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In the past, scholars were aware of the importance of Antique art for the elaboration of sculpture in Auvergne and especially in Mozac Abbey, which, as demonstrated by S. Swiechowski ( Sculpture romane d’Auvergne ), was an example for the largest part of the sculpture from the Clermont dioceses. The essay here presented underlines the role of another category of models, the Carolingian’s. First of all, I remind the importance of Carolingian foundations in Auvergne, using A. Remensnyder’s work: Remembering King Past. Then, I expose some texts that allow us the understanding of the kind of education received by Romanesque artists. These texts emphasize the clerical culture of the Romanesque sculptors, and the high probability that most of them originated from the clerical sphere. As a consequence, we know that Romanesque artists could see Carolingian art pieces – like manuscripts or ivories – in churches’ treasures. Accordingly, I choose some relevant examples to demonstrate the strength of the links between Carolingian and Romanesque production of some sculptors from Auvergne and Rouergue. I conclude that we should reconsider the role of Carolingian sources in a region where Carolingian foundations were very significant during the eleventh century.

The influence of Carolingian art on some great Romanesque sculpture masters in Auvergne and Rouergue