The fine sculpture continues with the archivolts.The arch figures appear to be a jumble (is this poor restoration or ignorance by the original assemblers?). They are a mixture of "stock" figures: labors of the month, zodiac signs, Angels, Kings etc. Of course each one is a discrete block (did they perhaps buy them wholesale as remainders?). To compensate for this medley , the Hand of God blesses all, above at the center. It would appear that no master masons were on site with their apprentices, Although there are gargoyles, the modillons under the roof coping have plain faces. In other Romanesque sites when carvers were there, the modillons all had faces and other figures on their ends. We conclude with two total views of the simple church.
We cannot identify these six characters but they are carved with more liveliness than the first ones at Chartres, which preceded them due to deeper facial lines and less steroetyped placement of the hands. Each face is distinctly different and do not resemble those at Chartres. The trumeau figure of St.-Loup has a beatific look. The bird capitals above the heads are very well done. The condition of the entire ensemble is most unexpected.
The sculpture of tympana was becoming refined as the 12C progressed. This is a small example with a large central figure of Christ in Majesty surrounded by the symbols of the Evangelists. It is in three shaped stones cutting through Christ's body but separating the other figures. Only the mandorla had to match during installation. On the lintel level there are only 2 sets of four Apostles with Mary at the center. One apostle on the left has his legs crossed in a daring manner. The figures continue laterally at the lintel level to begin the archivolts of which there are three bands. The first figure on the left (headless) is probably Mary receiving the Annunciation from the Angel on the right; next to her is the Visitation. That is all we can make out, but another of the figures on the right is cross-legged.