The capital is carved with a scene which progresses on each face. It shows two men protecting their horse from rampaging lions which emerge from the foliage undergrowth.  On one side a man holds the reins of his horse whilst attempting to strike the lions before him to his left. To the right of the horse the second figure draws his bow at the third lion behind the foliage; above a frieze of niches beneath zig zag decoration.

Stylistically the treatment to the lions and the foliage follows the traditions found in Rousillon sculpture dating from the second quarter of the 12^th century and onwards.&ꦬnbsp; Note the two capitals in the Glencairn Museum Pennsylvania illustrated by Cahn.  Compare also with the figurative scenes and architectural mouldings found on capitals from the cloister at Rieux Minervois and Saint Michel de Cuxa as illustrated by Durliat. It has been suggested that the work recalls the work of the master of Cabestany (circa 1130-1180) who was active in Italy, France and Spain and who is named as the author of the tympanum with the Assumption of the Virgin at Sainte Marie, Cabestany, Rousillon.

RELATED LITERATURE
W. Cahn, Romanesque sculpture in American collections (Turnhout 1999) no. 28; M. Durliat, Sculpture romane en Roussillon (Perpignan 1948) vol. 1, figs 45-7