42 – The Trapdoor…

In The floor…      

I often do get sidetracked by small details in buildings, and these trapdoors in the floors of the various halls and rooms of the Marvel (here in the Knights’ Chamber) caught my attention. Made of solid oak, as is much of the woodwork in the abbey they have the glowing patina of centuries of wear on them. But what was their purpose? One of our party suggested there had probably been a gallows above them – an unlikely use I thought despite the knowledge that for part of its history the Mont had served as a prison. Hanging, after the invention of the guillotine, was not a widely used method of execution in France. I had seen a similar covered aperture in the Petit Trianon in Versailles, which was used to deliver food from the kitchen below the Queen’s dining room without the need for lowly kitchen staff to enter the presence of Royalty. However although the ‘class system’ was indeed adhered to in the Marvel, no kichen lay below this level and location of the building, besides which the height and function of the rooms below discounted that idea too. The size of the opening (perhaps a metre square at most) precluded their use for furniture removal, and so the only possible answer can be that they served for either temporary access to the lower chambers or for the delivery of building materials, or even timber used to construct refectory tables in situ.

The oak fixtures around the abbey are details not to be missed. Although not grown in the immediate region, much oak is still brought to Normandy – the well known local apple brandy – Calvados – is aged in casks of (usually Limousin) oak.

41 – The Knights’ Chamber…

Still In the marvel…     

Beyond the Guests' Chamber on the north side of the middle tier of the Marvel lies a second and larger hall known as the Knights’ Chamber, or the Salle des Chevaliers, so named after King Louis XI of France had founded the chivalrous order of the Knights of St Michel in 1469. Originally used as the scriptorium it was here that in these pre-printing press days the monks would copy and produce illuminated texts and religious manuscripts, giving the Mont its erstwhile name of The City of Books. The order founded by Louis was primarily a response to the Order of the Golden Fleece founded by Philip of Burgundy, a rival claimant to the allegiances of other notable houses of French nobility. Early members were amongst the most powerful noblemen in France, and mostly close relatives of Louis’, and it remained the highest Order in the realm for a century until the founding of the French Order of the Holy Spirit. It was abolished in 1830, but has seen two revivals in the twentieth century. The large fireplaces also gave rise its reference as the calefactory, and it was almost certainly divided into numerous smaller workrooms by tapestry screens. Despite its naming, and Louis’ plans for annual meetings at the Mont, due to its remote and impractical location it is not recorded that any gathering of the members of the order ever took place within its walls.

Built later than the Guests’ Chamber, the architecture here represents a distinctly Norman style, solid rather than elegant - with the ogival vaulting pronouncedly outlined in contrasting stone. The pillar capitals have varying foliar and floral carvings. Altogether not a bad place to spend another day at the office!

40 – Guests Chamber…

level two…

Exiting the refectory via the spiral stairs in Corbins Tower I descended to the thirteenth century hall known as the Salle des Hôtes or Guests Chamber. It was here that Abbot Raoul des Isles would entertain his rich and famous visitors with banquets and feasts. Tables were set out along two aisles and meals would be cooked over fires at the end of the hall – separated from guests by tapestry screens as were the ablution facilities – the mod-cons of the day! As mentioned previously the upper level of the abbey church and cloisters was the preserve of the clergy, and the middle level was for nobility and royalty. It is therefore not surprising to note the opulence of the Gothic architecture which would have been used to display many decorative artefacts no longer present in the room. Although the flooring seen in this the eastern end of the hall is of limestone, there remain some beautiful mosaic patterned floors elsewhere in the room. This chamber was considered at the time one of the foremost examples of its kind, and was the inspiration for a number of others of the same period. A private chapel (St Mary Magdalen), set to the side of the hall was used for pre and post prandial prayers and thanksgiving, for above all the Mont was a place of worship and the guests in the Middle Ages were mainly pilgrims.

I particularly remember the amazing acoustic qualities of the vaulted space and thinking how those Abbot’s dinners must have been quite a contrast to the comparative silence of the monastic level.

39 – The Legend…

Aubert and St Michel…

In the eighth century Aubert, Bishop of Avranches dedicated the rock on which Mont St Michel is built to the Archangel Michael. Known as Mont Tombe at the time, the rock had long attracted Christian pilgrims as a place of worship. The cult of St Michel had spread through Europe, and appearances of his spirit were claimed in many locations. Appearing in a dream one night (reputedly in the year 708) St Michel ordered Aubert to make Mont Tombe a place of worship and to build an oratory dedicated to him. Believing the dream to have been his imagination it is said Aubert ignored the command twice and on the third occasion St Michel pressed his thumb deeply into Aubert’s forehead, providing a waking reminder that his appearance was no figment of the bishop’s imagination. Aubert obeyed the archangel’s orders , the oratory was built and dedicated on October 16^th 709. Miracles were claimed to have occurred on Mont Tombe, which became known henceforth as Mont St Michel. There is a relic of a skull said to be that of St Aubert, displayed in the Saint Gervais Basilica in Avranches. Others believe the relic to be one of a prehistoric skull, showing only evidence of trepanation.

The legend of St Aubert’s dream and the Archangel’s third visitation is graphically depicted in this marble bas relief inside the abbey. The overhead spotlighting gives the archangel’s head a haloed glow – partially compensating for the lack of facial details as seen today.  

38 – Refectory…

In the Marvel …

Again marrying elements of Gothic and Romanesque design styles the refectory or frater off the cloisters is a magnificent, but simple chamber. The hall dates back to the early thirteenth century and its size – some thirty four metres in length and ten metres in width – indicates that communal meals must have been something special when an obviously large community of monks would have inhabited the church. Refectory sizes are a good indication of the wealth of an abbey, and from this it is evident that the abbey at Mont St Michel was well patronised. The arc vaulted ceiling supported on thick heavy limestone decorated and colonnaded walls resembles an upturned boat hull, and as is the cloister ceiling, is clad with timber slats adding to that description. Of distinctly Romanesque style are the simple seemingly narrow windows. Although not visible along the length of the salon, some half dozen windows along the length of the room let in an amazing amount of light. Although appearing to be narrow they are some five feet wide and twenty in height. This view to the northern window shows the austerity of decoration – a simple crucifix. The south end holds the pulpit from which a single monk would have recited Biblical texts whilst his colleagues would have eaten their twice daily meatless meals (in accordance with the rules of St Benedict) in otherwise complete silence. The acoustics are superb and his voice would have filled the air of the refectory.

37 – Arcade…

In the cloisters …

If I had to select one image that conveys the feelings I experienced during the entire visit to Mont St Michel, I think this would be it. There is something slightly hypnotic about the perspective of the arcade on the south side of the cloisters. Photographically too, it is certainly one of my favourite shots. Contrast the enclosed columns and arches to the left (of Caen limestone) with those of granite to the right. Note also the use of a double row of columns on the right, the two rows being slightly staggered creating a succession of tripods, a design not commonly seen previously, but found in later Normandy Gothic designs. This technique created greater strength for the timbered roof. Click on the image for an enlarged version to see the floral carved detail in the corner crochets between the arches, which were mentioned in yesterday’s post.

The vaulted shingle timbered roof and ceiling are in magnificent condition. Although restoration has taken place, the craftsmanship using age old traditions is notable, and the cloisters present a fine example of church gothic styling. I feel as though I’m walking in solitude there once more. I wish I was.

36 – The Cloisters…

A place of peace …

Distinctly Gothic in style and dating from the early thirteenth century the abbey cloisters form a quadrangle against the backdrop of the abbey church. With a tranquil, lawned garden suspended between the sky and the sea at their centre, this area would have been an ideal retreat for the monks’ daily meditations and whispered conversations. The cloisters are also a good indication of the wealth and strength held by the church at the time, for the cost of commissioning the beautiful granite pillars and elaborately carved decorative arch stonework must have been considerable. The carvings and crochets beneath the cloister arches, made of limestone from Caen, incorporate dragons and mythical creatures along with foliage, vines and floral themes. The supporting columns or orders have a classical simplicity about them, perhaps dictated by the hardness of the porphyritic granite stone, with octagonal plinths and complementary simple cushioned capitals – reminiscent of an earlier Romanesque styling.

Apart from the use of the cloister arcades as an ambulatory, the area serves as a distribution gallery lead to other abbey buildings – the dormitories, refectory and the church.  The western aspect is a belvedere outlook to sea, the originally planned chapter house intended for this face having never been constructed. This view across the herbaceous garden looks onto the North transept and its window seen earlier from inside the abbey church.

I could not help but recall the famous labyrinth I had seen earlier at Chartres Cathedral, and imagine how perfect this garden would be for such a device.