The Augustins museum presents twenty-seven capitals from the cloister, divided into two distinct groups. These are fruits of the work from two workshops and two construction campaigns, separated by a generation. The twenty-one historiated capitals - all displayed - places this lost cloister among the major monuments of romanesque art. They date from the first years of the 12th century, a time at which historiated cloisters were widely spread. Until then, men had preferred to illustrate their ideas about faith on the portals of churches and in mural paintings. Form this point of view, the cloister of the Daurade church can only be compared with its mother-abbey, Saint-Pierre de Moissac, the prototype of historiated cloisters. The stylistic affinities between the Moissac cloister and that of the Daurade and the first workshop are beyond doubt. The identical style and iconography of eight of the historiated capitals attributed to this workshop, and those executed by the workshop of the Moissac cloister, have enabled us to identify a "moissagaise" school. It was after completion of the Moissac cloister, in about 1100, that the artists from this workshop undertook the sculpture of the capitals for the Toulouse cloister. However, while the first workshop of the Daurade reused similar composition styles and figures - and the same overall bell-form for the capital, clearly shown in Herod's Feast , it overtook its Moissac elder by placing narration at the centre of its study. This ensemble has the first representation, in monumental sculpture, on the theme of the Last Judgement , which is spread over two capitals. A generation later, after a brief interruption, a second workshop produced the other nineteen capitals during a new campaign which lasted from 1120 to 1130. These are likewise presented in the museum. Twelve of them belong to an exceptional cycle on the Passion, grouping the biblical episodes from Washing of the feet to the Pentecost, and which boasts the first representation, in monumental sculpture, of The Resurrection of Christ , portraying Christ triumphantly coming out of the tomb. The artists of the second workshop broke with the stiffness and formalism that characterises the works of the first workshop. A perfect example of this fact can be found in Christ's arrest. Using finer detail, they created a dynamism that produced an emotional and dramatic intensity and which announces a new interest in plastic form and a new taste for humanism.