Abstract
By correlating the types of capitals in place at Cluny III to constructional differences in the building, we can begin to establish the sequence of sculptural styles at the abbey. On the basis of this relative chronology within the building, we can connect the characteristics of the first capitals in the chevet with sculpture preceding the mother church in the neighboring regions of the Dombes and Brionnais. We may then hope to place the fragmentary pieces of reserve sculpture at Cluny in the larger context of the monumental arts at the abbey.
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