A finely carved, mid-12ᵗʰ century, limestone capital located within the nave of Saint-Maurice, Lucay le Male, depicting a blend of vegetal and narrative motifs characteristic of the regional Romanesque idiom. The block retains its original abacus and echinus, its composition divided into three fields: a central zone of foliate scrollwork, surmounted by a zoomorphic and human frieze, and flanked by spiralled volutes enclosing small faces and symbolic forms.

The main face shows a stylized figure bending beneath an arch or structure, possibly a symbolic gesture of humility or penitence, while above, a quadruped animal (perhaps a boar or lion) walks across a band of carved leaves. On the left, a standing human figure supports or gestures toward a pinecone-shaped ornament, a form often interpreted as a Tree of Life or fruit of paradise motif.

Stylistic Context

This capital exemplifies the Berry–Touraine Romanesque style, where sculptors combined biblical and allegorical imagery with vigorous vegetal carving. The crisp, linear incision and schematic anatomy of the figures relate closely to capitals at Palluau-sur-Indre and Tournon-Saint-Pierre, suggesting the hand of a regional workshop active in the mid-12ᵗʰ century.

The juxtaposition of human, animal, and vegetal elements reflects the Romanesque fascination with the interconnectedness of creation, often expressed in the architectural sculpture of rural parish churches. The pinecone motif, in particular, symbolizes fertility and eternal life, while the animals may allude to moralized bestiary themes.

Condition

Good structural preservation, though softened by age and limewash. Some loss of detail is visible on the projecting volutes and upper frieze. The stone surface retains tool marks and traces of original chisel work beneath the patina.

Summary

This capital from Saint-Maurice, Luçay-le-Mâle, is a characteristic example of rural Romanesque sculpture in the Indre, distinguished by its energetic carving, symbolic hybridity, and integration of figural and vegetal ornament. It stands as a testament to the expressive vitality of 12ᵗʰ-century regional workshops, whose work bridged devotional meaning and vernacular creativity within the fabric of the parish church.