During the third quarter of the 12th century, probably around 1165-1175, a third workshop completed the sculptures for the portal of the chapter house. Consisting of six column-statues and seven reliefs crowned by capital friezes, the style and iconography of this ensemble suggests an influence from the first gothic portals of the Ile-de-France. The third workshop reconciled the first stages of gothic art both with the conservatism of the resolutely romanesque, such as the arcade relief of King David tuning his harp, and with the decorative Toulouse tradition. A certain number of capital friezes represent monsters, animals or human beings - enmeshed in a profusion of creepers and foliage thereby illustrating a tendency that was taking root in Toulouse from the second quarter of the 12th century. This tendency veered towards a preciosity and ornamentation, already glimpsed at in the capitals of the second workshop, where, henceforth, animal life was in organic conflict with plant life. This tendency reached its climax in the middle of the 12th century on the capitals showing The story of Job and the Bear hunt, which depicts a mermaid combing her hair, and where the brilliance of these Toulouse artists comes bursting forth in this art of miniaturisation. Both these works belong to the fourth ensemble, composed of a mixture of other sculptures, whose precise location in the monastery has not been identified. In spite of the different styles and iconographical choices, this affirmed taste, so typical of Toulouse in its decorativeness, places them all in the second half of the 12th century. They represent the baroque flourish of an art that eventually culminated in the disappearance of the human figure altogether, having embraced all the phases of the 12th century.