Cabestany, a village on the Rousillon plain, owes its art historical fame to one wandering sculptor and his tympanum from the second half of the twelfth century, in the parish church.
As is all too common in medieval art, he remains anonymous. Twentieth-century art historians gave him, like many of his colleagues before and after him, a notname, a name of convenience.
Scholars have tried to identify his other works based on characteristic similarities. The common viewer usually first notes his overlong hands, but also the antiquated drapery and, when observed more closely, the drilled holes in the corners of the eyes.
These features are reminiscent of elements that can be found on capitals in monasteries such as Serrabone, about 50 km to the west, in the Pyrenees.
Art historians have been able to track this master's journey from Tuscany, through southern France, up to Navarre - thus providing us insights in the wanderlust of medieval masters. A great success in research
Translation: Erik Eising (MA)