appeared discreetly on the hats and sticks of the cistercian monasteries and cathedrals of Béziers or Toulouse, the gothic sculpture accompanies the diffusion of ‘French art’ in southern lands in the 14th century. The site of the Saint-Nazaire de Carcassonne Cathedral combines for the first time tombeal and statuary in new formulas showing the emergence of the languedocian sculpture and the formation of a permanent workshop. The great period of southern gothic sculpture is in the first half of the 14th century, thanks to the orders of bishops linked to the Avignon Papelwork. Occupied by the construction of their palaces and funeral capels, they attract talented sculptors to Toulouse, Saint-Bertrand-de-Comminges and Narbonne, dominated by the strong personality of an imaginer from Bordelais, the ‘Maître de Rieux’, and by his insignia, the statues of the Notre-Dame de Rieux chapelle.