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      With the Romanesque sculpture of the eleventh and twelfth centuries there was a revival of stone carving after centuries of dormancy in that art form. Undoubtedly inspired by the fragmentary remains of Roman art still standing in Western Europe, artists of the Romanesque period expressed themselves with a new vivaciousness and spirit. Most of this energy was focused on the architectural details of churches and cloisters, such as the capitals of columns, like the one shown here. Each capital bore a different image, such as a story from the Bible or a mythical creature or demon. The liveliness and imagination expressed in these sculptures were, perhaps, uplifting to those worshipping in the churches or cloisters they decorated. This example shows Samson, a hero of the Israelites, known for his great strength. One of his feats was to fight and kill a lion. He is shown at the moment of the kill, overpowering the great beast. While the proportions make the piece almost like a caricature, the naturalism of the spiralling plants in the background, and the emotional quality of Samson’s facial expression lend an honesty and dignity to the work.

      193. Anonymous. Capital, imbedded column, San Martín Church, Frómista (Spain), last quarter of the 11th century. In situ. Roman.

      194. Rénier de Huy, died 1150, Belgian. Baptismal Font, Saint-Barthelemy Church, Liège (Belgium), beginning of the 12th century. Bronze. In situ. Roman.

      Few sculptors of the Romanesque period are known by name; one is Rainer de Huy, a bronze worker from Belgium. His Baptismal Font is remarkable in that, despite its large scale, it was cast in a single piece, demonstrating the skill of the craftsman. The main register on the basin shows the baptism of Christ. The figure of Christ, standing waist-deep in a stylised pool of water, is flanked by John the Baptist on one side and a pair of angels on the other. Below are twelve oxen, on which the weight of the font appears to rest. The oxen are a reference to the twelve cast oxen of King Solomon’s temple in the Book of Kings, seen by Christians as presaging the twelve Apostles. The figures are in high relief, escaping the bounds of the background. That energy is seen especially in the oxen, whose poses and individuality add vitality to the piece.

      195. Anonymous. Baptismal Font, Evangelical Church, Freudenstadt (Germany), second half of the 11th century. Sandstone, h: 100 cm.In situ. Roman.

      196. Anonymous. Baptismal Font, Tower of Saint James Church, Avebury (United Kingdom), beginning of the 12th century. In situ. Roman.

      197. Anonymous. Virgin in Majesty, beginning of the 12th century. Polychrome wood, h: 73 cm.Musée Bargoin, Clermont-Ferrand (France). Roman.

      198. Anonymous. Gold Majesty of St Foy, treasure of goldsmithery, Sainte-Foy Abbey Church, Conques-en-Rouergue (France), 9th-16th century. Heart made of if wood, gold leaves, silver, enamel and precious stones, h: 85 cm. In situ. Roman.

      It became customary in the Middle Ages to preserve the relics of a saint. Relics were any physical remains of the saint, usually bones from the body. The relics were usually kept in jewelled boxes called reliquaries. The desire to see, touch, and pray over the relics of a saint contributed to the popularity of the pilgrimage, in which devout Christians would travel great distances to visit relics of saints. This is the reliquary of St Foy, a young girl put to death by the Romans because she refused to worship pagan idols. The relics of that saint, a fragment of her skull, were acquired by the abbey church of Conques in France, and this beautiful reliquary was created to hold them. The saint was said to perform miracles on behalf of those who visited her relics, and the ensuing popularity of the reliquary made it necessary to rebuild the church to accommodate all the visitors, as Conques became an important church on the pilgrimage

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