This article considers how text and image on a capital depicting the Beatitudes and its location in the west walk of the cloister at Saint-Pierre at Moissac related explicitly to the monastic task of almsgiving and the important liturgical rite of the Washing of the Feet. We will consider how movement around the capital rewarded the viewer with new compositions, thus demonstrating that meaning may be constructed not only through a series of images, but also through the ritual movements taking place over time. The case of the Beatitudes capital demonstrates that sculpture solicited and represented the presence of the divine through their participation in the liturgy, and, as such, are performative objects.