Description: Inscription identifies the figures carved on the capital. (c. 1140-1150)
Reference: Based on the identifying inscriptions and the iconography of the carved imagery, the capital's subject matter is inspired by the story of Jacob and Esau (Genesis 25, 24-32).
Reference: Dom Berland identifies the scene as related to the legend of St. Benigne, the apostle of Burgundy (Berland, "Essai d'interprétation d'un chapiteau de Vézelay", p.65). At the moment of his martyrdom, the saint's feet are encased in lead. The apostles Peter and Paul, assisted by St. Benigne's prayers, fortify him through his passion. The fawn that appears on the capital could be the famed dog that Aurelian ordered loose on the martyr. On the right face, uninscribed, a seated figure is most probably Aurelian.
Description: Narthex Tribune
Inscription identifies figures. Located in the narthex tribuneon the south side. The capital is engaged to the east pier face.
Reference: The scene corresponds to the Book of Tobias (9,1-20). The young Tobias returns from a long journey, during which he met the archangel Raphael, who heals his father Tobias who became blind. (II, 10-11) This capital is the only capital in situ from the narthex tribune.
Description: Narthex; tribune (in musée lapidaire c112, capital in northern tribune, first bay west)
Identification on impost
Reference: A short inscription is located above an arcade under which there is a person in a tower or on a wall. A modern capital is in place in the tribue represents David watching Bathsheba taking a bath. On the central face the king proclaims his affections to Bathsheba. On the right side of the capital, Uriah leaves for war on the king's orders.
Listed in Lydwine Saulnier and Neil Stratford's La sculpture oubliée de Vézelay (Droz, 1984), pp 93-4. Inv. Meunier n° 34; Inv. Leboeuf n° 34.
Description: 8th bay of nave facing south aisle. On the central face a demon menaces a female sinner. Above this part of the scene the word TIME was written. One the second part of the scene, St. Benedict blesses the sinner and her a pal of eternal happiness. Above this is painted: SPERA
Reference: No trace of the inscription remains. A drawing commissioned by Barat in 1840 reproduces the words. This capital is part of the same campaign of construction as the Temptation capital in the narthex.
Description: West portal, façade of narthex
Capital now in second room of museum
Reference: The angelic salutation is traditionally part of representations of the Annunciation. The text is retained in part of the liturgy: Ave Maria, gratia plena, issu de Luc (1, 28). The inscription on this capital identifies the actors in the scene.
Description: West portal, façade of narthex
Capital now in second room of museum
Reference: The angelic salutation is traditionally part of representations of the Annunciation. The text is retained in part of the liturgy: Ave Maria, gratia plena, issu de Luc (1, 28). The inscription on this capital identifies the actors in the scene.