The Basilica of the Madeleine Vezelay was founded in the mid-ninth century in Burgundy. This basilica has undergone various phases of construction and reconstruction. Indeed, built in the mid-ninth century, the Carolingian basilica was enlarged with the construction of a new choir with ambulatory and transept dedicated in 1104.

The Carolingian nave was then burned: Father Renaud de Saumur then Abbot Aubri ensured the construction of a new three-nave completed around 1138. The sculptures of the capitals and those eardrums were carried out during the same period. The Basilica of the Madeleine Vezelay became a center of Romanesque art in spite of the reconstruction of the transept and the choir, in the thirteenth century, according to the criteria of Gothic architecture.

This monastic church, founded in the wake of the Cluniac Order, distinguished from others by its narthex housing three portals. Vézelay is part of the group of masterpieces of eardrums historiated that emerge from the beginning of the twelfth century in Moissac and Conques and in Burgundy, Autun.
What is the iconography of the tympanum of Vézelay? How is it characteristic of Romanesque art?
We will answer these questions by analyzing the tympanum of Vézelay while putting him in contact with the Bible.