Medieval Apes and Monkeys

Saint-Austremoine, now parish church in Issoire, was once the church of a benedictian abbey, that, following the "Vita prima Autremonii" was founded by Saint-Austremoine himself, what probably only stands for "old" or "very old". The abbey got "revitalized" by monks from Charroux (Poitou), that had fled to Issoire after Vikings had raided the coastal areas. The church was probably erected between 1130 and 1160/70 and now is the largest of the "crown jewels" of romanesque architecture in the Auvergne. - During the Wars of Religion infamous Mathieu Merle and his troops killed the monks, looted the abbey and tried to demolish the building. But the church withstood even the fire (only the towers collapsed), though all carvings in and outside got damaged severely. Two years later the catholic troops reconquered the town by destroying it - but they did not damage the church further. Of course, the abbey and church got looted again during the French Revolution, but soon after (1832), the church got the status of a "monument historique". So repairs, renovations and reconstructions started comparatively early. Bernard Craplet ("Auvergne romane") is convinced, that the architects, choosen for this project, were unfortunately neither sufficiently gifted nor skilled. They "recreated" the western facade (1845), and the "pseudo-romanesque" bell-towers. Even the damaged carvings got remodeled, but worst of all, following B. Craplet, they repainted the interior (1857-1859) using pretty screaming colours. It impossible, to find out, how much of the carvings is 12th century. The first "reconstruction" (using gypsum) was done already after the lootings in the 17th century. The mint capitals seen today are products of different phases of "recreating". While in and around the choir is a nice light, in some areas of the aisles it is pretty dark. The carvings here are deeply rooted in the traditions of the Auvergne, what makes them very interesting. Here is the ape/rope/man-icon again, that can be found so often in the Auvergne (eg Besse, Saint-Nectaire, Droiturier, Mozac, Clermont-Ferrand..). In French language this is called "singe cordé". While mostly there is only one ape, lead by a man, here are two apes with ropes around their necks. While mostly the genitals of the apes are covered by some foliage, these parts can be seen here. Between the two apes, in the center stands a person holding the ropes like a leash. Actually I have the impression that this person is a woman, having two long pigtails on either side of her head. The two apes have grabbed these tails - and hold them symmetrically.

Saint-Austremoine, now parish church in Issoire, was once the church of a benedictian abbey, that, following the "Vita prima Autremonii" was founded by Saint-Austremoine himself, what probably only stands for "old" or "very old". The abbey got "revitalized" by monks from Charroux (Poitou), that had fled to Issoire after Vikings had raided the coastal areas. The church was probably erected between 1130 and 1160/70 and now is the largest of the "crown jewels" of romanesque architecture in the Auvergne. - During the Wars of Religion infamous Mathieu Merle and his troops killed the monks, looted the abbey and tried to demolish the building. But the church withstood even the fire (only the towers collapsed), though all carvings in and outside got damaged severely. Two years later the catholic troops reconquered the town by destroying it - but they did not damage the church further. Of course, the abbey and church got looted again during the French Revolution, but soon after (1832), the church got the status of a "monument historique". So repairs, renovations and reconstructions started comparatively early. Bernard Craplet ("Auvergne romane") is convinced, that the architects, choosen for this project, were unfortunately neither sufficiently gifted nor skilled. They "recreated" the western facade (1845), and the "pseudo-romanesque" bell-towers. Even the damaged carvings got remodeled, but worst of all, following B. Craplet, they repainted the interior (1857-1859) using pretty screaming colours. It impossible, to find out, how much of the carvings is 12th century. The first "reconstruction" (using gypsum) was done already after the lootings in the 17th century. The mint capitals seen today are products of different phases of "recreating". While in and around the choir is a nice light, in some areas of the aisles it is pretty dark. The carvings here are deeply rooted in the traditions of the Auvergne, what makes them very interesting. Here is the ape/rope/man-icon again, that can be found so often in the Auvergne (eg Besse, Saint-Nectaire, Droiturier, Mozac, Clermont-Ferrand..). In French language this is called "singe cordé". While mostly there is only one ape, lead by a man, here are two apes with ropes around their necks. While mostly the genitals of the apes are covered by some foliage, these parts can be seen here. Between the two apes, in the center stands a person holding the ropes like a leash. Actually I have the impression that this person is a woman, having two long pigtails on either side of her head. The two apes have grabbed these tails - and hold them symmetrically.

The Basilica Saint-Julien in Brioude was a collegiate church constructed between 1060 - 1200. The architectoral structure is influenced by great romanesque churches like "Notre-Dame-Du-Port" in Clermont-Ferrand (70kms north) or "Saint-Austremoine" in Issoire (30kms north), planned and constructed within the same century. Three or four very skilled architects worked here over the century, all witrh a different touch. So Saint-Julien is really special, as it differs from the other great churches of the Auvergne. Brioude was a center of pilgrimage very early, as already within the 4th century a "martyrion" existed over the grave of St. Julien. This building was replaced by an early basilica, financed by Victorius, a "comes" (count), installed by Visigothic king Eurich after he had seized the Auvergne. Gregory of Tours (538-594) visited and described it, when he about a pilgrimage to Saint-Julien undertaken yearly from Avernis (= Clermont-Ferrand) to Brioude. Within the 10th century William I, Duke of Aquitaine, (aka "Guillaume Le Pieux" - "William the Pious") funded the building of a larger church here. He got buried in this church in 917. Around 1060, works on the church still seen today started with the narthex. It took about 140 years, to complete it - and was a stopover at that time for many pilgrims to Santiago, only two days (60kms) away from Le Puy (Via Podensis). Here is the second of the medieval door-knockers in Brioude, often descibed in the literatur. I know, that in early times the rings were very important. In case a victim of persecution reached the door and and touched the ring had escaped from secular jurisdictation (by entering the clerical one). This was the handle to the sanctuary. I have seen a lot of medieval lions so far holding the ring. This is the first time, that I saw a monkey. Even B. Craplet describes this as a monkey! But it is not only that, there is another "sensation". Just over the monkey´s head is a signature! "GIRA(L)DUS ME FECIT". "Giraldus made me". Nothing is known about Giraldus, who, other than his collegue Gislebertus (of Autun), worked with metal. Around is engraved "ILLECEBRIS ORIS CAPTOS FALLAX TRA(H)IT ORBIS". - "The artful (devil) misleads the world with alluring lies." So the monkey here gave his face to the devil. The devil has a monkey face. Are all the apes and monkeys that roam through the romanesque Auvergne symbols of the evil? I do not think so, but this one, with his mesmerizing eyes - clearly is.

The Basilica Saint-Julien in Brioude was a collegiate church constructed between 1060 - 1200. The architectoral structure is influenced by great romanesque churches like "Notre-Dame-Du-Port" in Clermont-Ferrand (70kms north) or "Saint-Austremoine" in Issoire (30kms north), planned and constructed within the same century. Three or four very skilled architects worked here over the century, all witrh a different touch. So Saint-Julien is really special, as it differs from the other great churches of the Auvergne. Brioude was a center of pilgrimage very early, as already within the 4th century a "martyrion" existed over the grave of St. Julien. This building was replaced by an early basilica, financed by Victorius, a "comes" (count), installed by the Visigothic king Eurich after he had seized the Auvergne. Gregory of Tours (538-594 visited and described it, when he about a pilgrimage to Saint-Julien undertaken yearly from Avernis (= Clermont-Ferrand) to Brioude. Within the 10th century William I, Duke of Aquitaine, (aka "Guillaume Le Pieux" - "William the Pious") funded the building of a larger church here. He got buried in this church in 917. Around 1060, works on the church still seen today started with the narthex. It took about 140 years, to complete it - and was a stopover at that time for many pilgrims to Santiago, only two days (60kms) away from Le Puy (Via Podensis). There are about 125 capitals and carvings inside Saint-Julien and they all differ in artistic style and quality. Bernard Craplet has found six (!) different workshops, what is not that surprising taking in account that it took more than a century to finish this building. None of the capitals of the nave depicts a biblical theme. Another "ape/man/rope" capital, but this differs from all the other seen so far within the Auvergne (Droiturier, Besse, Issoire, Thuret, Saint-Nectaire, Clermont-Ferrand, Mozac...). Not the ape on the rope, called "singe cordé" in French, is so much different, but everything around adds some new spice. Left to the ape stands a man, described by B. Craplet having a "praying gesture". I think, this is a more like a greeting gesture ("Hi"). It is a rough carving, this person may be naked, his legs may be swollen, as if he would suffer from elephantiasis (not a medieval but a tropical disease). I see kind of a cripple, displayed in public (later done in "Freakshows"). I may be wrong, and B. Craplet is right, who wrote, that this capital is from mediocre workmanship. Any way, there is the ape on the rope - and a "strange person" on the left. To the right a very decorative tree, but taking a closer look makes clear, these are two trees. Futher right the man holding the rope, probably the owner of the "beast" - and further right, the "show" goes on...

The Basilica Saint-Julien in Brioude was a collegiate church constructed between 1060 - 1200. The architectoral structure is influenced by great romanesque churches like "Notre-Dame-Du-Port" in Clermont-Ferrand (70kms north) or "Saint-Austremoine" in Issoire (30kms north), planned and constructed within the same century. Three or four very skilled architects worked here over the century, all witrh a different touch. So Saint-Julien is really special, as it differs from the other great churches of the Auvergne. Brioude was a center of pilgrimage very early, as already within the 4th century a "martyrion" existed over the grave of St. Julien. This building was replaced by an early basilica, financed by Victorius, a "comes" (count), installed by the Visigothic king Eurich after he had seized the Auvergne. Gregory of Tours (538-594 visited and described it, when he about a pilgrimage to Saint-Julien undertaken yearly from Avernis (= Clermont-Ferrand) to Brioude. Within the 10th century William I, Duke of Aquitaine, (aka "Guillaume Le Pieux" - "William the Pious") funded the building of a larger church here. He got buried in this church in 917. Around 1060, works on the church still seen today started with the narthex. It took about 140 years, to complete it - and was a stopover at that time for many pilgrims to Santiago, only two days (60kms) away from Le Puy (Via Podensis). There are about 125 capitals and carvings inside Saint-Julien and they all differ in artistic style and quality. Bernard Craplet has found six (!) different workshops, what is not that surprising taking in account that it took more than a century to finish this building. None of the capitals of the nave depicts a biblical theme. The same "ape/man/rope" capital as seen before. It differs from all the other seen so far within the Auvergne (Droiturier, Besse, Issoire, Thuret, Saint-Nectaire, Clermont-Ferrand, Mozac...). Not the ape on the rope, called "singe cordé" in French, is so much different, but everything around adds new spice. Now seen from the other side the ape is the very left. Next to him that decorative tree, growing from two roots, further right is the "owner" of the ape, holding the rope. Beside him to the right is a small pillar, having a base and a carved capital. On this capital stands a small - - griffon. Is this a griffon? This is a small four legged animal, that could be a cat or small lion, but near the shoulder it does have a wing. Today, we do know, that griffons are mythical animals, but did the audience know that in 1120? Probably not. Could it be that this depicts a "faked griffon", that was shown? Together with an ape and a crippled person? Persons working in shopfitting ("store design"), call this kind of pillars "displays" today. So the griffon actually is placed on a display. I am still collecting evidence to prove the existence of the medieval "entertaining industry", having toured around the country. This for sure is one of the many bits and pieces.

The Basilica Saint-Julien in Brioude was a collegiate church constructed between 1060 - 1200. The architectoral structure is influenced by great romanesque churches like "Notre-Dame-Du-Port" in Clermont-Ferrand (70kms north) or "Saint-Austremoine" in Issoire (30kms north), planned and constructed within the same century. Three or four very skilled architects worked here over the century, all witrh a different touch. So Saint-Julien is really special, as it differs from the other great churches of the Auvergne. Brioude was a center of pilgrimage very early, as already within the 4th century a "martyrion" existed over the grave of St. Julien. This building was replaced by an early basilica, financed by Victorius, a "comes" (count), installed by the Visigothic king Eurich after he had seized the Auvergne. Gregory of Tours (538-594 visited and described it, when he about a pilgrimage to Saint-Julien undertaken yearly from Avernis (= Clermont-Ferrand) to Brioude. Within the 10th century William I, Duke of Aquitaine, (aka "Guillaume Le Pieux" - "William the Pious") funded the building of a larger church here. He got buried in this church in 917. Around 1060, works on the church seen today started with the narthex. It took about 140 years, to complete it - and was a stopover at that time for many pilgrims to Santiago, only two days (60kms) away from Le Puy (Via Podensis). Near the apses and all around are many carved corbels, most of them probably from the last building period (1160/1200). Most are carved from a soft stone, so, depending from the place, some are very weathered, while others are still in a nearly perfect condition. Here are four corbels. From left to right - a cute little ram, next a horrifying scene centered around a human skull. A bundle of snakes have entered the skull through mouth, nose and ears. Two of the snakes are coming out through the eyes! The rear parts of the snakes are broken off, so that the snake entering the ear looks like a large earplug. - Next to the right a little atlant, totally unimpressed by that bloodcurdling scene to his side. He is doing his job. Perfectly! - Beside him an ape or a monkey. Some years ago (before I owned a digital camera), I was so impressed by the distinctiveness of this "image", that my interest in "medieval apes and monkeys" started right here.

The Basilica Saint-Julien in Brioude was a collegiate church constructed between 1060 - 1200. The architectoral structure is influenced by great romanesque churches like "Notre-Dame-Du-Port" in Clermont-Ferrand (70kms north) or "Saint-Austremoine" in Issoire (30kms north), planned and constructed within the same century. Three or four very skilled architects worked here over the century, all witrh a different touch. So Saint-Julien is really special, as it differs from the other great churches of the Auvergne. Brioude was a center of pilgrimage very early, as already within the 4th century a "martyrion" existed over the grave of St. Julien. This building was replaced by an early basilica, financed by Victorius, a "comes" (count), installed by the Visigothic king Eurich after he had seized the Auvergne. Gregory of Tours (538-594 visited and described it, when he about a pilgrimage to Saint-Julien undertaken yearly from Avernis (= Clermont-Ferrand) to Brioude. Within the 10th century William I, Duke of Aquitaine, (aka "Guillaume Le Pieux" - "William the Pious") funded the building of a larger church here. He got buried in this church in 917. Around 1060, works on the church seen today started with the narthex. It took about 140 years, to complete it - and was a stopover at that time for many pilgrims to Santiago, only two days (60kms) away from Le Puy (Via Podensis). Near the apses and all around are many carved corbels, most of them probably from the last building period (1160/1200). Most are carved from a soft stone, so, depending from the place, some are very weathered, while others are still in a nearly perfect condition. The head of another little monkey protruding the tongue.

The village of Orsonnette just has a population of about 200 - and so the small romanesque church in the center is large enough. The door of "Saint Laurent" was wide open (!), but the interior of it was not spectacular, as it obviously got a reconstruction during the 19th century. The church still has some nice and pretty unweathered corbels. A corbel depicting the head of an ape or monkey. It shows all the critera these "ape-corbels" have: the flat forehead, the straight, small nose, the wrinkles around the open mouth..

The city of Freiburg was founded by the Dukes of Zaehringen in 1120. The town was located at a junction of old trade routes and already in 1200 the population had risen to 6000. This was, when under Bertold V the last duke of Zaehringen, the construction of the Freiburg Muenster cathedral began, replacing an older parish church. The blueprint of the church "Muenster Unserer Lieben Frau" was very ambitious, but Freiburg was a very prosperous place, as silver mining in the nearby Black Forrest was thriving. The building of the cathedral begun in the Romanesque style and was continued and completed 1513 for the most part as a Gothic cathedral. The cathedral is 116 meters long, 30 meters wide and the tower (seen here only under scaffolding) is 116 meters high. This tower (completed 1330) was one the highest in Germany during medieval times. Breastfeeding is not often seen in medieval cathedrals. To my great surprise I found it twice in Freiburg Muenster. You may remember the romanesque carving of a breastfeeding mermaid on the right arm of the transsept. Here now is a monkey mum suckling twins. Probably a single mother! Just over the little family Saint Peter´s large toes can be seen.

The first (carolingian) church here is named "Haito Muenster", as Bishop Haito ( as well abbot of the important Reichenau Abbey) had comissioned it. It was completed around 825. The foundations of these structure were reused, when the so called "Heinrich Muenster" was built just after 1000, sponsored and named after Emperor Heinrich II (Henry II) of the Ottonian dynasty. Already in 1019 this church got consecrated. The Muenster seen today is the third large church, erected 1180 - 1220/30. The late romanesque church had five towers, that all got destroyed (with most vaultings) in 1356 during the worst earthquake ever recorded in Central Europe. Modern seismologists estimate a magnitude of 7.1. The rebuilding of the Muenster was led by Johannes Parler, who at the same time was employed for building the Freiburg Muenster. So there are a lot of parallels between these two Muensters, only 70 kms apart. About 1500 the Muenster was finally completed in a combination of late romanesque and gothic style. The restauration process started about 400 years later. Pollution caused a lot of damage and meanwhile many of the carvings outside the church have been replaced by copies. So many of the details seen on the shots may be - copies. The (dressed!) monkey twins pose for the photographer - and they do smile! CHEEEESE!!

The first (carolingian) church here is named "Haito Muenster", as Bishop Haito ( as well abbot of the important Reichenau Abbey) had comissioned it. It was completed around 825. The foundations of these structure were reused, when the so called "Heinrich Muenster" was built just after 1000, sponsored and named after Emperor Heinrich II (Henry II) of the Ottonian dynasty. Already in 1019 this church got consecrated. The Muenster seen today is the third large church, erected 1180 - 1220/30. The late romanesque church had five towers, that all got destroyed (with most vaultings) in 1356 during the worst earthquake ever recorded in Central Europe. Modern seismologists estimate a magnitude of 7.1. The rebuilding of the Muenster was led by Johannes Parler, who at the same time was employed for building the Freiburg Muenster. So there are a lot of parallels between these two Muensters, only 70 kms apart. About 1500 the Muenster was finally completed in a combination of late romanesque and gothic style. The restauration process started about 400 years later. Pollution caused a lot of damage and meanwhile many of the carvings outside the church have been replaced by copies. So many of the details seen on the shots may be - copies. Just below the windows runs a long frieze all around the choir. Everybody loves grapes obviously. The rooster to the left, the gnome with a cap to the right and even the monkey in the center.

The first (carolingian) church here is named "Haito Muenster", as Bishop Haito ( as well abbot of the important Reichenau Abbey) had comissioned it. It was completed around 825. The foundations of these structure were reused, when the so called "Heinrich Muenster" was built just after 1000, sponsored and named after Emperor Heinrich II (Henry II) of the Ottonian dynasty. Already in 1019 this church got consecrated. The Muenster seen today is the third large church, erected 1180 - 1220/30. The late romanesque church had five towers, that all got destroyed (with most vaultings) in 1356 during the worst earthquake ever recorded in Central Europe. Modern seismologists estimate a magnitude of 7.1. The rebuilding of the Muenster was led by Johannes Parler, who at the same time was employed for building the Freiburg Muenster. So there are a lot of parallels between these two Muensters, only 70 kms apart. About 1500 the Muenster was finally completed in a combination of late romanesque and gothic style. The restauration process started about 400 years later. Pollution caused a lot of damage and meanwhile many of the carvings outside the church have been replaced by copies. So many of the details seen on the shots may be - copies. Looking east to the choir. Some art historians have compared the structure of the side walls with the CLUNY III. The interior differs surprisingly from the Freiburg Muenster. The Protestant Reformation in Switzerland differed from that one in Germany, as the Swiss Reformators (Huldrych Zwingli, John Calvin, Johannes Oekolampad..) had a way more radical approach, than their Lutherian collegues. During the 9th of February 1529 a group of about 200 people forced their way into this (at that time still catholic) church and in a kind of frenzy destroyed all reachable crucifixes, statues and altars, just everything what was connected to "idolatry" in their thinking. The same afternoon the iconoclasm extended to many other churches in Basel as well. I wonder, why the the fast and furious iconoclasts did not destroy the many works, done by the stone carvers in and outside the church. Obviously only "holy" objects had to burn. Here is one of the many capitals around the choir. The head of a melancholic human - and conjoined twins. I have often seen a pair of lions sharing one head, this is the first pair of monkeys.

Before a paved road was constructed to the Serrabone Priory about 50 years ago, this place could only be reached via small mule tracks. The priory is still a secluded, hidden place in the valley of the Boulès, on the eastern foothills of the Canigou. There had been a simple church before the monastery was founded before 1069, but what can be seen now, dates back to the 12 century, when Augustinian canons lived here a hard life. After the monastery was given up by papal order in 1592, the church was still used by a parish later, but buildings crumbled. First efforts to reconstruct the priory were taken end of the 19th century, but the isolation of the place made that very difficult. After the road was constructed things changed, so in 1966 the new roof was finished - and the "monument" opened for visitors. Only one side of the cloister still exists. Most capitals here depicts lions. Here on the left are eagles - and in the center lions devouring their prey. The two rear legs of the prey still hang out of the lions´ mouths.

Before a paved road was constructed to the Serrabone Priory about 50 years ago, this place could only be reached via small mule tracks. The priory is still a secluded, hidden place in the valley of the Boulès, on the eastern foothills of the Canigou. There had been a simple church before the monastery was founded before 1069, but what can be seen now, dates back to the 12 century, when Augustinian canons lived here a hard life. After the monastery was given up by papal order in 1592, the church was still used by a parish later, but buildings crumbled. First efforts to reconstruct the priory were taken end of the 19th century, but the isolation of the place made that very difficult. After the road was constructed things changed, so in 1966 the new roof was finished - and the "monument" opened for visitors. Having entered the nave - it is absolutely surprising to find this "building". This is a gallery, but from an architectonial point of view, it seems to be a completely different structure, that has nothing to do with the church around it. It is so breathtaking, that it seems, that the church was erected around this structure just to protect it from weathering. It is undisputed, that this gallery (14 pillars! Marble!) was created 1130 - 1150 and it is undisputed that the masters having carved the capitals of the cloister, worked here as well. It is disputed, how such an exorbitant work of art, could be created (and financed!) in such a remote monastery. One theory connects the Serrabonne Priory with the "Chemin du Piemont" one of the many pilgrim roads to Santiago, but the structure is not really typical for a church erected for the pilgrims. A detail from one of the capitals is this monkey sitting on a small head and obviously chatting to the creature in the foreground. All carved out of reddish marble.

Before a paved road was constructed to the Serrabone Priory about 50 years ago, this place could only be reached via small mule tracks. The priory is still a secluded, hidden place in the valley of the Boulès, on the eastern foothills of the Canigou. There had been a simple church before the monastery was founded before 1069, but what can be seen now, dates back to the 12 century, when Augustinian canons lived here a hard life. After the monastery was given up by papal order in 1592, the church was still used by a parish later, but buildings crumbled. First efforts to reconstruct the priory were taken end of the 19th century, but the isolation of the place made that very difficult. After the road was constructed things changed, so in 1966 the new roof was finished - and the "monument" opened for visitors. Having entered the nave - it is absolutely surprising to find this "building". This is a gallery, but from an architectonial point of view, it seems to be a completely different structure, that has nothing to do with the church around it. It is so breathtaking, that it seems, that the church was erected around this structure just to protect it from weathering. It is undisputed, that this gallery (14 pillars! Marble!) was created 1130 - 1150 and it is undisputed that the masters having carved the capitals of the cloister, worked here as well. It is disputed, how such an exorbitant work of art, could be created (and financed!) in such a remote monastery. One theory connects the Serrabonne Priory with the "Chemin du Piemont" one of the many pilgrim roads to Santiago, but the structure is not really typical for a church erected for the pilgrims. A detailled shot of one of the corbels, seen on the previous photo of the gallery´s western facade. A nicely carved monkey head. Note the drilling technique, that is very typical for the masters, having worked here.

An oratorium here is recorded already in 996. Count Guifred Cabreta, grandson of Wilfred the Hairy (a person I was interested in since ages. We will "meet" him later) donated land and funds for the erection of a monastery in atonement for the murder of his own son. The abbey was built around the older oratorium and already 1009 a church was consecrated and dedicated to Saint Martin by the Bishop of Elne, who was Count Guifred´s brother. In the document a monk named Sclua is mentioned as the builder. Sclua may have been, what was later called an architect. In 1012 the relics of Saint Gauderique were transferred to Saint-Martin, adding importance to the place. Following a medievial tradition (eg William of Gellone, Bernard II, Lord of Lippe) Count Guifried later left his wife, quit his worldy (sinful) life and entered the Benedictian convent here as a monk. He died at this monastery in 1049. Shortly after that the importance of the monastery dwindeled dramatically. An earthquake ruined the monastery in 1428. The rebuilding took decades. The small, remote convent was later threatend by food-shortage as well as by gangs of smugglers and raiders, who filled the frontier area with terror, the monastery was secularized. In 1781 the last five monks and the abbot left the buildings. The complex fell into disrepair and were used as a stone quarry by local home-builders. In 1902 the bishop of Elne and Perpignan bought the ruins and started a pretty radical restauration. Some buildings were even added, to accomodate visitors. In 1922 a number of capitals could be bought back, that had once belonged to the cloister and "got lost" after the French Revolution. Even if this is not "original" in many aspects, even if it may "lack some character", like some authors wrote, it is a wonderful complex, and as Marcel Durliat wrote, a church "premier art roman méridional", as it is older than most of the other romanesque buildings in Southern France. In 1922 a number of capitals "returned home", after they had spent about a century in a villa in Vernet-les-Bains. It was known, that two cloisters had existed, similar to Elne. The lower one was built within the 11th, the upper one within the 12th century. As the exact place of the capitals could not be found out anymore, and only one cloister got (partly) reconstructed, an open gallery was erected. There are some capitals, made from reddish marble cut in quarries near Villefranche-de-Conflent (14kms north), are younger (12th), have a different geometry and show a totally different iconography, not using the well known patterns. These carvings are "storytelling", but in most cases I could not find the stories that are told. Even Marcel Durliat does not offer an explanation. This is the "backside" of the capital just seen, having a fish and the Rocabertí' escutcheon, as Ray/Adfinem found out. On the left is that bird with the branch again. A perfect fit, maybe one of the abbots came from the Rocabertí family. In a flyer I picked up, this capital was named "corn-capital", but actually corn (as well as pinapple) was not very widespread, before Columbus had reached the Bahamas. So in case it is a fruit, it may be a pomegranate, but it may as well be a pillar with a capital. On top of the right "capital" is a face. Another roughly carved face is just over that large animal. Actually all corners have that carving. The head of the large animal in the center is very damaged. I think, that this could well be an ape. The eye-brows and these furrows can often be seen at apes - plus - the profile of the animal on the right side - is very apelike.

Abbaye Saint-Michel-de-Cuxa has a long and winding history, starting in 840, when near the river Tet "Sant Andreu d'Eixalada" was founded. This small abbey was washed away during a flood already soon after. The monks moved to nearby Cuixa, where in 879, abbot Protasius (he came from Urgell) and Miro the Elder, count of Conflent and Roussillon (and brother of Wilfred the Hairy) signed the founding treaty of the new monastery. Under protection and influence of the Counts of Cerdanya the abbey gained importance. A large complex was built over the next century. In 974 a monk from Cluny (!) consecrated the main altar of the new church, dedicated to Saint Michael. Since 961 abbot Garin led the monastery. He was a perfectly connected intellectual figure, friend of Gerbert d'Aurillac (later Pope Sylvester II). At that time Pietro I Orseolo, formerly the Doge of Venice and later a venerated Saint, joined the community as well as Saint Romuald, later the founder of the congregation of Camaldolese. Influental and powerful Oliba (971-1046), descendant of Wilfred the Hairy, count of Berga and Ripoll and later bishop of Vic and abbot here kept the place in the political center of the County of Barcelona. He had founded a couple of monasteries (eg. Montserrat), had been a political adviser and was a well travelled man. He had been impressed by the architecture he had seen in Italy and was heavily involved in the architectonial process, transforming the pre-romanesque complex, started by his predecessors. Saint-Michel-de-Cuxa lost the importance it once had and during the next centuries. There was a row of self-confident abbots, without any interest in monastical traditions. The French Revolution ended that - and the last monk fled 1793, just before the revolutionists ruined the place with great effort. The abbey was sold afterwards by the government - and another story started. The abbey fell in disrepair. The cloister, erected 1130-1140, was still complete in the 1780s. After the Revolution the new owner had different plans, as he needed a water basin, and reckoned the cloister the perfect place. In 1841, the owner tried to sell the cloister to Perpignan, where it should find a place in the garden of the archbishop, but the negotiation failed. At that time 37 pillars and capitals were still in situ. Soon after the cloister was taken apart. Most carvings were sold to people in nearby Prades, to beautify their gardens. Around 1905 an American sculptor, living in France, opened an antique trade. He tracked down the scattered pieces of the cloister - and started to buy them sucessfully. He was proud, that in the end he had the major part of the cloister, having spent about 3000 US$. To cut the story short, most of the pillars, arcades and capitals are now in New York, where the joined the cloisters from Saint-Guilhem-le-Désert and Bonnefont. They are all part of "The Cloisters", once founded and financed by John D. Rockefeller, now part of the "Metropolitan Museum of Art". The large fountain, that was the center of this cloister once, can now be seen in the Philadelphia Museum of Art. There te fountain is the center of a cloister, that once was in Saint-Genis-des-Fontaines. The Cloisters: www.metmuseum.org/visit/visit-the-cloisters/ Philadelphia Museum of Art www.philamuseum.org/collections/permanent/42060.html There must have been a workshop of carvers within the 10th century, that probably worked near the quarries in Villefranche-de-Conflent, where the marble was cut. This workshop developed a distinctive artistic style, that can be seen as well in the prieuré de Serrabone and in Saint-Martin-du-Canigou. An ape or monkey with some dirt in its right pupil.

Soon after the village was founded 1090 a small, humble single-nave church has been erected right here. Though, this was a small church, it has this large, elaborated portal. The quarries, where the reddish marble was cut, are very close to Villefranche and the workshops working there for Saint-Martin-du-Canigou, Saint-Michel-de-Cuxa or the priory of Serrabone may have offered their masterly work for a "special price" to the local church. Having a closer look to the right side of the portal. Again the masterly carvings seem like model-carvings for the pious investors of they abbeys and priories, placing orders to the artists. Please not the very left animal. I am very sure, this is not a lion, but an ape.