France as well as the history from the fall of the Roman empire. From the decline of stone carvings from the 12th century, this piece is important to these historical architectural developments. At first glance, many who visit the WAM may not recognize this piece to belong to either French or Roman culture, although the piece represents a blend of the two. 

What does this capital tell us about the early global world?

This Capital evokes the early global world not just through its intricate design and craftsmanship but also through the mixed emotions it stirs and the lessons it teaches to the viewer. Religion was a cornerstone of medieval society, and Christianity conveyed lessons on morality and spirituality to a largely illiterate population. 

The monstrous imagery in the capital invokes a sense of fear, physically representing the dangers and consequences of sin or disobeying God. Demons, monsters, and grotesque figures were visual reminders of hell and judgment, urging viewers to lead righteous lives, especially parishioners. It also symbolized the control the Church had over France at the time: the Church used fear and religious teachings to control and guide behavior and prevent the population from venturing away from God or Christianity.  This control, rooted in fear and religious authority, was especially potent during the time of the Crusades.

Capitals like this one, possibly depicting the horrors of hell, could urge viewers to join the Papal cause, promising salvation through conquest and inspiring them to take up the sword for Christianity against Muslims occupying Jerusalem in the East.

Shannon Jordan, Class of 2025, College of the Holy Cross
Ryan Carter, Class of 2025, College of the Holy Cross
Katherine Harkness, Class of 2025, College of the Holy Cross